The musical niche that this artist has carved for himself is at best disjointed and at worst cut-up to fuckry. All of which sounds really bad in plain text but manages to sound staggeringly fresh and original when applied to the earholes in liberal doses. Heroic carries on that fine tradition by starting as if obsessed by the collective works of Leonard Cohen, before getting zapped everywhichway but the weirdest set of musical chops you are likely to hear adorning Soundclick's collective ears. While he does have his afficiendos, I don't think many who don't know this artist would find this track an easy approach although it certainly doesn't lack in interest or ingenuity.
That Cohenism btw is an initial impression only because this is English mardyass (Educational Ed: also means grumpy, out of sorts) personified. The sub-Kevin vocals especially became effective after a few more plays and - surprise surprise - this is going to end up being quite a favourite of mine; and for many of the same reasons I have picked up on previous NX outings. Never one to shy away from something difficult, Nuff X has proved that he has substantial reserves of grand ideas and interpretations of what he is about and Heroic is cut from that cloth. Chock full of interesting bits of aural decor, this is a track to be picked over at leisure and I'm already certain it's got 'deep inside, deep inside' my brain. He's also responsible for the Kevin/Cohen vocals all of which make this a difficult track to really pick up and now it's proving fekking impossible to put down.
Highly Recommended and a terrifically original track.
Other than a swift mindwank of course. Eh?
When I see a track advertised as 'Glitch Hop, very dark and a little twisted' my first would be yummy, because I am getting fonder and fonder of a nice disjoint. Open Your Eyes lives up to its hype in that department, the vocals in particular are awesome and worked extremely well into the track. It's pretty much standard electronica sounds happening underneath this vocal confetti, but you won't have heard it ever done quite like this. Top marks to to Nuff for not only sticking with it, but also carving out what is becoming highly evident as an individual style in his music. Believe me when I say that there aren't many electronica artists doing that.
Almost everything in the garden would be lovely except, unfortunately, the overall sound leaves a lot to be desired. There is so much going on in this track that the final mix and production really do need to be razor sharp for the tracks myriad of subtleties to get through. This, in fact, is a track that screams out for Chemical Brothers production values; a wide open, fire-breathing and attention grabbing. Given that, this track would snap heads all over town. As it is - as you'll see by my rating - this is still a perfectly good track and some would definitely say excellent, and on performance and arrangement I think I would tend to agree with them. The final sound though, for me, does have it's problems (a bit wooly, a bit of extraneous hiss and a bit flat). Nonetheless, it's still a very handy slice of IDM cut up stylee...
Excellent, original (ay caramaba, now there's a fekkin thing!) electronica and Highly Recommended.
The difference, of course, being experience, musical maturity and a willingness to go that little bit further to make the track actually work. Inside (What I Want) is considerably heavier than anything I have heard from Nuff X, in terms of both instrumentation and feel and so far I've had a very decent time of it. Again, it shows to me that with this artist it really is ideas that count and this guy has a barrelful of them, on almost every one of his tracks of late.
From the opening synth/kick routine you know that you are listening to finely balanced sound, the kick sound in particular is a joy to behold. Mind you, it's all the extraneous sounds that make the track work for me. 'Is this truly what you want' Nuff whispers in your ears and I have to say that yes, this is exactly what we want. Great musical ideas, used in a way that is as unique as it is possible in a genre done to death. As good as a breakbeat artist as he may be, for me this is a thinking musician who truly works hard to get his point across.
Highly Recommended (as if that were any surprise) Seriously disturbing.
Now that's what I'M talking about...
Chief amongst the genres bugbears is a sub-genre: breakbeats. Even though I've been told I employ a lot of the sounds in my own work, to me it sounds very different. However, I do have a deep and abiding love for reggae and its more dubby offshoots and for me it's that musical track that Nuff X is pursuing. Although Arrogance couldn't in any way or form be compared to reggae, a lot of the technical tricks it comes up with are most definitely dubby tricks - albeit in a cut-up, shook up world and that is the beauty of what Nuff X is doing.
