PREAMBLE:
When I launched SpinTunes 17, my first time running things, I was nervous, hoping we’d get a good turnout. When sign-ups closed with 47 acts having put their names in, I was pretty overwhelmed. When the songs started coming in, I was excited. Listening to the entire album, I’m impressed, as always, with the quality and dedication in this community. Thank you, everyone!
This challenge allowed for a variety of interpretations. Some of you took the straightforward approach, and introduced your actual self, or your band. Some of you grabbed onto the awkwardness of introducing yourself and wrote a song about that. Some of you went more abstract, or adopted a persona, staged a mini-drama, or wrote about poop. And it’s all good! Seeing the myriad ways that everyone responds to the same challenge is a big part of the fun.
As the contest administrator, I am freed from the responsibility of ranking these songs against each other. My reviews are therefore presented in submission order.
OFFICIAL ENTRIES:
Yo Mammy and the Fuzznuts - Yo Mammy and the Fuzznuts
This is a pleasant song. The lyrics are not the focus but they still hold up on examination, and the melody is compelling. I suspect that most of the things I would suggest you change were aesthetic choices that you made deliberately, but here goes anyway:
The vocals could be much louder and clearer, especially in the “la di da da” sections - the closest thing you have to a chorus - where they are almost completely buried. The slide guitar feels haphazard and is certainly not contributing to the harmony since it never centers on any particular pitch. I don’t love the washy undistorted electric guitar that provides the sonic bedrock of the song, because I don’t particularly love washy undistorted electric guitar in general.
EmKayDeeBee - Pleased to Meet You (introvert in disguise)
Fantastic groove from the harp here - solid reliable progression with just enough flair here and there to keep things interesting. It’s always a delight when someone creates a compelling and full-sounding texture out of one instrument (well, plus some bare-bones percussion). The solo section after the first chorus is excellent as well and provides welcome contrast.
The list format of the lyrics threatens to get old, but the ABABCBCB rhyme scheme helps a lot to lend coherence to what would otherwise seem like a bunch of unrelated statements. The chorus (“I am my father’s daughter…”) is a welcome change, providing an emotional grounding and expanding the scope of the song beyond “I’m complicated”. The final line “An introvert in disguise” feels anticlimactic, and specifically the word “introvert” seems clinical compared to the language of the rest of the song. I don’t have a quick fix for that, and it doesn’t derail the song as a whole - overall this is a very nice tune that I enjoyed listening to each time.
HandHammered - I Dream
A pleasant, easy-going tune accompanied by tasteful instrumentation. (I’m a big fan of slide guitar. This is not particularly useful information since I’m not ranking anyone, but there you are.)
A somewhat oblique take on the challenge, as we don’t get much of a sense of who the narrator is, except for his dream for America… which is itself hazily defined. Whether the judges think that’s worth penalizing is up to each of them individually.
The long pauses in the middle of vocal phrases start to tire; if I’m playing this in the background it’s all good but listening consciously, I’m impatiently waiting for you to finish your sentence. And some of those sentences are pretty awkwardly worded: “The sweet rhythm of many open road lanes” for instance; not only do you unnaturally stress the initial “the”, but also the phrase “open road lanes” seems altogether wrong to me. Language is a funny thing.
Melody Klein - My Name Is Melody
Lyrically, this is as straightforward an introduction song as one could ask for: Here’s my name; here are the things I’m interested in. No complaints there! Some of the lines are quite awkwardly phrased; two that stick out especially are “ones where tiles are layed” and “Thrilling flat rides are also not to be ignored”. There’s nothing exactly wrong with them, but the phrasing is stilted and awkward. The way stressed syllables line up or don’t with the musical strong beats is also sometimes odd.
However, any criticisms of the lyrics are somewhat incidental, because the lyrics are barely intelligible when listening. In a way, that’s a strength: I can sit back and listen and not think about the odd construction of some of the lyrics, instead treating the vocal as just another element in the sonic palette. And there are some very cool sounds here. The way the song builds and evolves throughout is satisfying even if 6:18 does feel a bit excessive. I like how the vocals become more processed on the last verse, and I’d encourage you to play with more effects on the vocals throughout the song.
