ccMan. This track is badass. Let me just get that off my chest.ccccReally. I had to rip this one open, interview the individual cells, come up with false leads... dig into more of this... and more.... and more... and more.... and come up with nadda. Even the end, I pounced on it cause I was CERTAIN. I KNEW THAT SOMETHING HAD TO BE EFFING WRONG WITH THAT sh** . THERES JUST NO WAY I CAN'T PICK SOMETHING WRONG OUT OF THIS SONG! But yeah. Nicely done man.ccccTen out of Ten.ccStation addccFavorite band

Neil,
here´s REVOLUTION! Dark, low-down distorted guitars, bass and drums.
A distorted voice that blames middle class society and life.
Here are some of my favorite lines, first in the chorus:

They're the faceless phantoms that haunt the street
The wretched of the earth, the ghosts at your feast
And who can say what purpose it serves?
Every society gets the demons it deserves

Now listen to this one:

A resource to exploit, a problem to control
They're a mob you can't trust, best keep them on parole
Cos they're objects, not actors, yeah, they have no voice
Always subject to your rules, never given a choice

Great poetry here, dark and great:

Beat down by the right hand, sold out by the left
They're all the evidence you need that property is theft

And here´s the bottom line of this revolutionary story:

And endless generations of social degradation
Have left their mark on half of this nation
People mock what they fear and you've got to expect
Deny us dignity and respect, you might well fear what you'll get

Do you refer to Britain, the western world, the world?
You leave that open as well as you don´t say you expect riots or more than that.
Good, for you don´t need to. Your point is clear. And: As you know your point has a long tradition in the tides of history,
YOU MIGHT FEAR WHAT YOU GET .
This I guess was the problem with political leaders throughout history: They underestimated the power of the people, no matter if they or you want to call them the mob or simply the people. The majority of A PEOPLE is, has always been and will always be capable of changing the path of a country, a region, the world.

Your MUSIC OF ACCUSES, BLAMES, BASHES, and you do well, the dark music fits the dark words perfectly. But the center of your tune are the words. They might as well stand for a poem without music, or with a traditional musical arrangement to give it an ironic twist.
But why: It´s good as is!
Hard for me to say I like it, because my musical world is very different to what I hear here, but I can´t deny it: This is a good piece!

Stain, a UK based hiphop rapper, has long been a regular flavour in my house, mainly because I actually do like UK hiphop for its particular flavour, but also because he's always one for a well turned phrase. Like a lot of Northern English artists, he carries his roots in his voice so I can imagine what kind of effect this would have on someone weaned on the American riches and bitches litany. One of the hallmarks of this particular rapper is to be at once witty, involving but above all to be literate. Yep, please note my emphasis. I don't have anything against (what is it called now?) Ebonics but for a genre that is steeped in literal allusions; some of the best rappers are also some of the most fluid wordsmiths around. And when rap is the name of the game, words are some 50% of the action...

Nice to see that he's joined on this track by a well known bi**h dolly hog going by the name Rude Corps, an electronica artist I've also reviewed from time to time with great results. Both of these artists have a elevated sense of the political that comes across in their individual works so it should come as no surprise whatsoever that they found time to work together. Put it like this, the first lines in the song are 'This is my party political broadcast, This is my vote winner' and goes on to excoriate the present state of the UK political scene and its absolute fixation on getting its entire population digitised; bound and captive.

Well, f**k that eh?

England has always had a fascination with raw, rough and ready music - punk being the obvious example and that is where Rude Corps sets up the musical action. It's pretty much wall-to-wall, slam your face in it and spit on your neighbour territory and - like most REAL good punk - doesn't need any kind of flashy rock god posturing, merely slam out the chords as fast as you can, as hard as you can. The real treat though, as always, is the lyrical content and in this Stain has excelled himself. Its intense, and extremely wordy so I do advise that you check out the lyrics too while listening to it. Nonetheless, if you really can't be bothered, this will still deliver the same kick up the ass whether you understand the words or not.

Splenetic outpouring of anger. Very impressive and MUST HAVE for Stain/Rude Corps fans.

Citizen Dolly bi**h-Hog: You Pay

I love the song content. Very complex in its meaning and a higher vocabulary level compared to most songs heard today. The rhyme scheme stayed to one syllable, which could have been helped out by a few more multies. Like property and poverty are perfect together, but majority? Doesn't fit into your multi scheme. But the topic of the whole verse stayed consistant, which was great. I have one other problem with the verse, see it's such a universal topic, but your heavy accent is hard to understand. So not everyone can relate to the lyrics since they won't know what you are saying unless its right in front of their face. I could see the song being popular in your region, wherever that is, but i would not be able to point out your songs meaning if i didn't have the lyrics right in front of me.

"the rich saw democracy as a threat to their property"... very true. You can be democratic and self-interested at the same time. Which was done. Followed by the results of Bacon's Rebellion in the supression of blacks to avoid the rebelion of poor blacks and whites working together. I love the topic man.

A great song. All i can say is it wont leave a specific audience because of the heavy accent. And maybe tighten up the multis and throw in a few metaphors of nameflips on government topics. Very good though

After a bit of a trancy start, the guitar and bass kick in to give the track a meaner flavor, which in this case works great with that awesome ambient track in the back.

The lyricism is great, even if I do have problems at times hearing them properly. This might have been a problem in this track, but I found it suites the track better this way.

This is an excellent blend of a lounge style beat with some cleverly incorporated vocals. I personally enjoyed how they were behind the beat, and watered down from the wet reverb in there.

Hey, this was a real pleasure to listen to. I hope there's a download link so I can get a copy of it. I'll check now...

Excellent track! Highly recommended!

...

p.s: He didn't pay me to write that Wink

Ever since the Beatles first hit the scene back in the early 1960's pop has had a love affair with the Northern English voice. Doesn't seem to matter either which side of the north you are talking about either. There are just as many great voices out of Newcastle as their are out of Manchester or Liverpool. I get started with this because one of the many facets of Rude Corps has been, of late anyway, featured the vocal tones of either Sir or Neil O'Brien (aka Rude Corps himself), both of which have that flat, nasal delivery which is so effective in certain kinds of music.

Britpop is a particular brand of music and if anything fits that description it has to Bedridden, and it marks yet another difference in sound for this artist and one I can definitely get into. Obviously anybody's first point of reference is going to be Blur, which this track most closely resembles in sound and structure. The sound and mix really helps to establish the song quickly, pulling the listener in as all good pop tracks should. It's a surprisingly soft, gentle track that - lets face it - comes right out of the blue. The last sort of track I would expect from this particular artist.

It has its hard edge though because if you dig a little deeper and eyeball the lyrics you'll see that the subject matter is anything but soft and gentle. Now that IS typical of Rude Corps. Can always be relied upon to come up with lyrics that get only too close to their subject matter. Music that is intelligent, relaxing and aurally as clear as a bell, what more could any sane man ask for? Bedridden has such a great feel, a kind of vague hopelessness that seeps through the music like settling sediment. It was that quality that finally convinced me that this is probably the best thing I have heard from this artist yet.

Highly Recommended Britpop.

@nti-copyright so this means you're taking covers Wink

Here is a cat who never ceases to amaze me. For one: 266 songs available? Are you effing kidding me? That's like triple my life work but then maybe that's why Neil's latest i quit really hits home.

Does anyone else here find themselves working to death.. wishing they had time but enslaved to currency? Makes one ask what their priorities are anyhow.

I Quit is a work inspired by Neil's grand father, a man who worked his life away in coal mines it sounds. Due to a lack of self confidence in part from a stutter he never took opportunities to become the things he really desired: an artist, cricket player.

Now, I know 1 in 10,000,000 out there are going to be coal miners AND reading this thread...yeah or 0 in 10000000000..but I dare you ask yourself: What is your stutter, and what are you working your life away doing? Growing out your arse at a desk, some small part of the corporate world? Male escort for the retirement community?

Few songs will get me talking about their contents in a review quite like this, but between back story, lyrics and the mood of this track I really can't help myself.