Nuff X has been having a pretty good year really, he's had a string of recommended or highly recommended from me and that's not bad going at all. This is a very bass heavy track so watch you don't bark your woofers, and I completely understand why. The cut up rhythm is really class, the 'whachoo looking at?' line increasing the effectiveness of the groove - and what a groove it is. To be fair, you would definitely want to be a fan of the wilder shores of electronica, or breakbeats or whatever to really get the full measure of the whack upside the head it gives you, but really I think almost anyone would mutter a quick 'wtf' after starting this. That, I suspect, is the point. I finished my last review of this artist by saying 'deeply disturbing' and I think I've found it's soulmate. Terrific achievement though.
So, in typical style, as soon as some synths happen we're in dark and scary land again, which is where you live I think. The female vocal sample is grand as owt - really ghostly over the top of the insistent choppy percussion. The actual lyrics work well in this context as well: 'Look around you' she says, and I find myself looking over my shoulder - you need to get some trackage to a horror movie producer for sure. To prove my point, play it over the last ten minutes of recent film 'The Dark' (Sean Bean and some chick in the Welsh otherworld) and you'll get what I mean.
Production: you got it right for me. All nicely balanced, a full soundscape despite the coldness you seem so good at injecting into your stuff, and enough going on in the track, albeit a little randomly, to keep me interested right till the very end. I say interested, when what I actually mean is a little freaked out.
From what I've heard of your shtuff so far you have a definite identity, though it's not a mainstream taste - keep at it.
[IDIOM=field of dreams] If you make it, they will listen [/IDIOM].
Harmonically this is never dull. I just wish that there was a little more variety in drums (fills / more random hihat work / syncopation / toms) - the percussion relieves it a bit, but never enough to dispell the beat. Sometimes a 4 bar pattern or 8 bar pattern would be better than a 2 bar one repeated.
The use of filtered vocals as a rhythmic texture was an interesting touch.
The synth sounds are very 1976, and that's what I like about this. The vocal sounds are also compelling - more imaginative and texturally experimental than you usually hear.
I'm not certain that I can connect the title "Feeling trapped" to the sounds.
But I like this track very much - and for someone who cut his teeth on RS-202 and Korg 1000 Polyphonic ensembles and Arp 16 note sequencers and non-midi gear, I feel like I am strangely within a comfort zone with a master of the genre, not some newbie bleep and bloop practitioner.
High praise from the antipodes!
Perhaps to some an acquired taste, with each passing month I hear Nuff's work becoming more and more accessible, more hooks emerging from his music; he's definitely on a highway with his writing.. heading somewhere, we just can't be sure exactly where he'll land next.
Mirror is no exception to this rule, a dance worthy beat and hook with layered vocals with delays and distortion. Kinda hints at Underworld, LCD Soundsystem...
For my objective commentary, I'd work on the vocal delivery. I definitely dig the song, but to find a weakness would be to say it sounds a bit off here and there.. not the let it go part, but for instance that very first verse. Maybe play with the delays and delivery. I say this because I think this track truly deserves that attention to detail.
High high marks mr. Nuff. Cheers!
Crush the opposition....
nice intro....ok the beat is a readymade loop so no points for that... ....but it fits really well n sounds great with the flanger/phaser effect......
i love that 'whoof whoof' sound.....the ts404 blipps are cool....nice use of that 'crystal whoa' preset.....loved the whisles....all the synths sound great!......i dint like that highly distorty bass sound somewhere in the middle.....
the breakdown at 3:12 kicks ass man...
love the whisles again.... they make a lovely hook.... .....my favorite....
i can hear ur voice but cant make out wat ur sayin...
ah nice tempo change at the end....
this time, all the synths go amazingly well with each other n it's really growing on me........loved it!....ur best so far i think..?
ur improving like anything with each track man...i see a monster growing.....SC guys, be afraid....be very afraid......lol..
no seriously...u're goin great man....keep it up bro!
score:.....8.25/10....HOT HOT HOT!!!!!
