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Post by Rob W on Mar 1, 2015 20:54:55 GMT
This is where you can vote for the theme music (2 votes each.) Please be patient with the videos. Each one is 33MBs and they can take a little while to load.
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Post by timwarner on Mar 2, 2015 19:29:05 GMT
'Danger Shirker.' Brilliant!
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Post by timwarner on Mar 3, 2015 22:56:02 GMT
It could be that Rob’s comment about 140bpm and the film have pushed lots of us in a certain direction (slightly angst ridden drama with some middle east overtones). The result is some of these are more-or-less different versions of the same thing.
Colin Parish
interesting beat and a change between major and minor. I like the guitar sound when it comes in. It sounds like it should be the start of of a longer piece but, then the sodding titles end and we never get to hear the rest of it.
Mike Gosling
Like the sounds at the start. Definitely going for the ‘durka durka’ feel. I really like the change of pace and then the re-entry to the original beat. The trumpet is a great touch if, possibly under used. It may have helped it sound a bit more western (kill the infidels with their decadent western brass instruments!). Neat finish.
Colin Steward
A less urgent but more angsty piece than the earlier entries and the inclusion of some lyrics. Hmmm. The melody brings to mind (with no good reason) The Persuaders. I suppose this may be the era when Colin absorbed most of his influences. I like the way it finishes, very slick.
Eddie Custard - My Wive is Trying to Shut Me Down
This is Brilliant. The literal interpretation/commentary of the pictures made me laugh out loud on first listening. There are so many gems in here I would simply be transcribing the lyrics if I were to start quoting my favourite bits. Would this song ever be approved for adding to these titles in television world? I doubt it and television is poorer for it.
Stephen Clarke - You Got Blood on Your Hands
Love the lift sounds. Like it says in the sleeve notes, I’m not sure it’s a perfect accompaniment to the images but, it’s the one most likely to make it into a full song to be released as a single to promote the television program. Bournemouth sounds like a strange place to live and now I’m too scared to visit.
Patrick Duffin
Great machine noises to start with a very identifiable string motif. I like the way it all gets broken up with various fades and muffled effects and bleeping noises going on. The end is a bit of a surprise as it seems to end before the pictures do. Is this normal when doing music for this sort of thing? My guess is that it must be if Patrick has done it.
Phil Sanderson
More urgent drums with a busy xylophone and a sweeping keyboard solo over the top which gradually becomes organ, then guitar. To me, this one feels more like a theme tune than most. It goes on longer than the pictures do. Perhaps I should ask Patrick if this is normal.
Tim & Glyn
Mechanical beat, then that wailing guitar riff with the lovely delicate keyboard over. Like the break with the voices. Then the heavy guitar riff comes back in which is not easy listening. More angsty than most.
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Post by patrickd on Mar 4, 2015 22:11:11 GMT
Patrick's thoughts on February's theme music
Firstly well done Rob for providing a great video to write to, it all looked right and felt like we'd been given a professional brief to compose.
Secondly it occurred to me that it's difficult to tell who's composed what when everyone has been stripped of their usual idiosyncrasies. Eddie and Stephen aside, I'd say all the others were aiming at the same target - a beefy HBO box set. After the beep has faded cue the deep American voiceover "Previously….on ShutDown…….."
1 Tim and Julie
Lively and suitable chaotic, the beats and sounds matched the images well. Great guitar break, a variety of synth sounds and driving rhythms. You're right though - having seen yours, mine was short, as I now realise I didn't watch it till the end where the screen blips down to black. No wonder I didn't last long in the video world.
2 Colin Parish
Sounds reminded me of Tomorrow's World for some reason, I like the pulsing sound on the first beats, and the music builds nicely into the melodic riff at the end.
I like the way you use unusual sounds to make up your rhythm sections, like the early synth pop records of OMD and Depeche Mode.
3 Mike Gosling
I like the industrial rhythm sound, and when the vocal comes in it's a nice surprise, lovely sound to it all, and the slightly arabic feel goes with the Iraq (?) footage and feel of threat to those early news clips.
4 - Colin Steward
Nice imaginative combination of sounds which builds well with a sense of menace, and bold shift of harmony for the second section. The spoken bit with the echo works well at the end
5 Eddie Custard
Great work Eddie - a very left field approach to this one, lovely whispy backing vocals throughout kind of used like a synth pad. All good sounds and the production nice and clear bringing the clever lyrics into the fore. There's no doubt who is behind this recording, but it could also pass for a Damon Albarn slice of artpop.