David G Harrington - Dave Is OK
This is an anthem! The music is suitably epic to match the lyrics about a man who won’t let life stop him. The highlight is the chorus, especially the ending: “We all know Dave / We all know Dave / And Dave is OK”. It feels somewhat ironic that after declaring victory over the struggles of life, you declare yourself simply… OK. Of course, OK has a couple distinct meanings: just fine, pretty good, nothing special… or still in good shape despite trouble. I think the latter sense is what you have in mind, but it does create a bit of dissonance.
By verses 3 and 4, the up-by-his-bootstraps message is starting to grate on me, when you boast about withstanding “Events that would have felled a weaker man”. And in verse 4 you use the words “life” and “struggle” twice each, making it feel like you’ve run out of things to say and are just repeating yourself. Without any specific details about the particular challenges that Dave has faced, it’s difficult to judge how much of this is well-earned reflection and how much is empty braggadocio. I suppose avoiding details may help listeners put themselves in Dave’s shoes and catch some inspiration.
Governing Dynamics - Don’t Count Me Out
Has this guy met Dave? Seems like they would get along! They’ve certainly got similar life philosophies. I like the central conceit of re-introducing yourself as a changed person to someone who (maybe) did you wrong, although the details are sketchy.
I’m not used to hearing this heavy sound from Governing Dynamics, but I’m here for it. The riffs are fantastic, although the solos are less so. The dueling guitar section around 3:00 in particular feels like it’s about to fall apart any moment, and not in a good way.
“You don’t have to count on me, but don’t count me out” is a great line, which is why I’m annoyed that you don’t use it consistently. It appears that you initially wrote “You don’t have to bet on me”, then realized that “You don’t have to count on me” is better, but forgot to sing it that way all the way through, and forgot to change the typed lyrics at all.
See-Man-Ski - Let Me Introduce Myself
A catchy, funky track that doesn’t overstay its welcome. The production meshes well with the melody and vocal delivery. “I’ll paint a picture”, you say, but the lyrics are short on concrete images at all. The idea - acknowledging that the image you’re presenting is fabricated - is a compelling one, but we need more to hang that on than “I live my life like I'm 23”. Likewise, the truth - “I'm just a man in a midlife crisis” - is too generic to be all that compelling, although your commitment to the vocal delivery does help.
Little Bobby Tables - I’m The One
The submission email referred to this as a first draft, but I never got a follow-up, so this is what we’ve got. Background chatter aside, this is a pleasant listen anyway. The vocal harmony is lovely, especially on such moments as the upward leap on the word “deserved”.
The theme of resentment of technologically-driven alienation is coherent but subdued, the lyrics artfully crafted enough that it doesn’t come off as preachy - until we the last verse abandons subtlety, actually employing the phrase “kids these days” and telling them to go outside. That and two clunky lyrical choices - starting two consecutive lines with “just”, and rhyming “away” with “way” - sour the ending of what is otherwise a lovely, moody and restrained piece. I still want to hear the final version.
Lucky Witch & the Righteous Ghost - Hello
The title hook is quite catchy, aided by Brookes’ confident vocal delivery, which sits in a Dolores O'Riordan/Natalie Merchant-adjacent space that I’m a fan of. The downward pitch slides at the end of each line of the verse start to grate after a few lines, and the line “If you want to summon me, well, first be forewarned” suffers from some unclear rhythmic phrasing, but overall the vocals stand out. The jump in register on the last chorus provides a good boost of energy to end the song on. The sound effect in place of the name is a cool idea, but in execution it comes off as less “shriek of unspeakable dread” and more “whale sound”.
Dented Bento - Spark Joy
A clever take on the challenge, adopting the persona of your namesake object. The judges might protest that, since the “you” you’re addressing is the lunchbox’s owner and not a stranger, you’re not really _introducing_ yourself. Since I’m not ranking anyone, I don’t need to worry about that!
The lyrics are crafted with care and economy - already Marie Kondo’d, it seems. Though I have to ask about that Ring - is that a DVD set of the opera or… the actual magical artifact itself? If it’s the latter, we’ve got bigger problems than a little bedroom clutter.
The backing instrumentation feels pretty samey throughout, especially the utilitarian drums and the blurpy bass synth that fills any potentially empty space. More variation in the production - either thicker in the chorus or sparser in the verses - could make the transition from the verse to the chorus feel like a bigger moment.
Your vocals mostly sit in a comfortable place, and your delivery is confident and solid. You lose control just a bit at the end of the bridge on the line “Laptop and electric guitar”.