So, the guitars could be cleaned up, better tuned, better produced/effected/affected/mixed etc. I don't think any part of this need be reimagined. The delayed, twinkling bells, Neil's smooth and low but of course dark vocals, the fuzzed chords from the guitar..distortion coming in for the bridge was perfectly in its right place.

Sometimes sacrifices should be made as listeners in trade for getting to hear great songs. The song at the very cherry centre here is bigger than the window dressing. Neil doesn't really seem to like Window dressing much which is one of many reasons if you haven't yet listened to one of his 266 songs available Music, you really should start. Think of them as wonderful aural crack rocks in a sea of readily handy brillow pads.

In fact, I thought this a cherry track, even if wearing some thrift store clothing. It's got meat and I'm not vegan.

Interesting! Complete punk sound with a King Missle style spoken word thing going on. I can't help but like the fact you don't try to hide your accent! Bloody Brilliant! haha Too many songs and artists like U2 sound so American when they sing. Keep your roots alive it adds to the sound!

I like the simple rock guitar rhythm sounds great. All the instruments work well but I can't seem to find the Bass. Is there any bass in this song? Otherwise this song is perfect for punk. F Greenday! This is the real deal.

For anyone new to Soundclick's forum activities the name citizen dolly bi***-hog is going to ring endless bells, mostly of panic; our Dolly is not one to suffer fools gladly. Also one of the most prolific posters on the forums it's a wonder he manages to find any time to make music but - should you stumble across the Rude Corps site (for it is the bi*** hog in stage glitter) - you find endless tracks there. Lessee....10 full albums, 4 EPs and stray tracks adding up to 251 tracks so if you can't find something of interest there, you probably won't find it anywhere.

S'not the first time I have been in Rude company, I reviewed a few Corps tracks including two killer collaboration tracks this year with a vocalist/rapper/poet called Sir that puts a whole new slant on the UK hip hop genre. A Spark is, however, a proper Rude Corps track with being generated in house, including the vocals. So if you've been wondering what a citizen dolly bi***-hog sounds like, here's the answer. Inspired by the film V-for Vendetta (mmmmm Natalie Portman) and its closing set of the blowing up of the Houses Of Parliament, the track itself is a blazing polemic about the state of the country and its politics. Strong stuff.

The track itself is hard stuff with a definite punky edge that totally suits the lyrical content. This is an angry track, full of snarls and growls - luckily most of it electronically. In case you were wondering what the cdh-b sounded like, he's obviously from the north of England and he needs to deal with his voice a lot more confidently - at least in the mix; the performance of it seems fine. Musically there isn't much under than a massive slamming beats, some wild breaks and more slamming beats. Forget melody feel the fekkin rhythm, let it nail your head to the floor. With repeated listens, it also becomes apparent that this is a high energy in-your-face track that could - I feel - have done with a punchier mix, but that is exceedingly small change believe me. This is a track that you will either love or hate. Me, I think it's pretty neat.

Highly Recommended. Great song idea, splenetic performance. {Ed: I don't know, look it up!)

The opening lyrical image reminds me of “Strange Fruit.” I’m not a huge of Hip Hop, but it is a form that is ideally suited to political protest, and this song exploits that well. The subject matter is easily worthy and the lyrics are both sharp and effective. The image of the refrain is well conceived. You have managed to be direct and yet to be lyrically interesting. Good stuff.

The music is perhaps only marginally interesting, but it does work with for the piece. Don't be insulted by that; I seldom find hip hop backing very interesting.

I wonder though: how DOES one rip up prejudice by the roots? ‘What are the roots that clutch?’ to quote Eliot. Only by changing people’s hearts, I think. It’s a terribly sad situation. In any case, I hope that there is a groundswell of outrage and that these young people are freed.

Rude Corps is a name I do recognize. I dive into the band's profile and listen to stuff from time to time and have always loved the works within.

This is no exception. I like the up-tempo, heavy groove this one has and paid more attention to that than the vocals. Those, however, did fit in nicely and rounded this out nicely into a solid track. Pretty standard stuff here and very listenable, it just isn't anything particularly ground-breaking.

Of course, this is another one of those easily danceable tracks I'd play if I was a DJ. The house-ish thump works pretty well to give this a rhythm that my feet were moving to as I listened to it.

Good stuff. Give it a download and love it.

ha ha... i love englis cats spittin.... unfortunatly i cant rock this.... but it aint like it aint hot.... it got a great beat.... old skool.... i definatly dig that.... but i couldnt understand you, and not b/c of the accent, but the reverb was fuckin me up.... i think this shit would be perfect in a movie like Blade or Matrix..... good shit

all in all... this aint my type of hiphop, but music-wise i give it a 8... if it was supposed to be hiphop imma give it a 6.9

The video game intro. . .and talking in the front was an unexpected introduction, as it came together, right away I could see lights flashing in my head. The song is very original in it's composition, a dance song that really isn't a dance song with a robotic voice for all of it's lyrics.

This song transitions slightly throughout it, with sounds starting and going, and is very creative, I will say I enjoyed it quite a bit, but never really got as into it as I was expecting--I guess I found it to be a bit short.

All in all, I think this song is a good song, and shows how talented you are. I have seen your name around and this is the first chance I've had to hear anything by you, your first impression was very good.

The Big 5 (these may differ per genre)

1) Originality: Original--The introduction and the beat was very original, and throughout the song you kept my interest from going elsewhere, very energetic beat at a slow pace, nice. (5 out of 5 Masks)

2) Transitions: All of you transitions are great, except the ending is very unexpected and kind of short, I loved the vast majority of the song until it ended with a "left me hanging" feel to it. (4 out of 5 Masks)

3) Daneability: Reviews I do on Electronica generally contain this category as oppossed to vocals. . .but I will mention vocals in this category to. The feel I get from the combination of the techno beats along with the robotic effects on the voice are great for moving to. . .on this category you got a perfect 5 for 5. (5 out of 5 Masks)

4) Pacing: Generally, the robotic voice went very well with the supporting --or dominating--beat, but it felt a little akward at the end--great job in general and while I've mentioned the ending twice, I have to make it clear, I overall enjoyed this piece thoroughly. (4.5 out of 5 Masks)

5) The B.A.D. Factor: Below Average Dave's bottom line: !4.5 Masks!
The beat to this song is a mix of technology meets 80s dance. . .the combination and influences I felt that were apparent in your work was very talented, and shows how good you are as a musician. I do feel this song could use some polishing, but it was very good, almost perfect, and it was a great song to review to first "meet" your music. . .thank you for submitting your work and I hope you will consider me again in the future.

BRAVO Rude Corps, someone that's almost up there with silverline productions!

I have to say you are very good. I'm sure that's about the thousandth time you've heard that. Added you to my station.

Take it easy....

Creativity & Originality =9
Production = 8
Overall/enjoy =7.5

V2 Hummingbird
i thought it was great. the pacing of it was just right - whenever anything needed to happen it did, and there weren't any sections that were too long or repetitive. Out of the 3, it was the best. i'm not really going to say much, because the groove is so great, i don't wanna change nothin'.

What the World Needs
Quite strange i guess. the bleepy bloopy things were good. i'm sort of undecided about the vocals. maybe it's just cause it's a northerner, but then i really liked gorillaz "dare" so i don't think it's that. maybe they're OK. i just have sort of mixed feelings about it. I think it might be that the rhythm of the lyrics is a bit too regular and sort of tread water with the rythm rather than surf it. the overall track slightly reminds me of "weapons of mass distruction" (maxi jazz is in my buddhist group - i've sort of met him) but only a little bit. For the purpose of art, the military style drums worked at the beginning, but i'm glad they didn't take up the whole track.

Rude Boy
The sound is good. I like the idea of mixing industrial with DnB (one of my favorite acts is edgey who sounds like a crazy cross between dillinja and chu ishikawa). But i don't think this track was as well structured as the other two. there were parts where it needed something a bit more attention grabbing.

God knows what it is with this artist but if he was a rabbit I would have to conclude that he had been at it. You know, doing what rabbits do. See, the last time I reviewed one of his tracks (Cosmetics Part Two, August 2006) I happened to mention that he had some 152 tracks on his page and the boggle factor was enormous. Damn me if I haven't just gone back there and discovered that this enormous (nay prodigious) pile had grown to 173 tracks!! Oi, Rude Corps!! Noooooooooooooo...