6 Stephen Clarke
Strangely it does seem to work, and the sound of the motor works well. Using this different style of music makes the images seem different, so it goes to show how the two influence each other in the film and tv. Nice and clear production with plenty of room for Stephen's always charismatic sounding vocal.
8 Phil Sanderson
Great arpeggiated synth sounds which builds well with the images and drums, it all fits nicely together. Possibly the most un Phil sounding recording yet. Well mixed despite the fact there's lots happening. You've conveyed the sense of threat well in the opening shots.
9 Tim and Glyn
Suitably manic drums, and hypnotic repeating guitar which is very fuzzy but nicely dry. The repetition fits the images nicely, and the vocals work well as an antidote to the machines when they come in. Patrick's
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Post by eddiecustard on Mar 6, 2015 1:41:01 GMT
This task seemed to bring out the savage in one or two usually mild-mannered contributors. I liked the emphasis on drums and percussion, which made a change, although Stephen’s deserves a mention for taking a totally different route. Feels like a lot of experimentation went on – a good thing.
Tim and Julie – Shut Down
Some very good guitar playing from Tim on this one, with a bit of chorus pedal (?), some fuzz and the kind of wah-wah guitar that could once be heard regularly in Shaft. I like the way the wah-wah kicks in for the rollercoaster bit and I like the sinister low register keyboard. Elsewhere the drums are powerful and well put together, especially the bits where the toms are prominent. My favourite bit is the section where the arpeggio/chorus guitar comes in, which gives an air of intrigue and mystery. It feels like it could be the theme music to a spy film. The downward slurring on the guitar works well in the sandpit scene before the ominous and well-crafted final drum thud to coincide with the disappearing image. Excellent.
Colin Parish – Shut Down
I really like that throbbing noise, which feels the pulse of someone on a life support machine; condition critical to go with the apocalyptic images. Very clever. I get the sense of a drama that features a race against time, perhaps to find a murderer, a mole or a bad guy before he blows up the planet. Are those harmony guitars? They work really well, and so do the piano/synth arpeggios at the end. As usual, an excellent production with instruments popping in and out with verve. It’s got a lot of drive and a propulsive energy.
Mike Gosling – Shut Down
There’s no doubting the enemy among this Middle East/terrorist vibe, although I think the vocal probably sounds like either a spine-chilling and spooky wail, or a peaceful call to prayer depending on where you live. Either way, the mood overall is unsettling and very atmospheric, with the percussion driving everything forward vigorously. In fact, I think you’ve got one of the best uses of percussion this month. Those scrapes/shakes sound great and create a dangerous air which rattled me a bit and I like the cymbal/metallic bit right at the beginning. I like that little burst of trumpet too, and the sudden ending works really well.
Colin Steward – Shut Down
Superb. I really like the recurring low end motif and brass synth bit joining in. The second section where the synths play the more rapid fire notes is excellent and gives a sense of desperation and urgency. I wasn’t completely sure at this point in the music whether you were going down the Middle East/terrorist route, because that melodic bit sounds sort of eastern initially and yet doesn’t. During this bit I picture someone running through narrow streets to escape someone or chase after them. It’s very evocative. That little riff on the stringed instrument/synth right at the end does sound very Middle Eastern though. The whispered ‘shut down’ is a nice touch. You’re a very versatile writer, Colin - it’s a long way from the midnight strolls and whispered sweet nothings of Valentine Moon but the musical journey and transition are very good ones. I sensed the Mike Oldfield production and musicianship skills coming out here. Nice work.
You’ve Got Blood on Your Hands - Stephen Clarke
I like the way you’ve done something more reflective; avoiding doing an all-action bombastic soundtrack and producing an interesting counterpoint. It works really well, creating a melancholy and thoughtful mood and one of regret at the way the world has turned out. It’s a protest song for the modern era. These types of acoustic bluesy/country numbers are your trademark. It feels like a teaser for a longer song, and one you should record in an extended version. I like the opportunistic use of the lift motor, the little bass runs, the heartfelt vocal and the two-chord economy. One of the most inventive, and one of the best this month, I think.
