Weird Post Rock Thingy ??? GP4 GP5 C4C
View Full Version : Weird Post Rock Thingy ??? GP4 GP5 C4C
02-19-2011, 02:28 AM
I usually write metal type stuff but this just kinda came out. Sounds pretty cool to me.
Tell what you think, or what I could add/what direction I could take next.
Also its definetily not done to clarify
EDIT: NEW VERSION IN POST 3
02-19-2011, 06:07 PM
Definitely an interesting riff with lots of potential. When I first heard it, I thought it sounded like more of a clean/happy/melodic break within a progressive song....but now that I have listened to it a few times it definitely seems more post rock. Made me think of muse/the flower kinds/porcupine tree. You could definitely make a cool song out of it, and it really depends on what feeling you are trying to get out of it. On one hand, you could have a slower melodic rock song with uplifting solos and cool string sections. Or, you could use your riff as an intro into a song that goes into a minor key and 6/4 metal riffage...the possibilities are endless.
I would maybe add in a warm pad around measure 16 just to make it sound more full. Also i noticed you have 2 distortion guitars in there...so you are at least thinking about using them at some point. I thought it would be cool if at measure 33 you continued developing the G# b chord progression that the pizzi strings were playing with guitar chords, or maybe arpeggios (adding delay would be sweet) and then into like a cool verse or break.
Basically there's lots of options and this is a solid starting point for a proggy rock song.
02-21-2011, 08:12 PM
Thanks for the crit. I chose to take a more post rock (lots of layering) approach to it.
Here what has turned out so far. I like it quite a bit.
02-21-2011, 11:22 PM
Hey! I got your private message, so here's my critique!
I listened to the file in your original post with the barer track, and really enjoyed it from the get-go. It's a solid foundation for enhancing with additional layers and subtleties, and I really enjoyed the cross-fading rhodes keys - they really presented a wonderful ethereal atmosphere. And of course, I loved the pizzicato string vamps :p:
It's the sort of composition though that's a little redundant to critique section-by-section, since it functions so much by repeated themes and staggered entries and additional layers - I certainly don't mean that in a negative way, or as a cop-out to get out of passing on a well-deserved crit!
The version in post #3 did exactly what I imagined the original foundation would in terms of layering and textural enhancements, but in a creative way I really couldn't have anticipated. There's this incredible since of cohesiveness, collaboration and complimenting - the three mighty Cs - amongst each instrument, and they seem to (pardon this pretentious take) communicate with one-another, almost. I think this boils down largely to the mixing liberties you took - no instrument ever seems to overtake its predecessors, and they're just clear enough to be noticed, adding to the composition and lingering long enough before a new introduction to attribute to the feel. Pardon all the positive wordplay, but I really am enjoying this, and as I've typed, I've had it on loop - really!
Another thing I enjoyed is that the composition is based on a single central theme, which is imperative to writing music like this. As with any piece of music, if there's at least one similarity between sections you're bound to have a consistency and flow, but the binding of all these instruments together throughout really gave you that opportunity to experiment with textures, tone colours, dynamics and production. It really is a great piece, and I'm sure you've learned a fair bit from writing it.
As for the instruments themselves... Brilliant use of suspended chords and some nice inversions, the slap bass was BRILLIANT(!) in adding both to the harmonic interplay and percussive drive. The synth pad's polymeter was so subtle, but my ear definitely picked up on it - very nice feature! The harpsichord's arpeggiation is something I may never have considered, but it functioned almost like... a vamp, even? There was this sense of movement whilst still remaining rooted to the tonal center - it's bizarre to say the least, and I'm actually studying the note usage now in relation to the other accompaniment. :p:
Even when the instruments dropped out, too, there was a consistency in flow, which is quite baffling to me, haha.
Anyway, this whole critique's essentially been a collection of nice adjectives and praise, but I feel that commendation is all I can really offer this time around. It's a really enjoyable piece of music, and something I wish I'd have written. It's great that you're experimenting with new ideas, and also that you've been so successful on your first try - huge kudos!
So I implore you - take your now over-inflated-ego, and write some more music :p:
02-22-2011, 09:51 PM
Really nice build-up man. The chord sequence was nice but I felt could've been varied slightly as it begins to get a bit stale, regardless of all the new melodies coming in. I did quite enjoy some of the quick melodies like the harpsichord. I thought the harmony tracks sounded quite odd though, maybe it was GP but it just sounded kinda dissonant, didn't really fit in.
As for where to go with the song, I think you need to have the instrumentation gradually become really thick for like the last 4 bars. Like bring in some rich chords and have the melody rise or something and lead into a grand chord strumming sequence if you get me. Kinda hard to explain, but I hope you can imagine it. This is just what I would've thought the music would lead to. Perhaps after 8 or 16 bars of a grand section you can repeat the intro with all the instruments again, but with some variations.
Just some suggestions, but it's looking good so far. I'm interested to see what'll happen with this.
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