We want them (points at the audience) to think this stuff is hard, don't we?

Absolutely fekkin not would be my answer too, making music IS easy to do especially now. Making good music, however, takes all the usual time, trouble and strife. Rude Corps is joined on this track by Midge McKay who supplied the excellent lyrics and (I believe) took on the vocal performance too. Certainly the guy on the phone (in the track) is Glaswegian to a tee, and I think I detect a Scots burr in the vocal. If that is the case, take a bow because this is a great vocal; lovely tone, delivery lazy but timely. All in all, a very decent track by anybody standards and well worthy of a quick listen.

Ahhh, but does it have any legs?

I've been giving this earspace for the best part of a week now and it's grown on me considerably, and there are probably a couple of reasons for that. The first is the talent of both musicians, You Can Never Tell is an absolutely terrific track, full of little details and a tune that carries itself like a thoroughbred. Top marks then to Rude Corps for the musical side of the deal and that brings me to reason two for liking this track. What RC has contrived here is a faultless rendering of music I hold very dear to my heart. Bands like Simple Minds, Big Country, and other such guitar legends. Closest to my heart is a prediliction for Lloyd Cole and that is what I am most strongly reminded of here, not because Midge sounds like him but because of the textural detail of the music. With Midge's classic vocal on top of this, it makes me truly appreciate Scots musical history; the kind of track that sends shivers down your spine.

Excellent. Highly Recommended.

You know, Citizen Dolly, you might be the only artist on SC more prolific than I am. My song count is over 150 but you’ve got plus 160. Of course, I’ve got hundreds not posted, and several other pages of stuff, but then I imagine you do as well. All of which doesn’t mean anything, I know, as it’s quality not quantity. However, your material has quality; what I’ve noticed from the small sampling of your work I’ve heard is that you manage to create material of high sound value, lyrical intensity (when it isn’t instrumental, of course) and of musical interest. All of this speaks of a creative man, a capable man and maybe a driven man. I think we have a lot in common, Neil, even if our philosophical perspectives differ.

This song reminds me of Henry David Thoreau’s observation: ‘The majority of men live lives of quiet desperation.’ The lyrics – and the conversational soundbyte – co-operate to deliver that message. The line about ‘cutting yourself’ is reminiscent of that Six Inch Nails track that Johnny Cash covered, forget it’s name off hand. Do you know it, Neil?

Anyway, it’s so true, isn’t it? “How are you doing?” someone asks. The automatic response is, “Fine!” We say this even if body parts are breaking off or we’re ripped apart with turmoil. All social convention – as people dwell in holes.

Okay, I’m not asking for a reciprocal review, but hunt down ‘Smoke and Mirrors’ on my page, Neil. I think you might like it.

Musically this reminds a bit of Secret Agent Man – just the little guitar hook, and it’s only a nodding similarity. The melody is better than average, an adequate vehicle for the lyrical subject matter. However, I think it is the lyric more than the music that is important here. You aren’t writing music as an excuse to deliver messages, that’s obvious from your care and the quality of your sound, but the messages are paramount.

I’m curious. You asked Midge to write the lyrics, but the subject matter had already occurred to you. So, did you give him your lyrical ideas as a starting place, or just the subject matter and the tune?

This is a very well put together piece of music. It is thoughtful, smoothly played, pleasingly sung and worth hearing.

So full so full. Like a 7 course dinner in 200 minutes this song packs on the pounds. I apreciate the big sound your going for. it's full, meaty yet the vocals cut through nicely. I actually think the vocals could be a bit louder maybe, it's okay to bring em up high sometimes. the guitar part should have some more mids and then dropped 10 db or so that the rest can fit without geting so cloudy. You gotta be carefull with so much delay here, not only does it have the potential of making the mix muddy but it can take away from the rhythmic aspects of the song as well. it's a bob you head thrust your hips and spark your lighter song I think some compression could help on some of the insturment to limit the freqs it's they're each taking up, it's a great song, great vocals, lots and lots of potentail energy like a bowling bowl on an airplane wing it's just being stifled by toomuchness. I don't know what else to spacificly say, but I likey mikey.

Nice intro goin on here.. a lil mysterious, bells add to that.. Nice stereo echos.. Smooth basslne.. good fullness. Vocals are koo, Ive always been weirded out by UK flow styles.. Just somthin different about the flow to um.. Good. I like the vocal in the backround of the "break", and the build is subtle but nice.. Smooth on to the break, cant decide if its peaceful or eerie. It could be the speakers im hearing this on today, but it seems like the main vocals mid could be bumped up a bit. Awww sookie now! Got a lil jump up beat goin on.. same thing tho, maybe bump up the mid-highs on the vocals during this spot just a teeny tiny bit tho.. Alright end of track- Hmm.. This track is koo on a whole, but it just seems like it never quite gets goin. It has a nice vibe to it, and the sounds are good and full, but it just seems like its not quite sure what it wants to be.. on one hand it has this appeal that it could be a beautiful instrumental, but then again, it could go the complete opposite and be super scary. However, seeing as it was industrialish to begin with, it prolly keeps to the original, which i dig.

Best time to listen to: driving in the rain, pondering wether or not you should be mad because you couldnt get into the rave.

Overall: 7/10 its a good full track and everything is there, just a bit too industrial for my taste.

Anyone who states 'To hell with the music industry - those pigs are tomorrow's bacon...' and who once used the legendary OctaMED to make music is gonna be quids in with me without me hearing one note. Having said that I have in fact crossed path with Rude Corps a couple of times, and even with forum alter-ego dolly (of mixture fame). When asking for this review I was told 'this one is quite old now' so it's nice to know I've been relegated to reviewing someones old tat instead of the squeaky new stuff I am used to. Mind you, considering that there are 152 tracks on this artists page, some of those have to going back to the Stone Age...

Joking.....j-o-k-i-n-g

I'm not a big fame of the whole breakbeats thing, although there have been a few tracks from the genre that impressed me and that was usually because of production tricks rather than musical talent. I really liked Omnisine's (or CJ Freq X as he was then) remix of Lockdown (March 2006) and went and listened to the original and liked that too. That's the fekkin promlem with genres innit? The words say one thing but the music speaks a thousand different tongues, many of them forked. Call it breakbeats or call it pedigree chum, for my money there are shades of almost everything in this slick, slightly off centre track. The same is true of Cosmetics which brings me to the conclusion that a good few of that 152 tracks would be worth a listen.

OOoooh, get her Very Happy

Seriously, Cosmetics is a prime slice of the dark underbelly of electronica and an opportunity not to be sneezed at. It's boasts a seriously funky backline (slammin' drums, bass goes walkies in sub space) that propels the track along so fast you will feel the breeze playing with your hair. The best part, for me anyway, is the low, semi-spoken vocal that gives the track its dry undertone. It is, apparently, a polemic about conditions in the artists native city of Sunderland; an area plagued by bad planning, economics of the madhouse and a political system being held to ransom. Hey wait a minute, I live in a place just like that... Hey, wait a minute, YOU live in a place like that!! Mmmmm. Cosmetics is a classy peice of electronica with a deft sense of rhythm that would look right good snuggled up on your player of choice. If I had a complaint (Ed: here he goes, right when I thought we'd get away with it this time), it would merely be to point out that the vocals could do with being clearer and more upfront in the mix.

(Ed sighs with relief)

I dig the groove, man. This is something I'd expect people to start slam dancing to in an industrial club. The guitar is a bit bitey and that would turn off a lot of people, but I like it. Solidly played and works very well with the music.

Moving on into the track, this really takes me back to battle music from SNES RPGs. This would work really well for that, if reduced to 16 bit and made into a game song. OK, so we don't need to worry about these days, so I'll move along and say this song should be in a video game somewhere.

One way or another, it's another track for Radio Overkill.

We kick off with a kinda glitchy, but atmospheric introduction. It comprises of several pops, swirls and other 'odds and sods' which eventually lead into the main drum track. Those of you into your "fucking let's have it!" style of drum & bass may not find this to be of your particular style, but those into the more cerebral styles with a more flexible structure will certainly find this an interesting number.