Patrick Duffin – Shut Down
You’ve got the pulse spot on with this one. It’s discordant, which creates an air of unease and uncertainty. The reverberating drums carry this one and there’s a good use of quiet before the whirpool of synths create momentum and bring a sense of urgency before the abrupt finish. That bit is very skilfully done. I’d hire you to do the theme tune for a ghost story. It feels a bit more restrained and spacious than some of the other entries, and could be used for a multitude of TV series - from action flick to thriller. Good stuff.
Phil Sanderson - Shut Down
The first few seconds of thudding drums give way to a melodic piece that feels like the start of the evening news. I think it’s great. It should be adopted as the theme to Panorama or News at Ten. Bong! Phil triumphs despite a finger injury. Bong! He’s used a clever mix of loops and real instruments. Bong! He’s got a helicopter in at the end. There’s some very good guitar playing here. I’d thought you would try to scare us rigid on this task, and I remained convinced with the initial burst of drums, but after that it quickly turns into something that’s very punchy, driving and tuneful. The drums sound very good all the way through. Quality.
Tim and Glyn – Shut Down
I really like the aggression and the anguish conjured up with this one. God’s not happy and we share his pain. The drumming is admirably fierce and that sudden swerve from low to high note on the fuzzy guitar sounds brilliant – there’s dread and terror wrapped up in all this, and yet humour too. The little burst of choral singing by Glyn (starring as God, I’m assuming) gives it real style and helicopter-type whirring is very effective. I like the fact that Bill Gates tries to make his escape by rolling down a sandbank. Surely God won’t fall for that old trick. It feels like some kind of industrial nightmare with supernatural overtones. Another winner.
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Post by Colin Steward on Mar 6, 2015 13:50:31 GMT
Great work, Rob, for very slick visuals. It’s so rooted in a theme that it created a focus for most to all take a certain direction which is based on current trends - as are the visuals. This is testament to the strong imagery created by Rob that leaves the viewer under no illusion what it’s all about.
Tim & Julie
I assume there are many loops used here and to good effect. I would argue that the synth loops/arpeggios tend to evoke up-to-the-minute news rather than fictional drama. The first instance of guitar is menacing and very atmospheric. The wah wah guitar is a great sound and the guitar solo towards the end is terrific. Love the little gap and the drum end that matches the end of the video.
Colin Parish
I really like how this develops from a simple synth beat and then a builds on that as the sequence progresses. I love the organ sound on this and the guitar gives it an identity. The piano arpeggios sound great at the end. It’s all very menacing and a really good match to the visual content.
Mike Gosling
I like the sound used on this and the vocals do give a little more information about what this ‘drama’ is about. I would have preferred the vocal to be a little more distant though. Good to add the pause in the middle - the video does suggest it, but felt a little disappointed to hear much the same again. Good strong ending though!
Mine
I’ll say a little bit since I didn’t offer sleeve notes this time. I went through various ideas but all much along the same lines. I ended up going with one that was a little more musical that the other attempts. I wanted to hint at a middle eastern effect without going all out. That synth guitar part I really wanted to be played with a zither but don’t have one or a synth equivalent. Probably best I didn’t have it as it would have made it a bit ‘Third Man’ and old fashioned. Most of the time was spent fitting effects to the video!
Eddie Custard
I’m stunned how you managed to fit the lyrics to the images, it’s brilliant! At first I thought it was too left-field but after a few goes it grew on me and I can imagine this as an opening theme. Nice jangly guitar sound and very effective vocal harmonies. Good stuff.
Stephen Clarke
This reminded me little of the brilliant Johnny Cash song at the beginning of the ‘Dawn of the Dead’ film. Quite brave to go in this direction but I think it worked really well. I liked the lift sound at the start and end. Only you and Eddie resisted going in the obvious direction and I applaud you both for that.
Patrick Duffin
Very strong contender. Some great sounds, especially like the high-tech stuff at the very beginning. There’s enough of a hook to make the listener know - it’s THAT programme that’s just started! All the mutes, pauses and effects are timed to fit really well. I was left on the edge of the seat to see how you would end it with the video. Imagine my surprise!