Dutch Widows - Theme For The Dutch Widows
This is one of a few entries that went with the straightforward approach, with a song you might play to open your live set - and I hope you do because it’s a good one. The guitar riff is infectious and the jerky rhythm of the vocal on the verses keeps my attention.
The lyrics themselves feel pretty utilitarian - not particularly poetic and not particularly clever, but they work reasonably well as a vehicle for delivering the jam. The way you phrase “Dutch Widows” is very awkward: putting the stress on the second syllable of “Widows” sounds extremely unnatural. I’d recommend cutting the word “and” after “Widows” and shifting that word over an eighth note so that the natural stress lines up with the on-beat, like so:
The Wizards of Vomit - The Thing About Me Is, Who I Am
This song goes by pleasantly enough, but falls into the trap of thinking a clever concept is enough to carry a song on its own. It’s inspired by Perd Hapley, but lacks Perd’s good-natured weirdness, so instead the joke earns an initial chuckle and not much more. I did enjoy “The day I was born, is the date of my birth, / It’s also the date of my birth… day.” The muffled vocals are an odd choice - I assume it is a choice because the guitars sound nicely crisp and well-mixed, so I’m not sure what prompted you to bury your voice.
Boy on the Wall (featuring Parle G Baby) - Pleasure To Meet You (I Am Your Husband)
Adorable! I love this playful take on the idea of re-introducing yourself in your new role as husband. It’s some seriously questionable pronunciation that lets “new man” rhyme with “husband” but I’m gonna let it slide because it’s fun. And the great concept is supported by specific details in the verse lyrics.
The production is solid and feels faithful to the style you’re emulating, but I’m hankering for more of a lead instrument especially as there are some big gaps between vocal lines with not a lot happening. I think your vocal could also be brought forward in the mix; it feels a bit buried, especially as it's in a higher, thinner register. As a result some of the lyrics don’t come through very clearly; I’m glad to have them written out to follow along.
The rap verse is delightful as well; it maybe could have benefited from a couple extra passes to tighten up the rhythm but it’s a minor complaint.
Sober - Even If It’s Dirt
I don’t know if you’re into hugs, but I want to give you a big one. This is a great and heartbreaking song. I hope this is not your current mindset, but there’s definitely value in naming these feelings and making them explicit.
The instrumentation is excellent; I’m a sucker for a good banjo lick and it does well to drive the song forward. I want so badly to hear a chucka-chucka fiddle in there too. I’d love the slide guitar to feature more prominently, perhaps with some more intricate playing. But overall this is in a sound-world that I’m a big fan of and you do it well.
A small suggestion would be to end switch the order of the last chorus to “There's a peace that comes from knowing your worth / Even if it hurts / There's a freedom that comes from knowing your worth / Even if it's dirt” - or else repeating the first half again, so that you can end on the title hook “Even if it’s dirt”. It’s effective the way it is, but I think switching it can drive home that central line even stronger by putting it at the end.
rackwagon - We Are Rackwagon
This song comes in distinct sections that don’t feel particularly well integrated. The subdued acoustic first section is truely lovely. The gradually building electronic instrumental keeps my interest, and then… the vocals come back in and most of the goodwill you’ve accrued is gone. First it’s the same lyrics again but chanted instead of sung, and then it's a new verse with none of the enigmatic poetry of the first (and with some truly atrocious scansion on “much beloved Kransky”). Then there’s another shift into the “Now you know” section. At least you’re singing again! The overlapping and echoing vocal lines are pretty cool actually. But on the whole it feels like you jammed together a bunch of ideas that didn’t necessarily need to be in the same song.
Buku Chauney - About Me
An artful dodge here - after all, saying that you don’t want to talk about yourself is, indeed, saying something about yourself, and I enjoy that you throw out your PIN number as if to say, “You want to know specific details about me? Here you go - about as specific as you can get.”
The muddy production and slightly nasal vocals hurt the replay value a bit, but the short runtime works in your favor, as do a few really excellent chord changes, including underneath “ooh, my pin numbers 252”. So far I haven’t skipped this one when it’s come up - I’m more than happy to give it 1:31 of my time.
Vom Vorton - Forget All You Knew
This is my favorite Vom Vorton song I’ve heard in quite a while - the bouncy power pop instrumentation complements the lyrical bravado perfectly. Smart move to have the tip of the hand at the end of the chorus reinforced in the bridge. When you’re writing a song with a layer of irony like this, it’s always a delicate balancing act knowing how much to spell out explicitly and how much to count on the listener to be paying attention. I think you’ve got it right with this one.