It's relatively short for drum & bass, ending at the five minute mark (I always thought that typical D&B could last for about 9+ minutes), but it does use many varying sections to quite a good effect. I'm personally not a fan of the amen break, which does make a few appearances throughout; it's over-used and unoriginal. However, luckily Rude Corps avoid using it as the main backbone of the track - just as well really, I probably would have found myself switching off after two minutes!

As it stands, it's an okay listen but not one that I would burn onto many a CD to chuck at the nearest dance enthusiast, flapping my arms with masses of excitment. As a mid-set roller it would certainly fit in with the best of them. The production values are pretty good, despite the lack of bass which, I feel, really needs some extra punch - I'm not sure if that was the intention. But all in all, it does a good job of entertaining the listener.

7/10

This one's going into Radio Overkill.

Anyway...this has a lot of the noises (ephasis on the word noise) that make me like industrial music. Thumpy, aggressive, filled with attitude. The broken beats mesh with that shockingly well, though I guess industrial itself is inherently broken. That little bit about insanity reall fits the music well, as I sometimes wonder if this is what an insane person's mind would sound like?

All things considered, I like this song.

Originality- Original piece here, the piano melody flows so nicely, fits the title perfect. It really does feel like the time has been slipping. The beat is incredible with this and makes for a perfect team with all the elements you incorporated in this song. 6 1/2

Complexity- The beat changes often, and drum loops made here are more than easy to start tapping your feet to without you ever knowing. The 1:35 minute mark starts to really get into and down to business, but I wish the cnage came a bit sooner. I understand you want to set up your song to a certain degree, but could have kicked in a few seconds sooner to keep the heads bumping with you. However, I feel the piano melody was repeated once too many times. I really enjoyed the beat on this song, but if you variated from the filtered sets you have to the crystal-clear sounds they would be with out them could have really boosted the song a little farther. I felt that the "swoosh" noise phasing in and out could have been used more sparingly, it seems to take away from the rest of what a great song is behind it. 5

Melody- The piano melody was simple, but good, alright, great with the rest of the pieces in the puzzle. The beat slipped its way in perfectly with it all. Overall, a bang-up job. More variations would have been better though. 7

Production- The song sounds great. However, the bass needed to be turned up a few notches, doesn't need to be overpowering, but just enough to give it that little "umph" with everything else. The only major problem with the production all is almost everything seemed to be under some kind of filter, especially your two strong points in the song here- the piano and the beat. The overall feel of the instruments like it gave it that warmer feeling that time was slipping as I understand, but seemed as if the whole song seemed to be a bit "hazy". 5

Second time- Definately worth a second listen. The song wasn't too short or too long, it's overall purpose seemed to breakthrough, and is a bit addictive to listen to. Very chilled melody for a faster beat which works out great, that makes the second time even better than the first. 8

Lyrics (optional)- N/A

Overall- Overall, the song represents a beat that is harder to capture than others- time slipping away, and is done without obvious uses of clocks ticking or ringing or anything too ridiculous for it's purpose. The song achieves it's point and is worth a listen. Two for that matter of fact. However, there is still room for improvement in more than one category, but to end on a good note, the song did well.

Average Overall Score: 6.3
Final Overall Score: 7

Another SC artist with a staggering amount of tunes, eh? But I suppose that doesn't necessarily mean they're any good (and I'm living proof of this Laughing) but practice does make perfect unless you're practicing being bad, so we'll see what you've been doing all this time.
I hear kicks, snares and lots of echo/reverb. I don't know if this was done for this piece alone, since this is the first of yours I've checked out, but generally they shouldn't be put together, it gets muddy fast. A strange (but, not unsettling) techno ambience enters, then another bit of electronica sweeps and the like in standard four bar entry fashion. The vocals are distorted and soft, so they tend to be difficult to pick up on. Boost the vocals above the beat. Some sort of rhythm instrument (possibly a dressed-up guitar) wails off to the right while the vocalist is speaking (rapping?) around 1:07 and comes out more at 1:30. I find this FX'd synth... thing going off to the right a clever and interesting addition, and it helps keeps things fresh with an otherwise repetetive background. There are traces of a bassline around here, but there could be more variation in it. Percussion started out fairly active and has picked up throughout as more instruments and such were introduced. Things quiet down to the beginning beat at three minutes and fades into silence.
Well... I'm not quite sure what to tell you here. There's lots of ambience, which is quite muddy (due to all the reverb I'm guessing), hardly any melodic or harmonic integration and lots of vocals which I didn't catch but a few words of. As an "anarcho-punk / drum n bass hybrid", I can't speak for its quality as I've not much experience in that area (none honestly, I've never heard of anarcho-punk as a genre Confused). However, in general, my advice is to use less effects, pump up and fool around with the bass rhythm and let the vocals over top of everything else. Definitely a unique work and an interesting listen.

ah, Rude Corps are back! Great drums to start with, nice little blippy sounds to, ah and some more Vocals. Good World beating lyrics once again. Goes mad on us with that beat when this finally gets going, very cool, just begining to wonder when the bassline is gonna come in, either that or these headphones ain't picking it up. anyways, quite a short track by what Rude corps has previously done, but by no means does that take anything away from this gritty Political Break/D'n'B track, very cool, in your face antic. Punk Electronica at it's best.

8/10

I was looking through Nuffx’s thread and saw your new request there, and gave it a spin – thinking it would be the same as what you’d dropped on my thread. Wrong! You are a very prolific guy! I’ve only encountered a few artists who spin them out at my rate, and you are one. So, I’ll just quickly add that I liked the track on James’ thread, as I generally like songs that have a social voice to them. And now…’Too Late.’

This track begins by creating an aural space, a sort of wide plain: a vibration land. I like that. When the beat enters – I’m made to realize (not for the first time, but again) how a beat changes a musical feel, yes, but more: the listener’s focus. Beats are insistent; they create a repetition that pulls the mind from quiet reverie towards – well, mundane circularity, I guess. It’s like the contrast between meditation and action. You can’t both think about doing and do; you fluctuate between them, but it is always one or the other.

The beat on this is very common, whereas the ambient textures of the background are interesting, thoughtful. I think I find them interesting because you have used reverb in a creative way. Oddly the beat sounds best when that background dies away and it re-emerges with nothing but the little sweeping synth sound.

I have no one, single cohesive feeling from this track. It is as if a stew of feelings brewed in my heart. I like that; that mixture of feelings, but it makes coherent comment difficult. So, it’s an interesting ride.

One thing, though, the lack of a well articulated bass line (I know there’s a bass present, but it’s more of a throb than a distinct line) makes this a track that doesn’t in the least move my feet.

Sounds good mate, like the Dub feel on the snares.

Bit too much reverb on the bass drum at the beginning though.

Personally I would like the vocals slightly louder so I could hear what you were saying a bit better. Like it when it kicks in. Make the snare a bit louder. Good sub!

Some very good production on synths and sounds, I hope they are all yours and not just samples.

Theres a lot going on and it seems to fit nicely together. Good Track.

“Sunshine and Shade”

I would never suggest this in a place where people could throw things at me, but I feel rather safe here in front of my monitor. There’s a similarity between hip hop and country and western. Even to suggest a connection might be causing any patrons or composers in those two genres to load up weapons: six shooters no less than zip guns. But hear me out. The thing that I find similar is that both rely on clever turns of phrase.

Clever turns of phrase, for those of you who don’t write lyrics or who write only – say – love songs, involves imbedding a true or provocative observation, inside a reversal or metaphor that takes the ear and mind off guard.

Now, while the writing tasks here aren’t delineated, I think the traditional words / music pairing suggest that Brian O’Neil (alias Rude Corps) is solely or primarily responsible for the words, which – in any case – he sings. The clever turn of phrase in question is ‘…the brighter the sunlight / The deeper the shade…’ Artistically speaking, this truism works in both directions – whether the artist is human or divine. If you want the bright colours of a portrait to really vibrate and catch the eye, you must contrast them with dark shades. Thus, arguably, we appreciate sunshine more because of shade. This is not the point being made by the artists, but is worth considering. Their point is worth considering as well: the existence of the bright things makes the dark things in life – war, poverty and oppression – all the more puzzling and horrible.