Phil Sanderson
Funny how we all seem to notice there are two parts to the video and show in our music. The synth arpeggios, again, remind me of news and current affairs more than drama but the percussion was so strong that it did give a little of a leaning to the dramatic rather than new (and now I’m not even sure what on earth I’m talking about). It’s a shame it over-ran the video, there was a point the music could have concluded before the black.
Tim & Glyn
A really strong opening drum pattern that builds nicely. I love how God has Windows 8, that’s just inspired! The ‘ahhs’ sigh is nice little break. The guitar part is quite disturbing after a few times. The driving rhythm is the key on this one. Some nice high-tech sounds and they become more urgent towards the end so it really draws you in. I would have preferred a more abrupt end to match the video.
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Karl
Junior Member
Posts: 72 
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Post by Karl on Mar 6, 2015 16:47:22 GMT
Firstly, well done Rob. The title sequence had many of your trademarks and you have crammed so much in. You should have a go at this TV Graphics lark!
It's interesting to see / hear how many contributors went down a similar route, with a couple of notable exceptions, of course.
I was even going to have a go myself using samples and programming in Garage Band.
However, when I opened it up for the first time in about 5 years I found I didn't have time to teach myself again, and the majority of my favourite sounds and loops had disappeared. Bloody Apple!
For what it's worth, I played a few Proppellerheads tracks along to the video and found that a lot of them fitted, so that was going to be my starting point.
As it turns out, several of the entries this month have that feel to them, so I would probably have been wasting my time.
Maybe another theme will inspire me to re-learn the app one day.
01 Tim & Julie
In fact, the drums and some of the keyboards in this are not so far away from what I was thinking of doing.
Tim has crammed a lot in here, but it does, for the most part, sound coherent. I really like the wild guitar towards the end, as well as the ride cymbal keeping it going to the really rather good ending.
Whilst I like the wah wah, it is a bit too 70's, ie. not contemporary enough for these visuals.
02 Colin Parish
The build up and drum part is even more "Propellerheads" in this (so that's a big tick from me), along with a strong helping of Jean Michelle Jarre.
The sound is what I have come to expect from Colin P - clean, well balanced and easy on the ear.
Perhaps a bit too easy on the ear, as I wanted a bit more of an aggressive part to kick in at about 0.28 (the bridge crossing).
I do like the choice of sounds and would be quite happy to listen to this on a weekly basis (unless I bought the box set or viewed via Netflix and binge-watched over a weekend!)
03 Mike Gosling
Similar idea from Mike, but this time with the up-front-and-centre middle-eastern vocal wailing, which I like, although not as much as the break-out at 0.22,
the "Homeland" trumpet part and my favourite ending, which along with Rob's choice of font reminds me of "24".
There is enough going on to remain interesting after repeated listenings, but without becoming too fussy.
04 Colin Steward
I like the darker tone to this, even though the intro is a bit "News" like. The brass and string sounds are strong and combine very well.
Another good end too. The part from 0.27 (the surfer - is that you, Rob?) didn't work as well for me - I think it reminded me of shows like Randell & Hopkirk Deceased! Sorry.
05 Eddie Custard
In many ways this is completely off-brief. But that doesn't stop me really liking it.
Like Tim, I am in awe of how you managed to get the lyrics to match the visuals so tightly and still (kind of) make sense of the whole thing.
It could / should be fleshed out as a full song. Well done Eddie.
06 Stephen Clarke
As a song, albeit a very short one, I like it. I have listened to it a few times without Rob's visuals and it stands up in it's own right.
Perhaps another one for building in to a full song? With the visuals though, I'm not really sure.
I do like the idea of a seemingly unrelated song being used for a title sequence - like the marvellous "Far From Any Road" by The Handsome Family (2003) which was used on the title sequence for True Detective (2014), for example. But I don't think it quite works here.
07 Patrick Duffin
Strong sounds and the usual great production. I like the intensity towards the end, but where is the actual end? It's what I would expect in terms of mood and feel, and maybe because of that I feel a little underwhelmed.
08 Phil Sanderson
Great drum loops. Another entry that ticks a lot of the boxes on the brief.
I like the idea of changing the lead instrument for the 3 sections and NOT coming back to any of them, and I particualrly like the organ and guitar sounds.
09 Tim & Glyn
Arguably the most "Propellerheads" of the lot, which turned me on to it to start with. I especially like the break for a few fleeting moments of Glynn "ahh-ing".