That distorted sound you had left field was hotter than the sun my friend.
I kinda wanted it more centerfield I loved it so well.
I loved the lyrics you had going as well.
The little shaker you have going at :40 was great.. nice use of the sounds from the start, but that's where I started to realize that I dug the track.. then the adds, little percussive instruments all created a really good beat I thought.
nice change and 1:45..then, bringing back the bass sound.
I wanted to say the bass was too loud but by the end I loved how clean in the mix all the different sounds were including that one... especially that integral vvvvvvvvvvvvrrrrrrrrrrrrrraaaaaaaaaaaaaannnnnnnnng sound (which I absolutely loved btw) my fav part of your track was when you really started using it a little after the 3 minute mark. Just enough, without goin overboard.
There's not much to this track, a simple set of sounds, but I felt it created a very cool atmosphere and you used the sounds well.. loved what you did with the percussion. Very cool..
There are no offending sounds to me first off. Every song has it's place.. this quite reminds me of a good photek styled track- Solaris actually, and not in some ripoff copy just, but in a very cool way. Opening synth strong, interesting progression, not expected but very appropriate.
The tambourinesque sound in the background is spot on..
Alien mars noise is too perfect! haha.. a track that fits securely into it's title.
Music to wake up naked in a spaceship to for sure..
Well done, well balanced.. don't know if I'd call it house, but I'm not sure I know where the exact lines are in many subgenres.
Well done. Solid effort 7/10
That change at like 1:55 is great. One of the more unique sounds I've heard in a while.
I've heard lot less accessible tracks nuff. This is rather likeable I'm afraid.
It still has a very organized progression.
I think the production was really class. like 3:55, bringing up the more melodic guitar turned harped sample and the distorted guitar were a totally hot way to go out!.
Thanks for the listen!
This is a synthesized instrumental which is eminently danceable. It opens with lead synth "shooting stars" agains a rather syncopated rhythm track, with a synth bass which lays down a chromatically structured tonal center - quite novel.
The production values are good, and this track avoids the doof-doof syndrome, which exists purely because adrenal glands (above the kidneys) which are vibrated below 100kHz release adrenalin - the stuff which makes us excited, and dance all night, and gyrate to music in clubs, and commit other indescribable acts.
The results on this track are quite appealing, and although the musical novelty and layers take a while to unfold, think of it more as a slow striptease rather than a frenzied disrobement.
The disarming quality of the syncopated rhythms is the unexpected device here - to dance to this you'd either need an inherent sense of rhythm, or else be oblivious to the sound. Thus, the two complementary market demographics of the dance club scene are neatly catered for.
There are a bunch of droning square wave bass sounds which don't really give any indication of their true pitch - sawtooth waves might be better here to clean up the digital gunge that results.
I enjoy this track for the quality of its synth noises. It's stuff I don't normally take the time to conjur up - and so it gets marks for innovation.
Turn it up, play it loud, and listen to the rhythm build, and watch the sixteen year old booties writhing in delight.
Adrenal glands, I tell ya. Adrenal glands.
I like the dinky little drum pattern at the beginning but I think that crackling sound is out of place. Also, I think the transition from that beat to the fuller one that follows doesn't sound quite right - or maybe it's just cos the crackling stops there. I would suggest you either get rid of the crackle or lower it in the mix and have it there throughout.
That's a good bassline - love that little wibble at the end of the bar. I like the way the bass sort of edges the synth into the background where it belongs - the bassline is more interesting so it holds your attention better than the synth, which would quickly get boring if it was paired with a weaker bassline. You've done well there.
Love the vocal samples too! Very 1990...