First, I’m such a sucker for British accents, I don’t know why I like them so much, but have two people say the same words – one in flat North American tones and one in rich, round British tones – and infallibly I’ll prefer the Brit’s voice. Now THAT is an irrational piece of prejudice, but it works in favour on Brian who sings with a Brit accent. (As a side note, I’d like someone to explain why some Brits – like Lennon and McCartney – have less visible accents when singing, and others – like Peter and Gordon – are so pronouncedly British. What’s with that? Brian is in this second camp.)

Secondly, I like well thought out lyrics that present a position in intelligent terms. You will find that here. The older I get, the more surprising I find life to be. I know from reading Neil’s review thread (he posts under ‘Dolly the Doe Eyed bi** Dog’) that he considers himself antithetical to a Christian poison. Yet, much of what he says I feel myself, while being fully convinced that God means life beneficently. Consider the line, for example, ‘Like God’s mocking you / By smiling when you’re in pain’ – while I know he feels the pain of all more keenly than they do themselves, yet in moments of agony I’ve been angry at God for my pain and the pain of others. So, I understand – after my fashion - the emotional sentiment that leads to that remark, and oddly I can respect it. (In fact, read Job and find out that those who are honest among God’s people have in the depths of pain said much the same things.)
The song challenges us to do something. To choose between sunshine and shade, and while the proper response to that challenge will vary with each listener, yet the choice is advisedly put before us. For, without question, the world is malleable and bears the shape of the choices we make.
Turning from the philosophical (at least somewhat), I find an interesting artistic touch to this piece. Those of you who read this thread regularly – poor folks – will know that I frequently make a fuss about agreement between form and substance (sound and sense). Consider the light, uncluttered beat (aided by the ambient summer sounds) and the sharp juxtaposition these create to the dark lyrical matter. This is reinforcing with form what the artists send our way in substance. Good job.

I find the track tastefully put together and lyrically well thought out. This second point is a bit of a rarity in the ‘free flowing’ hip hop world. Although, truth to tell I’m a bit sceptical of some of what passes for innovation. Careful thought before times is what it sounds like to me. (That remark applies to hip hop in general and has no application here.)

In any case, good job! Well put together and worthwhile track.

This track starts out with a nice little bleepy lead. I really like the almost-overdriven tone on that. The sweeping pad that comes in the back is fairly generic, but you used it well. The bass line moves the track along.

I especially like how the drums filter in beneath the lyrics. Speaking of the lyrics, they're pretty cool. You took a big risk putting the delay on the lyrics, but they're almost spoken, and it works well. The music behind the "this could be anywhere" part, with the pianos and stuff, is definetly the highlight of the track.

Interesting track - like some of the other tracks lately, the focus of the song is on the lyrics, but unlike some of the other people, I actually understood your message. It's not important whether I agree or not - that's not the job of a critic. I think that you clearly project what you want to, and the music you chose is an excellent medium for the message. Also, the mix was very clean, and your delivery of the vocals was smooth and crisp. Again, there wasn't much change in the music, but that's ok cause the lyrics took over, and it was short track anyway.

Score: 7 out of 10

nice piano riff at the start of this, with the drums fading in and out gives it a nice atmosphere.

Loving the breakbeat rhythms.

Yea it breaks out into a real melodic swing. then back to a simpler style.
nice i like how you didnt rag the nice atmosphere. save it...

overall nice vibes man. its a real euphoric breakbeat tune.
(ahh the atmosphere just dropped in again)

GOOD WORK MATE.

Fog horns in the morning sea-mist, cool idea! That has to be one of the most evocative sounds – another being train whistles in the dead of night. This would make a cool poem title, too. All around, an evocative idea.

This is an ambient sound picture set to a nice break beat. And, yeah, the repeated and muffled sounding synth is a bit like a (melodious) foghorn shrouded in gauze. Good idea to return to the same sound at the track’s conclusion. Circles are important in stories and in concept work.

Once the piece got rolling, I lost the sea feeling to a degree, but the trip back inland was pleasant enough.

Without the byline descriptive, I still would have gotten a sense of things muffled and vague, from this track - even if a foghorn per se didn’t occur to me. So, using that measuring stick, I would call this a fairly successful track. I also think that the idea of the track will stick with me, which is unusual from ambient/electronic music. There are only a handful of such tracks (from the 100’s that I’ve heard), which I can recall in any meaningful way, this might well be one. Only time will tell, but the idea is quite distinct, and creating a distinct impression with music that is repetitive and (as in the case with most ambient) vague in melodic form.

Good work.

well its been a while since I was last graced with a RC track, this is techno hardcore in genre though... something I pretty much hate...
The satrt is wonderful and the pad work is very nice indeed the RC signature snares are there to. The banging beat is luckly not that hard in the mix like some HArdcore I've heard in the past so i can put up with it without losing most of my hearing. The synths and everything work really well in conjunction with one another, the bassline is also a lovly pulsing RC classic. Overall not his greatest and not my style at all but fans of the genre will most likly love it.

ok here goes...

nice and complex.... i like it when im challenged to distinguish all the different sounds. Nice mixture.
Beat hits you nicely, that little siren in the background gives it a massive effect! simple things make brilliant tracks!
ohh that little drop was lovely... gets you boppin. like how you took some of the sounds out for it then faded them back in.

love it when the 2nd drums kick back in.

defo a 9/10...

ur added to my favs m8

keep up the gd work

The reverb synthesizing the ‘glass head’ – I guess, right? You wouldn’t want anyone to find this to be a pleasant tune, I imagine…because hangovers are anything but pleasant. Nevertheless, it’s not really unpleasant. I was braced for something much more cacophonic, given the title. So, if the song is pleasant, does that mean it fails?

All kidding aside, the various pulses that emanate – as it were – from the song’s core are interesting. It’s almost as if the first echoed iteration is louder than the note that initiated it. This creates the effect of small things with large results. (Kind of like drinking leading to a hangover. I wonder if that’s why sound reverberates in your head when you have a hangover, to remind you ‘This is an after-effect, Charlie; snap out of this habit!’)

Anyhow, the piece maintains listener interest. While being fairly repetitive; it still has enough variety to keep a person listening. Good.

This song builds nicely into a steady groove, then cuts off and develops another one, then returns to the original. It has decent form in that respect, but does it have the music to back it up?

Yes it does (Ha, you thought I was going to say no, didn't you). This little diddy certainly picked me up and carried me off with it, and that's what music is supposed to do. Good work. It's not groundbreaking or anything, but it does its job.

Overall? A nice, groovy, well-produced tech-ish number.
853/1000

Yeah i can see what you mean about 'erectro' reminding you of this track. some of the fills and stuff and the overall feel of the percussion is very similar, although i think this sounds better percussion wise to be honest, drums have got more kick, mine are too filtered.

Proper old school this one!! Funny thing with this track is i like everything apart from the lead riff!! But that's because it sounds so cliched now to me. But really this track isn't about now for jaded old never quite got they're shit together dj's like me... it's about capturing a vibe that was hot getting on for 20 years ago......and capture that vibe this tune does perfectly!!! I would have gone absolutely mental for this at the time Don't get me wrong though I'm liking it now

The mix sounds spot on. really like those 8 bit sounding bass sounds starting at 0:14 - really got the old school touch, sounds like walking into an arcade to play Nemesis in '86. Love that rising bass sound that comes in around 2:24. Yeah it's cool!!

Yeah this is quality dolly, took me back

8.3657/10

Beat for Sir

Rude corps has recently been doing a little experimentation with his music, including some noise which I reviewed not to long ago, nice to see him back at his routes, break beat that is btw. This apparantly a beat made for rapper sir which properly explains the lack of a lmassive eading synthline. in this case with have synths but I feel they are slightly held back in the mix or at least the Pad is, maybe notch that up just a little bit. I'm preety sure this will be a top tune once it's got its rapping, as it stands now it's somewhat repetative after a while. The beats good mind which keeps me happy. Overall a alright track but its not complete yet.