Repeated listening has turned me away from it a bit though, as the sounds and the guitar part, whilst appropriate, are a bit too hard for my ears and would probably pi$$ me off half way through the first season.
BTW - when did "series" become "season"? Sorry, middle-aged rant over now!
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Post by mikegosling on Mar 8, 2015 15:53:41 GMT
I echo Patrick's comment that some individuality has been lost with this month's task. And it certainly seems that Rob's choice of footage (in particular the middle east news clips has sent most of us off in a very similar direction). That said all the entries this month has a very professional sound to them. Well done all. And thanks to Rob for all the effort put in on the visuals.
Tim/Julie - I like the rhythms and the change of rhythm for the middle section works well. The keyboards at the start make it feel a bit like a news programme - not inappropriate for this type of drama series. The way-wah guitar is very good and works well with the change to the roller coaster scene. The guitar scrape works well for the sand dune rolling scene and the rock guitar solo is perfect for the car scene at the end. This music has been very well edited with the visuals - each scene having a distinct change in arrangement. A good finish as well.
Colin Parish - A very good overall sound to this one. I like the distorted guitars (harmonising like that Eno piece for Arena). The main rhythm is very good and I really like the sound of the first keyboard part. Unlike Tim/Julie's entry, Colin does not make so many shifts in arrangement to reflect the scene changes. He has opted for a steady build to the piece and it works very well.
Colin Steward - Some very nice orchestral sounds and arrangement for the first part of this piece. The rhythm at the start again makes me think of a news programme - again not inappropriate. The shift to the middle section is a good contrast to the first part part. The choice of clarinet keyboards does give it a bit of a seventies feel to my ears - it was good to introduce some more melody here - I think I would have preferred a more contemporary sound for this part part. The "shut down" vocals at the end are very good.
Eddie Custard - Some great lyrics here. The "construction worker" / "danger shirker" is indeed a highlight. The way you have followed the visuals with the lyrics is very impressive with all the references to wings / trains / brakes etc etc throughout. The first chord - I thought it The Killers - When we were young - nice sound from the guitars. Vocals were very impressive. Somehow the 40 seconds duration didn't even feel too short for the song. I felt we had heard the whole song and not just a part of it. Very good indeed.
Stephen Clarke - First off, that lift motor is great - and the timing of its entry perfect! The melody and hook line are up to your usual standard - you have a talent for a simple but effective hook. I'm not sure that the song is quite the right accompaniment to the visuals - it certainly is a contrast to them. Unlike Eddie's entry, this did feel like part of a song and I would have liked to hear the rest of it!
Patrick Duffin - Another good rhythm for this piece. The sound is impeccable and the editing to the visuals is very good. I particularly like the drop down part to accompany the surfing scene. The rhythmic build-up for the car sequence at the end works well. Like others, I was expecting a big finish to go with the shut down logo disappearing - but it didn't happen!
Phil Sanderson - Good us of rhythm loops and arpeggiated keys. This builds very well. Again, like Colin P, Phil has opted for the build-up approach and this makes for a very satisfying listen (with or without the visuals). There is a good introduction of another melodic part in the middle section and (again like Colin P) the distorted guitars/keys are saved for the last section. This is a very musical entry, whilst still retaining the urgency created by the percussion loops. The helicopter sounds at the fade work well for me.
Tim/Glyn - Tim and Glyn had been holding back on the aggression and have saved it up for this piece! The drums are suitably thunderous. The heavy, heavy guitar riff is punishing. Thank God(?) that Glyn managed to find a microphone and calm things down for a few seconds in the middle - some lovely aahs here. I think 40 seconds of this is plenty - I wouldn't want Tim turning this into a whole song! Very effective but potentially damaging.
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Post by stephen on Mar 9, 2015 11:37:25 GMT
Yes, well done Rob for putting together such a breathless series of catastrophes. Don't know where you hired that jumbo jet but I hope it was insured.
Tim & Julie
You really matched sound to images, while maintaining an impressive overall harmony. Nice guitar too - I love a good wah-wah, and this adds a vintage Shaft feel, hinting that there are going to be some Bond-style one-liners in the script. It does sound like the theme tune to one of those classic action series, combining suspense and entertainment.
Colin Parish
Yes, great use of the robot heart beat, the machine about to go wrong, with the swirly sounds swelling and making things feel increasingly threatening. The sign-off feels as though it's leading us into an opening scene, which is a good trick that I'm sure a producer would approve of.