The group vocals in the chorus work well with the full instrumentation, but feel listless and low-energy in the stripped-down chorus near the end.
Lichen Throat - King of the Gnomes
“I’m known for my mirth”, the King of the Gnomes proclaims… and then he proceeds to threaten bodily harm on anyone who makes fun of him… and THEN he tells us not to get mad when HE makes fun of US! The King of the Gnomes can dish it out but can’t take it.
Otherwise, this song doesn’t offer any particularly deep insights or gut-busting humor; it’s just a cool song about a gnome, featuring classic Lichen Throat instrumental counterpoint.
Declan IOM - I Am A Robot
I love the central concept here of a robot gaining sentience and reacting with revulsion to how it has been treated. The lyrics pull off this gradual shift really well, with subtle changes that keep the form of each verse consistent while changing the tone. I particularly like the sequence of “What is it you / Wanna do to me?” to “What is it you / Wanna do with me?” to “What is it you /
Have done to me?”
Unfortunately, the music does not live up to the promise of the lyrics: the tuneless chanting vocal and blippy bloopy instrumentation doesn’t evolve or grow at all throughout the song. You had the opportunity to support the progression of the lyrics through any number of musical techniques: instrumentation, vocal effects, melody or delivery, tempo, something! The monotony of the music really drags this one down for me.
Regis Michelena - The Other Regis
This is definitely good for a smile! I’ll always give credit for a rigorously maintained rhyme scheme, and your AABCCB verses deliver the goods, even if some of the rhymes themselves are a little dodgy (antelope / radio; Ulysses / fishies). The IMDB line made me laugh out loud, but otherwise the specific content of the verses seems more likely to appeal to those who know you personally. I’m sure there’s a hilarious story behind “I’ll steal your tiger just for fun”, for example, but it means nothing to me.
The chorus, though, is memorable in its simplicity. Play this live and you’ll have them singing along by the second chorus, no problem. The backing instrumentation is nothing special; since the solo proved you’ve got decent accordion chops, I want to hear that as the lead/rhythm instrument throughout.
Good Guy Sôjà bé - Hey Sôjà bé!
I think this is my favorite of the straightforward “let’s meet the band” songs. It’s playful without sacrificing your trademark sonic edge. The vocal interjections go a long way toward making the song fun.
The verses definitely could use some more intricate wordplay - we’ve got end rhymes and not much else, although I do love some lines like “Eight beers later nearly finished one song / Then we panic when we see it’s less than 2 minutes long”.
Does the extended “G! G! S!” section go on for too long? Yes, yes it does. I don’t think this song really needs to be 3:48 long. But it’s still a barrel of fun.
Cavedwellers - Disjointed but with Porpoise
First, a request, and this is really to everyone but I’m singling you out because I noticed it the most in your song: before you submit, listen to your song while reading your typed lyrics. Then, edit the lyrics so that they actually match what you’re singing. I’m not going to do it for you, and I don’t like having to guess as to what the “official” lyrics are supposed to be. Thanks.
That out of the way, this is classic Cavedwellers goodness. I started out trying to tap out the beat in the chorus, and then gave up and just decided to enjoy that sweet sweet asymmetrical groove. The production is impeccable, and both glennny’s guitar and Truth’s voice are in fine form as usual - though I was expecting some more virtuosic guitar playing; the brief solo before the last chorus is a bit of an anticlimax.
Lyrically, you do a good job of laying out your anti-pop, pro-oblique-complexity mission statement in an appropriately oblique way. It’s not for everyone (in fact it’s not always for me), but you know your stuff and you do it well.
Jealous Brother - We’re Jealous Brother
Another entry with no higher ambition than to introduce you to the band - which is exactly what we asked for, so I won’t complain!
I like the laid-back country-rock groove. The chorus title hook is memorable and I love that you plug your own music online. I find the fiddle a lot more interesting than the electric guitars, so I wish it featured more prominently. The bridge is cool with its interlocking vocals, but I’m not sure it warrants being repeated four times. The transition from the bridge to the solo is also surprisingly limp - the drum hit that I’m expecting to be the start of a fill leading into the solo is in fact the downbeat of the solo section, which I find disorienting every time. That may be a dumb nit to pick, but there it is.