This track is well-structured, with well-timed changes in the synth's melody. (Jesus, why do I keep calling it a synth - it's an electric piano, isn't it?) There's a nice and easy breakdown at 3:30, with the beat gradually fading back in. Might not be spectacular, but it works, especially when everything cuts out then kicks in again. The ending feels a little abrupt, though.
Over all, I really like this track - it's not something that grabs you by the nuts straight away, but it really grows on you after a few listens. The production is pretty good and the few criticisms I can make of it are fairly minor. I reckon anybody who knows and loves rave will appreciate this, cos it's got a proper old skool vibe.
Top one, nice one, get sorted.
most definatly worth a twist round the ears though
I dig the Claypool bassline. This track is ridiculously clean, the arrangement well mapped and the overall production world class. Kids in Japan have been working this vibe for some time now. I hear industrial is in China as we
speak. Hope you've been submitting this to Lukehits.com and any other indie soundtrack outlet you may know of.
Despite all my groaning and moaning, I found that Nuff X had surmounted at least that obstacle because I ended up liking what he did with Heaven (April 2005) even while recognising the source of much of the musical style. What I liked about Heaven was the clear and precise mix, the correct sound tones of the instruments and the general flow of the track; all incredibly hard things to pull off with Ejay except of course the last one. Ejay was made strictly to help the flow of musical thought, and as such became a classic entry tool for many of todays better known artists.
Again, where I feel a little let down, is in the structure and timing of this track. It's got an undeniable groove happening sure enough, but I'd be willing to bet it is a short lived groove insofar as 3:18 of basically the same loop won't maintain interest. That groove though IS good; meaty, immensely propulsive and very well mixed. The strangest thing about this track - and I suspect it's weakest link too - is a set of treated vocals that sound like a chipmunk on crack. Funny and amusing at first, but by God it starts to pall after more than a few listens. Personally, I think a little more musical meat on these bones would have produced a much more coherent, and interesting, track. Again, though, not bad considering what the guy is working with.
You have a sound like a cymbal crash that is really off. It should be removed. It's not really off time it's just doesn't fit!!
This is a cool song
Good hook to this, just get rid of that cymbal in there.
The whole track has a very 80`s feel to it, especially the keyboard that sounds like it`s supposed to be a guitar voice. (The keyboard that comes in after the squidgy bass at the start.) I`m not sure if you were aiming for an 80`s retro feel or not, If you were then good job, if not then maybe you either need to select some better keyboard/synth voices or buy some more expensive equipment to get a more conterporary sound, to be honest I can`t offer alot of advice on that side of things since I don`t really use keyboards myself. Although I do have a midi keyboard controller that I use with Reason which gives me pretty much any sound I could ever want. So if you`ve not already, get yourself a midi controller and some synth software and you`ll be able to create some really great sounds, all in all a midi controller would probably be a much cheaper option.
Sorry I ramble but back to the point, alot of people may find the 80`s sound of it off putting. Personally it brought back a rush of nostalgia and I think I`ll dig out a few Depeche Mode CD`s after listening to this track. But stuff can sound retro but still sound contemporary.
Cons: Arrangement, when the guiat isn't in doesn't quite hit the spot. Lacks direction too an extent: changes between sections could be a little more fluid (drum fills to change? vocals spilling over into start next section so it's not so chop and change?)
I can't say I'm a big dance fan, but I would certainly dance to this if it came on. It just needs a different section, a real change to put the whole thing into orbit. Maybe some scratching?
One the best compliments any musician can be given is that your own music has helped to inspire another fellow artist's style. With that in mind, I found myself excited at the prospect of reviewing a piece that has, according to this particular artist, been inspired as such by own work.
We open up with a bass line which gradually builds with a percussion line and vocal sample of the title, before bringing us full-on into the main breakbeat - which is itself contains some decent drum programming. Indeed, I can relative to the style that Nuff X has gone for here, since it feels quite similar to the structure of some of my own workings. The big bass punch that comes along during the break down also sounds nice and meaty - at least, through my headphones!
