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HoboSage last won the day on May 27

HoboSage had the most liked content!

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About HoboSage

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  1. Shows promise, but I agree with the above. I'll add that since the title and hook is specifically "sculpture," I wouldn't mix in the different art metaphor of "paintings" like you do in the bridge.
  2. You have to talk it out with him, JOe. Otherwise your frustrations will fester and grow to full-blown resentment. Maybe you could do a mix of things depending on how long your set is and how many sets you do. You could/should do mostly straight acoustic stuff as a duo. But, maybe you could do a tune with you solo acoustic with maybe him just adding backing vocals, a tune with him solo through with his full-blown tech sound with you adding BV"s, and maybe a few tunes with both of you doing a hybrid sound. But, try and persuade him that the core of your presentation should be as an acoustic duo. Anyway, solo, duo or band, it can take awhile to define "your sound." Work together, but let the bottom line of what the venue wants be determinative. However, if he starts using the pedal's looper function, kick his ass!
  3. Thanks, Chaz. I'm always interested in hearing your thoughts, Bro, and very appreciative I can count on you to comment when you're around. P.S. Regarding the production, I think it's actually quite understated [at least compared to some of my other stuff], and I hope tastefully so. I know you don't care for synths generally, but I think Darin gets this like I do. The synths fit the scientific aspect of the theme, and the vibe and rhythms and maybe the way I sing it I thought fit the sexual aspect of the theme. In the back of my mind I had Marvin Gaye's Sexual Healing, which is not only synth-based, but uses electronic drums too - though I can't sing like that, and lyrically, that song is not at all "cerebral." P.P.S. Though I typically post for mix feedback, I will also make arrangement and/or lyric tweaks if I get suggestions that resonate with me. So, please don't hesitate to share your thoughts - and to be blunt doing it.
  4. Thanks, Darin and Paul. Glad you guys like it. DNA is considered a "complex molecule," Paul.
  5. https://soundcloud.com/hobosage/molecules-2017-by-hobosage-all-rights-reserved/s-sG7tA
  6. Sweet tune, and it sounds GREAT, James. I really dig you making fun of the metaphor, but in a serious and sophisticated way - that's bad ass wordsmithing. Kudos! Hope you're pitchin' this one. David P.S. Tell the arranger/mixer I think starting the song with an acoustic alone on the right side and then ending the song with an acoustic alone on the left side is a subtle, yet brilliant little touch, and a creative choice made out of respect for symmetry that I really appreciate as a listener. A real top-notch mix here all around, and the playing and singing are superb too. You sound like a winning team to me.
  7. https://soundcloud.com/hobosage/burst-the-bubble-2017-by-hobosage-all-rights-reserved/s-j5xjz
  8. Well, I have to agree that in many respects, this recording is pretty bad. I'll add to those complaints by pointing out that there are also many p-pop/plosives on the vocal track. I do like the song though. As a songwriter who has written more than just a few introspective songs, I do find that writing them from a second person perspective can convey a less "whiny" sort of vibe - I still know that the person I'm singing to/about is me. But, I think this works well first person. And, while a listener may not care how I feel, I don't care how the listener feels either. I don't write songs for anyone else but myself. If I make a connection with someone else, it's because empathy allows them to hear/see something of themselves in my personal expression - at core, we're really not all that different from each other. I also tend to inject some element of hope or salvation in even my darkest personal songs, because no matter how dark things feel to me, I can still see some light at the end of the tunnel - or, at least I want to convince myself that I can. But, I can certainly understand not offering any such hope in a song if I"m honestly not feeling that way. I say, keep writing the songs you want to write and say what you want to say, and let the chips with the listener fall where they may. However, I think you should at least consider your hook and the metaphorical opportunity it gives you to inject an element of hope in this. A flower trying to grow through concrete faces a huge struggle, but it's not necessarily futile, because all it needs to break through into the sunshine is to find the smallest of cracks in the cement. You may not find that crack, but long as you're still looking for it, you still have hope. One line you might consider changing is "this is what it's like to be different." As I've said, I don't think we're really all that different from each other. We just feel that way sometimes. It's a small change, but I think "this is what it's like to feel different" would be a stronger line in this context, and one that could better engender empathy from and a connection with the listener. Just my opinions. David