Score: 7
lowlights: repetative
higlights: like the bongoy drums

k, lemme check this one out. woah, weird intro sounds, crazy pitch bends, interesting though, diggin how the groove builds up into the beat, feels like there's too much going on when the beat kicks in though, it's kind of hectic sounding, cluttered kinda. diggin that beat alone at 1:07ish, very phatty, big breaks kinda thing, good stuff. that tapped bell at 1:30ish is kinda loud though, piercing almost, although it could be my speakers. overall I dig it, very cool, funky, lays down the grooves nicely, although it could use a little bit more mixing touches

ah noise... or shit as I like to call it. Nah some of it is ok, but only in very small amounts and not just for the sake of it. The feeback at the beginning of this track is most annoying, but then again it's proberly designed to make ur skin crawl. The thing amount this track (when it gets going) is that the beat is pretty regular compared to wot I previously have heard in the noise catorgory, if ur gonna make noise then u must not be half arsed about it. Whta I've gathered from the Noise scene is that they want every part of the track is bend ur brain, this includes the bassline the beat and everything else in the track. Wot we've got here is a pretty standard beat etc. with a bit of noise in the foreground. Overall pretty annoying and nopt really worth listening to at all.

Score: 4
lowlights: Annoying feedback, half arsed atempt (if u make noise make me give u a 1/10)
highlights: it ends quite quickly, and the beats alright.

Nice little fading in intro. And the strings give off a thrilling little feeling of intense suspense on the listener's part. The drums are kinda scratchy in places in terms of clicks and unnecessary distortion, and I really don't think the synth that came into existence during 1:09 was necessary, but overall a good piece.

Sounds Like: Lyricless Apoptygma-Berzerk

Overall: 4 out of 5 stars.

Final Comment: Excellent track, keep up the good work.

The bass line as the intro is very catchy drags you right into the song. Along with the bass solo around 1:01.
Has a nice come back at 1:18.
The horns and a nice flavor to the song. Something kind of different.
About the only thing different that I might do is maybe add a low ed/bass synth line to it to maybe give it a little bit more of a grab.
Really nice track.

Well Heres yeat another Veteren Reviewee, Rude Corps. RC is Quicklu becoming a gd Forum buddy and it does help that I dig his music. Although sometimes His music has sounded a little empty or under produced. This Track Comes straight in and swears at u in a Prodigy kinda way, this is defo a Jilted Generation type track and I love the "Huh"'s they fit most well and give this a gd bit of energy. In truth the Vocal isn't to great and is a little bit to Quiet to make much of and impact which is a shame. The main melodies and choices of synths and impressive although at times this does dsound a little on the Lofi, It doesn't take away that theres is yet again some nice Drum Programming to be had. Tbh I would die to hear a redone version of this as your newest stuff is a huge improvemeant. OVerall Great Idea a pretty well exucuted, tuck in lads.

Score: 7
Lowlights: Voclas a lil bit to quiet, sounds a bit lofi
Highlights: Great Vibe about it, f*** Authority Yeah!

hey bro...

Once more with feeling.....

the beats are fuckin cool!!!!!!....great job with the programming n sequencing....the crash hits.....the snare rollls.....everything....great job with the beats.... ....loved it.....

the synth work is just as good.........everythingz jus rite....the bassline works jus fine.....
those vocal samples and those squeeks add a nice touch to the song..... give a more of that prodigy touch to it.....

yeh this track is indeed very Prodigy-ish....highly inspired.....the beat.....the synthwork....all of it....but then again, it has been executed REALLY WELL!!!......yes indeed like something from Music for the Jilted Generation....btw, I LOVE THAT ALBUM!!!!!......Their law!.....3 kilos!.....Full Throttle...Voodoo people!!!......NOW THATS WAT I CALL SOME KICKASS BREAKBEAT!.......

since its highly inspired....this might give the track a few minus points....but then this is DEFINTLY NOT a WANNA-BE PRODIGY track....it lives up to the Prodigy standards......

the only difference i can find is that this track has a slick polished mix whereas prodigy tracks are generally kinda low-fi sounding n muddy....but thats wat gives their tracks that 'dirrrtyyy' feel.....ur mix on the other hand, is pretty tight n i dont see any problems with that.....its done perfectly....

what softwares do u use bro?.....let me kno.....

k i really enjoyed the track man..BUZZED OFF it!.........
it dint quite hit me the first time....but now its growing on me...playing it for the 4th time.....makes me to go listen to some Prodigy.....THEY RULE!!....

score:......9/10......i think i'll give it a SUPERCOOL......

amazing shit man....

respect!

k then seeya around....

CJ

okay a bit of prog-acid-breakbeat.

okay cool intro, the added distortion to the 303 makes a cool hitup.

the added drums increase the excitement even more so, good stuff!
the drop down rocks, the down tuned china cymbals sounded cool (if that's what they were)

i love it when the distortion crunches in, it sounds effing great man! cool contrast.

it rocks! good stuff!

peeped this one and not really diggin it, sorry. i didn't like the melodies. neither synths nor the beats didn't do anything special for me. arrangement was too flat, a bunch of looped sounds played one by one, and then it ended. mix was ok. imo, it needs more work overall

nice progression throughout the whole piece. My only really comments would be along the lines of, the compression on the drums didn't really kick the crap out of my speakers liek most jungle does.

This song has a wicked industrial/punk edge to it, fused with some jungle samples. Sounds like a new style that has been emerging slowly but surely from the cross genre music makers.

Haha! Brilliant. Love it. A bit more variation in the beats and back off some of the distortion, it'll actually make the mix sound louder (clever trick that, listen to some Metallica, how distorted are the guitars? Not nearly as much as you might think, it's cos it lets the beats cut through more).

Otherwise great. Real cool "doomy" vibe. Good structure, like that motif that comes in hear the end, very funky.

Good work Dolly, Respect! Looking forward to the next one.

first off, i like the band name. the title of the track really suits the track itself, it gives a feeling of a dead town. the whole song have a dim, murky atmosphere that i really like, the drums are great and so the bass line, although you could do more with the piano. nice effects too.

since its rude corps i was readying myself for some industrial drum & bass or some other mad concoction

the beat is excellent, constantly changing melodies held together by a rolling drum beat. this is the kind of thing i own over 800 cd's of. love the little fills, constant drops and that piano melody that drops in every now and again is spot on.

lyrically and vocally im a big fan of sir, but hes done better. sometimes the vocals are mixed so low at times i havent a clue what hes talking about. when it does hit the preferred levels though it is good, intelligent rhymes with that familiar northern accent.

much as it depresses me to say it, this is class. bloody mackems.

9/10

_____________________________________

dont think i was biased i did really like this. sir suits your music really well.

hey!!!!!
a pleasure to reivew ur music ....

Private Apocalypse...

alrite....a very interesting track... .....something i'd like to hear in a murder thriller movie as the bacground score durin an investigation scene or something....

all the elements of the song blend in together really well....mix is spot on....loved those short spurs of stutter beats...cool synth work.....everything workd well.....nuttin much to comment on or criticize... .....nice one....

score: 8/10......GOOD...really GOOD....

seeya around man....

CJ

-----------------------------------------
Artist: Rude Corps
Title: Tonight's Alright
Link: here OR Download
-----------------------------------------

Rude Corps is, to quote the Soundclick page, 'total fucking amateur and proud of it!' and you can't fault that, nor can you deny that this artist is productive with a total of 94 songs on the site. So how come I've never come across them before? I assume Neil O'Brien (aka Rude Corps) is a one man band whose history reads a little bit like my own. He first started making MOD tracks (with OctaMED) which IMHO was a VERY productive time for a lot of us early internet musicians and now uses ReNoise to make tracks with. That was the great thing about the MOD scene, most of the artists I knew back then were incredibly prolific although - it has to be said - not all of it was THAT good. For my part I made Fast Tracker XM's and - like a lot of that scene - was very careful about what I presented to my peers. Make a wrong move and almost everybody would be down on you like a ton of bricks; it wasn't necesarily about the music - the coding was king...

Yeah, I know, go figger...