Hot Pink Halo - Hot Pink Halo
Damn it, this is a good song. I’ll always appreciate a song that makes me interested in things I had no real knowledge before, and I had to restrain myself from diving too far into pigment message boards. Obviously as a visual artist you are attuned to the details of your craft, and aspects of it that go completely over others’ heads are precious (even sacred?) to you. But what’s really impressive is that you’ve managed to convey that feeling in an entirely different art form - two, if you count music and lyrics, which work together brilliantly here - and that you’ve extracted what feel like universal truths from the extreme specificity of your subject matter.
The only complaints I have about this song are related to the recording, the mix and to some rhythmic irregularities, but honestly who cares. Instead of picking those nits, I’m going to list some of the details I love about this song:
The Regina Spektor DGAF stuttered melismas on fight/flight/bright
The stealth Ninja Turtles references
The way the word “halo” ends the first chorus but later is used as the jumping-off point for the ACTUAL chorus
The way lines are subtly altered between sections, e.g. “Isn’t all that’s there” / “isn’t always there”
“A shape shifting shadow showing something that’s true”
Honestly, this is the best kind of song: the kind that makes me angry, because as a fellow songwriter I know that you’re at a level I can’t reach.
Keen Observer - P.O.S.
People sometimes think they can come up with a clever novelty concept and the hard work is done. But you deliver on the execution here: Catchy chorus hook, catchy guitar riff. Vocals in fine form, lyrics crafted with care. In and out in 2 and a half minutes, just like a good trip to the bathroom.
Giraffes for Wings - Screed of the Toothpick Man
A song this hyper-specific can be easy to dismiss as a throwaway joke, but you’ve made both lyrical and musical choices so carefully that this song, like its protagonist, demands to be taken seriously.
This song reminds me of novelist Liane Moriarty’s knack for blowing up small-town grievances into epic proportions, culminating in mundane social events imbued with enormous portent (in Big Little Lies, it’s the Elvis- and Audrey- themed costume contest and trivia night; here it’s the hog roast/opening church softball league game). What she does in several hundred pages, you’ve managed to pull off in a minute and a half, aided by excellent musical choices such as the triplet-strummed guitar and the anthemic group vocals at the climax.
I know this Toothpick Man; I know him and I do not like him. Nobody likes him. But we must be cordial to him, because after three pork sandwiches at the softball game we’re all gonna need a toothpick.
The Brewhouse Sessions - I Am Beer
It seems you’ve succeeded admirably in distilling (ha!) the essence of the Brewhouse Sessions into a single song - an easy-going, laid-back tune that teaches me more about beer than I ever knew I didn’t know. The vocals are confident, the instrument are competent, and on the whole it goes down easy in a way that (in my experience) most beer doesn’t. That said, it gets to be a bit of a slog at 4:33, with verse after verse of brewing details, a very long chorus, and not a ton of variation.
Boffo Yux Dudes - Half Step Away
The first thing that sticks out to me is the persistently awkward vocal phrasing, with the wrong syllables emphasized all over the place. “Slumming” and “constantly” are just a few examples from early in the song; I gave up trying to catalog them all. The second thing is that, for all the mentions of making jokes and puns, there… aren’t actually any jokes or puns. The difference between a song with a jokey premise and an actually successful comedy song is all in the execution.
There are some nice production touches but the thuddy drums and long pauses between vocal lines lend a monotonous air to the whole thing. The choruses are a lot more successful than the verses - in particular the warbly auto-tune on “Duuuuuudes” etc. If the whole song had committed to that same level of extravagance, I think you’d have something a lot more interesting.
Night Sky - Celestial Navigation
Those saxophones are gorgeous! It’s one thing to lay down a tasty sax solo over a more conventional rock backing instrumentation, but here you’ve layered them all over the song, and the way the multi-tracked sax parts work together is fantastic, including the contrast between the growly staccato bari that opens the song and the smooth smooth alto harmony elsewhere.
The lyrics deal with big important ideas, but feel a bit clinical and detached - exacerbated by the vocal delivery, which is definitely competent but doesn’t have much emotion behind it. I feel like there’s a disconnect between the music and the lyrics. It’s all extremely well-done, but lacks a sense of cohesion.