Mike Gosling
Great use of rhythm here, and that rest when we first catch sight of the sea is very effective. I like the Beatles-ish flourish of trumpet at the end, too. The chanting is effective - good, memorable melody - though I'd be a bit afraid of using it myself.
Colin Steward
It starts out like a news programme, which grabs your attention, and gets eastern, which hints at exotic things to come. Then when the electronic guitar sound (?) kicks in, with the bending notes, it reminded me a bit of a classic TV theme like the Persuaders, which is no bad thing at all in my book.
Eddie Custard
Great idea to go left field like this, and then cram all the action into 40 seconds. The song reminds me a bit of the Big Bang Theory theme, the whole of evolution in a jingle. And excellent idea to use the title as a chorus, too, like the Bond themes usually do.
Mine
I'm a fan of music and images being slightly off kilter. Helicopters with Wagner in Apocalypse Now, Neil Young's feedback in Dead Man, Carly Simon's Bond theme. Hence the attempt to go Johnny Cash for an action film.
Patrick Duffin
Very subtly done - the suspense every time we see the on-off button, the feeling of pulling back when we seem to be crashing on to a town below, the theme tune that is both abstract and memorable, the dramatic climax as we see the title. Pro job.
Phil Sanderson
I really like the feeling of urgency - we're rushing towards something but don't know what. Great melodic percussion offset by the more lilting strings. A theme tune that is subtle but sticks in your head. I'd watch this.
Tim & Glyn
I really like the beginning, the way the frantic drumbeat is set against that wailing guitar. (You could reprise that feel for heavy metal month). The vocal break works really well, and things build strongly from there to a scary ending - disaster is imminent. Very cleverly structured and effectively played.
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tandg
Junior Member
Posts: 67
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Post by tandg on Mar 10, 2015 23:36:17 GMT
A really interesting month that shows a completely different side to everyone’s songwriting.
Thanks so much Rob for the video - tremendous judgement of pace and edits that make it really interesting to work with.
Tim & Julie –Shut Down
As we have learned to expect from Tim & Julie, this is a hugely varied theme, full of ideas and with a range of styles packed into the 40-odd seconds. Loved the sort of string arpeggio at the beginning and would have liked it to have been reprised. The wah wah guitar brings to mind days of Shaft and Starsky & Hutch and I really enjoyed the ‘crack’ of the snare at the end. A great starting theme!
Colin Parish- Shut Down
Really interesting sounds here, with a carefully constructed build up that retains a sense of threat and mystery that works really well with the visuals. I particularly liked the organ sound and the distorted guitar as the music builds nicely. A really effective piece of work.
Mike Gosling – Shut Down
Wonderful wailing! The call-to-prayer vocals make a great counterpoint to the very electronic backing. Loved the pacing, the build-up and the perfectly synchronised ending. Glyn’s favourite and particularly notable for the surprise trumpet – I don’t know any other track with a surprise trumpet!
Colin Steward – Shut Down
Love the opening – it sounds like a malevolent newscast is about to start. It makes the theme that follows sound almost jaunty – this is one of the most melodic of any of the sections of any of this month’s themes. The playing, mixing and production are all first rate and this sounds new yet familiar. Really believable as a theme.
Eddie Custard – My Wife is Trying to Shut me Down
What can you say! Really, really funny, very accomplished songwriting and recording that is the month’s most surprising entry. Not what I expected at all and yet this would be the theme that would most attract me to watch the series after seeing the titles. Wonderfully mad lyrics – “She’s going to bury me alive and put my head in a wave” I just want hear over and over. Brilliant Eddie!
Stephen Clarke – You Got Blood on Your Hands
You’ve got to admire truly minimalist songwriting – it deserves working up to a full song in a future month when you can explain what it is you were warning us about. I really liked what there was of the song and loved the lift noise – which is really effective and is a great ending to the song. It gave a completely different angle to the visuals and against all expectations actually worked very well.
Patrick Duffin – Shut Down
Overall, the most musical entry this month and I could hear it as genuine theme music. The stops work very well indeed with the visuals and the timing of the machine noises and build-up are excellent with string sounds to die for. The early ending is a shame because of the excellence of what’s gone before.