How much of the 94 or so tracks are from that far off era I have no idea, but Tonight's Alright does deal with the sounds of that period (ie 1990-1999). In truth too, there is a definite MOD feel to this peice that in most circumstances I would like, except when it plain doesn't work. In this case, unfortunately, there are a great many tuning issues I have with this track, even if I DO like the overall approach and feel. One of the things that finally drove me out of the MOD scene (besides it's incredibly snobby elite-ism) was that people just started throwing samples together with not many attempts to bind them into a whole and I'm afraid Tonight's Alright is tainted by that.

Now maybe Neil spent ages on this track and maybe he didn't but the mistakes are glaring and, to my mind, can't be ignored. The intro promises a decent track but as soon as the brass samples enter the picture (around 0:31) it's obvious that there is something wrong. Although I suppose it's good enough for some but to to my ears, the rhythm track and this effect jar dreadfully. The same thing happens, although not to such a marked degree, with the piano lead that carries the second section of the track before it returns back to the brass feature. This also has a VERY abrupt ending, as if they guy had just decided he had enough of it already. All of which suggest this was in fact made in a hurry, which is never a good thing when asking for reviews because almost any reviewer worth his salt would spot these same problems and point them out.

Nonetheless, as an old MOD compatriot to another, I will be checking a little further into

I'm a lucky man : i hear great musics today!! Bipolar and you now. All instruments are well selected. In my opinion, your song would be perfect for a film . The drums are incredible. I like effects too. It's really a pleasure to hear your song. Thank you very much. I recommand your music and i add you to my page .

Trippy beginning, reminds me of Leftfield I think - I like the sample too, thats cool.
When the vocals come in, it strikes me as a Geordie version of the Streets!! Not quite the same though, as the music is definitely more trippy and flowing than what Mike Skinner normally comes up with.
The keyboard melody near the end of the first section of singing adds to the mood, and is nicely intricate.
Really great production.. I cant think of anything that you could do to the mix to make it any better.. thats unusual for me!
This song would be fanastic on a film that has a sequence with someone on drugs... I can really imagine someone on acid or something, looking at a fluid landscape in their own imagination while this song plays in the background.
Nice touch finishing with the intro sample too.

in your own time

RC is one of my fav artists I've reviewed which is both a blessing and a curse, coz once I expected great work from u u've gotta produce or, I can get a bit bitchy. Heres a track that sounds as though RC has gone back to basics and made a midi track and for the lack of a better word sound bollocks. sorry but it's true. The only really good thing about this track is the beat, the bassline in flat and don't get me started on midi sounds I mean, ARRRRRRGGGH! ARRGGH! ARGH! I don't know quite wots going one here I'm sure RC is having a laugh but as this track stands it's pretty darn kack.

Score: 3
lowlights: oh most of the track, MIDI! ARGH!
highlights: the beat is the onlt slightly good bit, and that's not up to previous standards

Cool track. I'd like to hear it with no reverb and much heavier compression. I think the verb is stopping it from having quite the intensity it should have. I like the way it picks up the pace half way through. Could do with slightly more harmonic variation though. Still, very enjoyable. You're quite a versatile artist aren't you really!

Interesting track - well conceived, with some energetic beats, and a vocal EQ'd / filtered to deliver its textural characteristics, rather than a clear sibilant lyric. The lyric only becomes comprehensible in the final verse when the rhythm and instrumentation is stripped away.

The flanger sweeps, and other sounds are all well structured here. The track never loses interest, and again, I am forced to examine my own sonic excursions. There is ingenuity here in "where the truth lies" in the way that a flanger becomes an instrument - where the effect itself generates its own sonic watermark.

Perhaps a vocal break midway through would deliver the lyric concept a little better. Perhaps a filter treatment or flanger treatment on vocals might deliver another sonic possibility halfway through. If it's about variety, then the vocals could have potentially used more.

I enjoyed this one, and admired its production values, even with no "killer sounds", but typically I find that this style of composition isn't to everyone's taste. Cutting edge creativity usually isn't recognized for its intrinsic ingenuity value. Yet challenging the audience's expectations is vital to new sonic art.

A nice array of complementary sounds here.

What can I say? Quality. Love it. Mix wise though you have some kind of drone going on the bass end and the mix will never pump the way it's supposed to while it's there (probably from the pads). I think you need to start running most of your sounds through a high pass filter on each track to remove the bass frequencies that aren't needed (especially on pads). That way you can go for maximum speaker excursion on the bass end. Get the weight you need from the kick. Mixing like this is standard practice in dance music.

Great track though, I do like a good bit of jungle!

Looky it's Rude Corps back for his 4th review I see, well "With Fire at will" (7/10) not delivering at RC's full ability I hope this is a step forwards again. It's from his 3rd album which is all about the gd ole 90's and as it's one of his old album's I'm expecting it to not be as good as his new work ("The first Kiss" 10/10 and "Let Blood flow" 9/10). This track start's off nice even and has that classic 90's feel, with it's good ole organish snyth's and fun beat's. I like the the beats as normally but there are point's in the breakdown's when everything seems a little empty again. The vocal's also could do with being turned up a little bit to, because u can barly make out what hes saying. Genrally the effect's are nicely down and everything is engineered well enough, good bassline to but saddly it don't quite cut it for me. Overall a nice enough listen.

Score: 7
lowlights: empty at point's, a bit repetitive
Highlight: good ole (0's feeling going on... Now I just need some E's

okay dolly,

i liked this, i havnt listened to any acid house for a long long time, yeah and i buzzed off this.......reminiscent......trippy, nice 808 sounds, i might have toned the reverb down a bit though on the snare, just a tad.

overall i enjoyed it, nothing fantastic, but it was solid with some great touches nice one!

This track is a diatonic, danceable instrumental. Unlike some synth dance tracks, I actually enjoyed listening to it.

There are several changes in mood, and while harmonically this is fairly unadventurous, the noises are all well produced and appealing. At 5:33 it is quite long - but the interest never wanes. The thematic chord progression is revisited frequently throughout and is sustainable.

I would have liked to hear a little more delay / reverb / panning on some of the sounds to add variety. But the bongo track is an inspired way of elevating the energy level of any track - and it's well conceived here.

If this is only bass and drums (as the author claims), it makes me wonder how to conjur more synth sounds out of a Fender precision

The author claims this is a rough mix, but I thought it sounded really good.

Some reviews make you wonder if you can say anything to convince the audience of quality - so here goes:

I'd happily listen to a full album worth of this material.

Nice work, indeed.

Well this is my 3rd track I'm reviewing from Rude Corps aka dolly the doe eyed bi** hog (for short...). This track from album Moving targets is straight in with ur usal RC bassline, interesting enough but with that kinda 80's feel to it. In this version of a track we Have a pretty impressive acid synth line and a very nice breakbeat, proberly the best beat I've heard from RC when it gets going. The only a few things rise an eyebrow. The track at times does feel quite empty which is a shame, also this is most defo the least mainstream of RC's tracks and my least fav to date, this doesn't make it a bad tune though. Overall you will be entertained but May lose interest rather easily.

Score: 7
Lowlights: moments of emptyness just result in u not paying all that much attention to the track
Highlights: when the beat gets going, it's at it's RC best.

Cool. This has quite a retro vibe to start with but gets a bit darker once the bass kicks in. This is a really off the wall track. Very imaginative. Great work. I love the way the bass just buzzes away creating presure. Complete madness, I like it. Quality work as usual, imaginative and well structureed. Great mix too. Keep it up.

Nice ambient intro. Beautyful piano and pad. Alternating melody and well produced drumwork. Cool tune - I like it. Vocals would allways be good to add but this track seems to do fine without them. Keep it up!

Dark and mysterious intro falls into a slappin' happy groove. I like. I like the switch-up around the 1:00 mark. Another nice switch at the 2:00 mark. Great arrangement. Productionally, this is top-notch. Very very nice. It's a keeper. Thanks for the listen.

nasty

like the girls are on stage

dancing, dollars are flying

this is good

it grinds

i will listen again

good one

I've already reviewed the awesome first kiss track from our bad boy RC, and well I loved it. High hopes then but as they say, the bigger u are the harder u fall. Well then It's defintly has a mean edge to this in fact it's really a rather nasty bugger of a song, in a good way mind u. The beat is good, although it sounds a little distant it also has a kinda clitchy feel to it which I like a lot, tbh this reminds me a lot of Freequen-Cee. The only thing that seems to both let down (and suprizingly add to) the tune is the fact it sounds so lofi, oh well I can't have everything I suppose. Overall a nice track that plays straight to my tatses, I'm quickly becoming a fan of Rude corps.