Mystery Science Creator 3000 - Awakenings
Suitably epic sound for a mini-space opera. The vocals for both the astronaut and the AI are quite well done; the green smurf veers a bit too far into silly territory for my taste.
I’m a little unclear on how the astronaut and AI actually merge, and how that fends off the parasite, but I don’t actually care. It’s a fun story and an enjoyable listen.
Menage a Tune - Mostly I’m Just Me
This is a fun, lighthearted tune, which makes an interesting point: we can list our many experiences, interests or accomplishments, but they’re not really who we are. Mostly I’m just me!
The lyrics are generally well-constructed, although in some lines the number of syllables doesn’t quite come out right, or stress gets put in an odd place, like in the line “Sometimes I’m a face painting clown” where the word “a” gets the primary stress.
Musically, the melody is good but the timing hasn’t quite been worked out between the singer and the guitarist. A few more run-throughs (and a click track) could have tightened things up considerably.
My favorite thing about this song is hearing the smile in your voice on the choruses!
Jon Porobil - My Name Is Jon
A strong, compelling, honest song here. Great lyrics which thread the needle of backing up declarations of emotion with specific concrete details - a balance not every song in this round has struck successfully.
A strong vocal performance, though with a few odd choices. I don’t think the octave jump in the second verse works - because it’s in your light falsetto range, it’s not actually a boost of energy. You make plenty of vocal delivery choices that do work, however - the bridge into the third verse into the last chorus are a roller coaster ride, and your voice does a lot of the heavy lifting. In the final chorus, the passion and angst in the lyrics and in your vocal performance are not supported by the instrumental, which continues on its merry boppity boppity way. It’s a very odd juxtaposition that I don’t think serves the song. In general from the instrumental I want more power, less pop.
Pigfarmer Jr - Middle Age Rock Star
Solid concept, and the reveal is nicely executed. The lead vocal is quite well done - it’s high in your range which gives it some good energy, but it’s also very well controlled. The lower backing vocal in the chorus is less well done - it doesn’t quite line up with the lead, especially on the lines “Singing words I misheard / Being a rock star in my mind” and it doesn’t really add much to the song - I’d rather you rely on the instrumentation to provide the energy boost for the chorus.
I’m not a huge fan of the instrumental coda - it feels like an afterthought. I’d rather have a solo section integrated in the main body of the song for you to display your rock star guitar chops.
Also In Blue - Pleasure To Meet You
Holy moley - this song right here, folks. The lyrics are direct and heartfelt, and the arrangement is complex but restrained (that piano! it fills in the time between the vocal lines perfectly). The vocal harmony is pitch-perfect. The lead vocal is sensitive and soulful but blossoms on the bridge leading into the “I’m looking away” section.
Here’s my one piece of criticism: In the words “conversation” and “overthinking” in their respective choruses, the final syllable gets practically dropped. In the latter case, the lead vocal sounds like “overthink” but the backing vocal preserves the “-ing” final syllable, giving an odd effect like the volume knob got yanked down just for that tiny moment. That’s it; that’s my critique. Man, what a song.
Ominous Ride - The Guy Behind the Guy
An excellent song to close out the official entries. Epic in all the best ways. Thick riffs, strong vocals, and lyrics that sound awesome even if they don’t seem to add up to anything definitive. (Who is this guy really? God? The devil? No, because he “burns the devil’s soul”. A… drug of some kind? And who is the guy he’s behind?? These are the questions I would be asking if I weren’t distracted by the general awesomeness of this song.)
Here’s a sort-of criticism: The woo-oo-oo intro feels like a throwaway novelty since it doesn’t reappear anywhere else in the song. Oh and one more: I don’t love the distortion tone on the solo starting at 2:36. Neither of these complaints comes even close to ruining this great song.
SHADOWS:
Hutch - Mountain Home Blues
Nice simple blues which could certainly benefit from a full band, or at least a lead instrument to add some variety. Seems like the particular blues in the first three verses aren’t really blues at all - unless the breakup, revealed in the second half of the song, is lingering over all the seemingly positive feelings in the first half. Interesting.
All the Robots - All the Robots
This is me and Ryan (erstwhile of Jerkatorium). I wrote the song and sent it off to him with the general direction to make it more robot-y as it went along. I’m obsessed with circular verse forms with interlocking stanzas, so this was my excuse to indulge in that. I’m a big fan of the effects Ryan overlaid onto my voice.