As it stands, the duration is pretty much spot on. However I felt that there could have been an extra synth or two added just to give it an extra element of variety and depth, instead of relying too heavily on just the beats and bass line. The general structure is sound - no given section tries to outstay its welcome and the drum sections are nice and varied enough to retain the audience interest.
On a slight downer, a little mastering and EQing would, I feel, give this just that little extra injection; especially in regards to the main kick drums, since the overall sound quality feels a bit rough.
Other than that - an all-round very listenable breakbeat track
I'm doing the top 5 songs from your soundclick page.
Almost traggic - Nice synth, nice beat. Don't really get the abrupt stops. I know it this kinda of music alot of people with throw in obscure vocals or weird sound effects just to add to the track, but I think alot of time they take away from the track. I think that's the case here, I would suggest doing it once at the beginning when you add the piano and then again towards the end when you bring the piano back in. It's really distracting. Nice track though.
Dream - this sounds familiar, I think I reviewed this for you a month or two ago. Lol, yup.. there's the little guy saying check it out. I remember now. I Just don't know about that little guy. Going back to the previous song, where i said sometimes it takes away from the song I would almost say it takes away from the song but the songs seems to be almost built around this little guy. So, taking him out probably wouldn't work. This track seems a little comical but, it's good to have a variety of tracks.
Your Soul Is Mine - makes me wanna break out the glowsticks. Gets a little thin around 2:45 but, you do a nice job of bringing everything back in. I'm normally not too big on these rave type songs but, I like this one.
Revenge is Sweet - Don't know why but I see the Matrix when I hear this. Has that machine feel to it. Just a dash of industrial, I like it. I normally can't get through an entire electronic song. But this one was no problem.
Heaven Remix - I don't like it as much as the original but still a very cool track. Hard to make any suggestions on this track.
Overall, very good stuff. Honestly I prefer more traditional instruments when creating and listening to music but when I do go outside that for a little creative vacation from the norm often times I do listen to electronic music and this is some of the most enjoyable I've heard.
From 1 to 10...
Lyrics - 8. Very few, but what you do have adds to the songs.. except of course in that Dream song. But that's just me.
Music - 9. wonderful stuff.
Melodies - 9. near perfect stuff.
Title - 8. the titles prepare you for what you're going to heard. so, good work.
Structure - 7. everything makes well enough sense except for the breaks throughout the first song, Almost traggic.
Marketability - 8. I could definately get down to some of these tunes and I imagine many other people could as well. I would be pitching that Heaven tune at anyone who will listen.
Emotional Response - 8. Makes me want to move.
Overall - 8. Overall I like it alot, like I said, I don't venture in into this genre daily but when I do, I've added you to the artists that I listen to.
Hope this has helped,
There has to be something more going on. The background music is very entrancing and would be a great song in itself if you just threw a melodic line over the top of it. But I like the little guy, I think it gives this song a personality. But, you need something more. The little guy is too exposed and is not doing enough to keep me focused. Pretty much.. that's it!
On a scale from 1 to 10...
Lyrics - 7. repititious. but all lyrics in songs like this are.
Music - 8. crafted very well, but distracted by the voice. also needs one or possibly even two more melodics lines to keep the focus on the music, not the words.
Melodies - 9. beautiful, like i said.
Title - 7. dream is very appropriate for the music. not so much the 'uh, c'mon'
Structure - 7. Pretty normal.
Marketability - 6. radio likes a bubble gum pop feel and the clubs like a boom boom bass line. decide which market you want to go with, because right now you're right in the middle.
Emotional Response - 8. I feel like dancing.
Overall - 7.
Uh, check it out, yeah,
Coy, fairly clever break beat in the land of OZ with the midgets tryin' to get their groove on while Dorothy is stoned on Bushmills and the poppies.
How about depending less on the technology and little more on your imagination in order to flesh out the melody and maybe a bridge and a harmony. Decent arrangement.