Phil Sanderson – Shut Down
This such an accomplished stand-alone piece of music that builds and varies along the way beautifully. Great recording and interesting instrumentation. Phil and Glyn exchanged lyrics ready for this month’s song and Phil sent us the theme music to listen to separately. It seemed like higher definition and that added all the more to my admiration for the quality of this piece of work. Seen together with the video it works really well and I can forgive the slight over-run – perhaps you could blame Rob for making the video a bit too short!.
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Post by philsanderson on Mar 11, 2015 23:12:36 GMT
Tim and Julie
Like the going wild guitar at end. Unusually quite a bit of synth this time - complements the ensuing guitar really well. Definitely a slightly retro feel to music at one point ( I think a Starsky and Hutch comment has already been made...) The change in timing / beat is really effective, as is the guitar accompanying a Young Warner roll down the sand dune...And it all ends totally in sync with the music and a great final drum sound.
Colin Parish
The more listening / viewings the more menacing this gets for me. Colin says he’s glad it only had to be short – I wish this one could go on for longer – particularly effective mix of instruments. It’s a sort of modern take on ‘retro’, if that makes any sense. The electric guitars on top of the synth sounds are really well judged, and a little disorientating( in a positive way, mind!)
Mike Gosling
Favourite part comes around where the surfers appear – sort of short Portishead moment inbetween Peter Gabriel longer moments. The music is timed so well to fit the video – very effective changes of sound, introduction of instruments. I’m not sure about the voice /vocal after a few listening – maybe it’s the volume in the mix?
Colin Steward
Very atmospheric beginning. Opening section is, as others have said, like a soundtrack to a news / current affairs program – and very very good it is, too. Ending very strong. Really like the synth / orchestra sounds used but particularly impressed with the percussion sounds you used.
Eddie Custard - My Wife is Trying to Shut Me Down
Truly inspirational piece of music. Would it pass muster as theme music for a ‘thriller’ – in the real TV world maybe not, but in Sanderson’s world it definitely would. So many great elements to this, would like, however, to highlight the impressive backing vocals!
Stephen Clarke - You Got Blood on Your Hands
Brave and rewarding effort, Stephen. Definitely a song needing to be extended at some stage – we all need to know more – maybe watching ‘Shutdown’ would reveal all – maybe we’ll never find out. Brits award for best use of sound of a lift in 2015!
Patrick Duffin
Brilliant string and percussion sounds. The production, as ever, is first rate and beyond. This one stuck in my head all week. Really like how atmosphere changes when we get to the ‘chase’ section. Extreme quality.
Tim & Glyn
Surprising aggression! Voice section is a short moment of calm before returning to impending doom and disaster - possibly the world’s end. Threatening and menacing in a different way to Colin P’s theme. Nice juxtaposition of synth and guitar. I feel battered after each listen. Powerful stuff!
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Post by colinallcars on Mar 12, 2015 20:23:20 GMT
Hi guys and girls. My brain is not capable of critiquing these feem toons. I enjoyed them all, and I thought it was really interesting how many of them sounded similar, mine included. Special mention for Eddie's version. I think it fails as a theme tune but succeeds as a brilliant music video for a very short song.
Promise I will get back on it for the next lot of songs. Cheers, Colin P
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Post by timwarner on Mar 22, 2015 10:44:47 GMT
Congratulations to Mike and Eddie on great entries for the theme music month. An understandably wide distribution of votes was a reflection of how most of us were pushed in a similar direction.
Hats off to all the efforts and hats off to Rob for coming up with the video.
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Post by mikegosling on Mar 22, 2015 20:12:11 GMT
Oh, that's a nice surprise. Congrats to Eddie and Tim/Julie for podium finishes.
And thanks again Rob for putting it all together. Looking forward to hearing the collaborative
songs.
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Karl
Junior Member
Posts: 72
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Post by Karl on Mar 23, 2015 6:44:45 GMT
Well done Mike - a worthy winner. Well done to Eddie, Tim & Julie too. It's obviously a busy time for you, Rob at the moment, but I would be interested to read your comments on this months entries if you get a chance.
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Post by eddiecustard on Mar 23, 2015 9:39:11 GMT
Well done, Mike.
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Post by patrickd on Mar 23, 2015 18:46:10 GMT
Well done Mike - a deserved win
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