  9. Show off! Bass sounds great now - everything does. I would want a bit more meat to the guitar sound (a bit more low end), but that's just a personal preference thing. I do have one nit, and I had to wait to the very end to get it. You cut off the decay of the final crash - fade it down so it doesn't just abruptly cut off like that. Alternatively, go all the way with an abrupt dead stop and mute everything to silence right after the last chord hits. I think that could sound great too. Really awesome tunage, Bro. Even though I live in Bumfuck and don't really deal with a rush hour, if I had a decent sound system in my car, I would still want this killer track.
  10. https://books.google.com/books?id=C4T8zwODNhgC&pg=PA448&lpg=PA448&dq=sin+eater+MISSISSIPPI&source=bl&ots=6O1f0_HbZA&sig=wKQdy7uIF3oU56FCdC3aGoxTnGI&hl=en&sa=X&ved=0ahUKEwi_oMfe4eXTAhUk34MKHQcCBw8Q6AEIIzAA#v=onepage&q=sin eater MISSISSIPPI&f=false Th above is a sin eater reference from a book of a story that takes place in Mississippi - no mention of six pence, as expected because it's way outside British folklore. I don't think you can use six pence and avoid placing things in Britain which clashes with the kudzu reference and desired Mississippi Delta locale, and I don't think you need the six pence reference anyway. So, I think you should ditch the six pence reference and just use something like "any such feast is gonna save my soul." Just my opinion. Update: This link lets you read more of the Sin Eater short story - starting on page 441. https://books.google.com/books?id=C4T8zwODNhgC&pg=PR11&lpg=PR11&dq=lewis+nordan+the+sin+eater&source=bl&ots=6O1f0-DhZA&sig=FPGvwpy4FJpHWwpq_oP8DHulfqI&hl=en&sa=X&ved=0ahUKEwjW44Gq-uXTAhWG14MKHXuxDOMQ6AEILjAC#v=onepage&q=lewis nordan the sin eater&f=false Obviously this Sin Eater character is a mentally ill hobo who knows about the Sin Eater folklore. I"m just using it as an example to show that you can still convey the Sine Eater motif in an Ameircan setting without getting so detailed as to have to reference the six pence charge - like this American author did here in his short story about growing up in Mississippi. The main element of the Sine Eater motif is that the Sin Eater devours the sins of others, most often the recently deceased. Thus, the six pence charge really isn't needed unless you strongly want to connect the Sin Eater to British folklore specifically. Because of the last supper before he supposedly died for our sins, I've even seen the Sin Eater reference applied to Jesus - and he didn't charge six pence either. P.S. I found all this stuff out because I read this thread of yours. I had never heard of a Sin Eater before then.
  11. Good stuff, Paul. But to me, "the light in the hall" means the main light on the ceiling in a hallway, and, based on my own personal experience, that kind of light provides way too much ambient light for any shadow puppeteering. Just sayin. A better opening image in my opinion would be something like "Kids with a flashlight playing in the hall." P.S. The "just sayin" above was for Lazz. If you respond to this "real critique" with sarcasm and/or arrogance, I can do something for Barneyboy Bob too. <heh-heh>
  12. I like! But, waiting over 3.5 minutes and then kicking in drums was crime against this song.
  13. I think this has potential. During the intro and outro, it sounds like you make much better use of the whole stereo field than you do for the bulk of the song. Most of the song kind of sounds mono with everything in the center. I think if you can get some tracks more "out in space" it could really open the mix up in a good way. In my opinion, giving the drums/percussion arrangement more power and more space at some point would be a very welcome addition. For me, this sounds like it wants to have a "world beat" kind of vibe, and I think the drums, percussion and a bass need to help the song a lot more in getting there. I think you want a consistency because this is about getting lost in the rhythms of it all. So for me, it's not really a matter of drum/percussion variation, per se, but of getting the drums and percussion to be bigger-sounding, more interesting sounding, and spread over much more of the stereo field. I think the core drum loop you have is a good start for a stronger and fuller drum and percussion arrangement for this, but I think it's a just a start. This should really be "all about the drums." Just my opinion.
  14. FWIW, the U.S. does not wholly comprise "North America," and I don't think folks in Canada, Mexico and/or Greenland think Washington had anything to do with setting them free.
  15. LOL You are two peas in the same pod. My advice: (1) take your meds as prescribed; (2) resist your desire for self-imposed melodrama and stop taking yourselves and this site so seriously; and, (3) LAUGH, like I'm doing right now at both of you.