Score: 9
Lowlights: lofi sound
Highlights: lovly beat and nasty grimmy feel to it.

OK, I've been looking forward to this. And you don't fail to disappoint. Nice left-feild vibe. Brutal beats. This is cool. Oh and a f*** of bass line kicks in. Full marks. Dolly man. I know you are using minimal kit but if you can do this with the cheap shit think what you could do with the proper gear. I'm well impressed. And any time u wanna do a collab (or just get off ur tits) let me know. Respect (and I mean that for the bass line).

Hello Dolly!- Listened to "Raining outside and In" Tho electronica ( I believe this is the correct terminology) Is not my forte. I enjoyed this piece. Your music isn't as dare I say it "boring" as the other electronic music I have reviewed here. I never once thought"God, would this song hurry the F**k up"
I guess Im just not the right person to judge this music, I prefer lyrics and a melody. Im older you know! Like I told someone else..I like this type of music I just don't understand it. Therefor, I do need feel I am qualified enough to give an honest or fair remark. Thank you for allowing me tthe pleasure to listen tho.

okay! loved that minory piano-ish/harp-ish (you tell me?) riff, liked it when it first came in, but after the drop down when it came back in again..... i really buzzed off it then! that is really memorable! made me want to listen to the track again (that doesnt happen often) the changes sounded pretty old skool, but i like that shit, the little string injections. with the saw bass was cool, minimal and cool. nice touches. DECENT arrangement.

i buzzed off this track!

but me personally, what i would change in this track is this...the piano-ish/harp-ish sound worked well on the minory part, but the other change, the piano-ish/harp-ish sound didnt sound as great, a different sound applied to that riff, a more synth sound i think would have been better.

the drawn out strings were a little too harsh, id soften them up a bit.

id probably tweak the drums a little too, i think they could sound better, more of a punch to hold the track together more effectively.

Although electronica is not really my bag, I found it interesting and refreshing. It sounds like something they would use in "Mission Impossible". I like it but I'm more into music with lyrics. I'm sorry I can't say more, someone else could better critique electronica than myself.

Nice, Pleasantly ambient. I usually like words in songs, but this one would be lovely to drift off to sleep to.

do i like this -yes
would i listen again-yes

did it hold my interest -yes

song legnth is ok for this genre at over six minutes, this is what i call driving music, for others it may be dance

i kmow this is only a 128kbps but i've heard better mixes sound wise in the same genre.
your mix sounds lacking in highs and has an overall muffled sound and then there is this weird panning at about 1:15 that makes me think that my speakers are freaking out, was that intentional?

what prog did use to make this and how did you master it?

there is potential here just remix this and you have a damn good tune in my book.

OK, here goes:

Just another prick with a gun:

Nice vibe. The beats are very well programmed. Nice JumpUp vibe. Nice fat kick. This track has a great feel and is well structured but I do have to take issue with the choice of sounds. Bass needs to be more analog, sounds too FM to me (although a Good FM bass sound would sort this). Guitar is a bit thin, dirty it up a bit (or make it super clean and sparkly with nice delay). And that keyboard horns sound has got to go. Keep all the programming and arrangement just as they are, just change those sounds for better ones and this is a winner.

Dealing with pigs:

Ah, now this has got the right sounds. Great vibe again. It's got me moving and thats what you want. Excellent drum rolls. I love the dubby section. Love the mad sounds in the background. And three different vibes in the same tune, nice. Excellent structure again. Of course the trouble with something with a more dense sound-stage like this is mixing it. You've done a good job but keep working with those EQs to try and give everything its own space (allot of trial and error I know). If you haven't already got one, beg, borrow or steal an Mbox. Pro Tools really is great for mixing this kind of stuff and is a key component of that Reprazent/Breakbeat Era/I Komanchie type sound. Don't use it for programming, just the final mix-down (I'm in the process of redoing a few of my old mixes in it at the moment).

These tunes have got the flow, great work.

im a bit puzzled with this one....did you give me a link to a lo-fi stream?! if not, the production was awful!!!!!!! but weirdly enough i really enjoyed it! you have some very good ideas going off, especially the main re-emerging riff, really good. reminds me of earlier prodigy stuff. the intensity and excitement did drain off a little midway to 3/4 of the way through the track, but it sooned gained the momentum back up. good ideas!
BAD production! the whole sound is too dirty!! im very into dirty distorted sounds, but this was way too much!! really unpleasant on the ears and would kill everyones ears listening to this through a big PA.

tidy up the sound!! you could have a great track here

I love the time signature. It's not everyday you get to hear a song done in 5/4 time. I believe the production is good in this, but there is an element of distortion that keeps surfacing throughout. I think it may be the choice of synths on the low-end and not actually distortion or maybe it was mixed down a little hotter than necessary. Who knows? Anyway, I listened to this track 4 times. I like the recurring soft-marimba sounding synth and the strings help create an eerie sounding atmosphere that almost makes me want to cry or play a video game. Hmmm... I like.

I believe I'll add this to my station.

Okay, here goes:

'Where the truth lies'
Production-wise this sounds really good, though I would have liked to have heard the vocals a bit higher in the mix. (I always hear that about my own stuff) I love the theme here. The phrase 'Psychological crutches' from your song description really hits the nail on the head. This song says nothing but the truth and compels me to have even more admiration for this track.

'Private Apocalypse'
This has real catchy little groove to it. Again, production is really clean. I like the change-ups in this track quite a bit.

'We Could If We Wanted To'
In your song description, you said this was one of your faves. I can see why. You had just started using Renoise. Often I do my best work when I start using a new instrument or find a great sound. Again, another quality production. <--I'm beginning to sound like a broken record, but man, if it's good it's good, right?

'Reclaim The Beats'
This one may be my fave, not sure yet....I like the build up at around the 1:30 mark. The transitions in this a very dynamic and dynamic is good. The little pulsing section at 2:44 is VERY COOL, and builds back up from there. I can't help but bob my head a little with this one. This is some catchy and clever stuff you're writing. As an afterthought, I really like the horn-sounding instrumentation throughout. This is an awesome track. Abrubt ending, that leaves me wanted more. Well done.

'The Town Is Dead'
Quality Shit(Yes, I do read the song description). There are some great melodic sequences in this. I like this track a lot also, but 'Reclaim The Beats' remains at the top of my list for these 5 tracks. Great stuff!

Final Notes:
Top-notch production on all tracks that I listened to. You have a definite ear for music and I enjoyed every track I listened to. That's a rarity. Keep it up!
_________________
-Wray

Hi DTDEBH

A a gesture of goodwill I'll start with a review of one of one of your vast army of tunes:

Lights out / The fall: After all that crap tinkly arsing about at the start this starts to get nice any dubby. Great beats and plenty of variation. That dubby baseline and blippy synth sound fantastic. This has real atmosphere.

On the downside, those 909 hi-hats sound a bit feeble. Layer them with other hi-hat samples. And I'd like the beats to be crunchier, maybe some digital distortion.

Cut the crap at the start (or do something different) and make it a bit longer and this is a great tune! Nice one.

the first kiss

It begins with some very nice synth and effects work and then comes straight into this kinda break beaty type track. I gotta say that at this Point I'm loving it. There is some suberb drum programming and the piano work is top notch. Infact the whole track is top notch. Its got a great feel to it, and is full of wonderful little touches and effects.around 3 minutes it breaks down and bring back in the synth from the begining, It then slow builds its way back up fantastically. Overall a great track that had me dancing in my little chair.

Score: 10
Lowlights: none
Highlights: it's just fantastic

dolly
i liked this, it was a bit looped, and i wasnt that keen on the geetar, but the drums are [2 cool smilies]

i really likethe bassy drone as well

it could have done with changing a bit more, i don't think the guitar loops are enough to bass it around....check out my tunes, and a guy called parasite for some inspiration in a similar vein

keep it up