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Will Sketches

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  • Content count

    132
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52 Excellent

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About Will Sketches

  • Rank
    Experienced Player

Contact Methods

  • Website URL
    https://soundcloud.com/will-sketches

Profile Information

  • Gender
    Male
  • Location
    England (UK)

Collaboration

  • Songwriting Collaboration

Music Background

  • Musical Influences
    Prince, Michael Jackson, Fleetwood Mac, Bruno Mars, Calvin Harris, Soundgarden, The Prodigy, George Benson, The Police, Oscar Peterson

Recent Profile Visitors

272 profile views
  1. Words Away

    Well, I just love this. The performance is great. The mix is good. Yeah, again, it could do with some more dynamics. But it's your voice that is the star here. Some of the late-phrase inflections you use and the vibrato you employ reminds me of Chris Cornell. And he is hands down my all-time favourite rock singer (no one, in my book, can beat '90s Chris Cornell in terms of vocals). So that's definitely contributing to my enjoyment of the song. I really believe the performance, song, and mix as strong enough to make any comment more a matter of taste than something that would improve it.
  2. All In Vain

    I like it. The way you drag out some of the words made me think Thom Yorke straight away. I also got some hints of Soulwax's "Leave the Story Untold"; i.e., before they went electronic. Yeah, it does feel like you're being bombarded by the instruments at points. Especially the clavichord/clavinet(?) and the guitar. All instruments are full-blast, in your face, there's very little in the way of dynamics. If you correct that, build the song up from somewhere a little less loud, to a crescendo, I think it'll sound a lot better. Not that it sounds bad at all. The vocal and instrumental performances are solid, there's some very obvious skill and talent there. I can't say I agree with the way Fernando formulates his response. "[...] all these sounds and singing [...] Please stop doing this" ? Actually makes me chuckle a bit. But yeah, not the most constructive feedback. Good stuff man. PS: Just listened to your other song on Soundcloud. Wow, really like it. Your voice is frigging great.
  3. Sreyashi- Together

    Really good vocals. Not a big fan of the drums, to be honest, neither the snare sound (too much snap for my tastes) nor the busy sounding rhythm. I find it very hard to place this into a single genre. It's definitely not pop. There's some rock elements in there, the synth bass a bit '80s sounding (Airwolf anyone?), and then some of the single note organ a bit '90s dance sounding (and the chords more blues-y). But it definitely has vibe, and that's mainly down to the vocals, and the ambient sounds.
  4. Lost Children

    Ah, happy times then. Yeah, I can picture a scene where the camera's panning across several areas/rooms of the destroyed house. I'm assuming this would play during the aftermath of the destructive event. The choir pad gives it a sense of emptiness and sadness, and the bell sound reminds me of children's play toys. I would actually add something to the second half of the song; a sad single melody violin or something, to make it even more poignant. But what you have now evokes the right emotions, so I think it suits its purpose.
  5. Lost Children

    I find it hard to give feedback on this, because I am missing context. Could you describe the scene or type of situation in the cartoon you have in mind for this song?
  6. Electronic tune with '80s bits

    Thank you, @crystalsuzy!
  7. Cell Phone Junkies!

    Love the sarcasm created by the lyrics juxtaposed with the hectic-sounding arrangement. (that sounds way more pretentious than how I mean it to sound ) "It’s a part of me now, like an udder on a cow", seriously, LOL! I like how you've managed to mix different musical styles. It works well, and adds to the sentiment of the lyrics -- i.e., the world's gone mad, running around frantically, carrying these devices with us wherever we go. I mean udders. LOL I agree with what others have said about the mix. Good stuff. I'm gonna have another listen!
  8. Loud & Clear

    I interpreted "Please don't make me be alone again" in a kind of dark way. It's the "don't make me" that's kind of ominous sounding, as if he's going to do something to her to get rid of her, and "be alone again". It's kind of quirky in the way that "Hit me baby one more time" is quirky (also written by a non-native English speaker). It gives the lyrics extra depth -- some mystery, something dark. I don't have a problem with the song being two chords at all. From the minute it starts, it's clear this is a dance-oriented song. And so I automatically pay less attention to chord structure, and I'm sure a lot of people will do the same. It's just not as important in dance as in other genres. The beat's there, the melody is there. Sure you can add an extra chord or two, or even a bridge. It will make the song different, perhaps appeal more to a non-dance audience, but won't necessarily make it better, IMHO.
  9. Loud & Clear

    This sounds great. There's nothing in the mix or production overall that bothers me, it all hangs together really nicely. I like the drums. They're different from what one would expect, but they fit well, in my opinion. Really like the little syncopated percussion thing going on towards the end of the song. Yeah, there are things I would suggest to do differently, or add, in terms of the production (e.g., some more depth to the vocals in the chorus). But this would only change the song, not make it better, necessarily. It's great as it is. Nice!
  10. And that's fine. I don't like rules either. I don't think you have to see it as a set of 'rules' per se, though. I believe there's two stages to the creative process. The first one is: get it all out, no rules, no overthinking, just let it flow. The second stage is: edit what you've got. The second stage works best with a fresh pair of ears (i.e. give it some time, a day, a week, whatever). Then what and how you edit ultimately depends on what you want to achieve. Mass appeal? Think of the 'rules'. Purely one's personal gratification? Think of yourself. Then there's a middle road. The middle road is key. It allows as wide an appeal as possible while maintaining the song's integrity, and that of yourself as an artist. So, you can create without rules. And then afterwards redact with some rules, depending on your goal. That's what I think at least. Sorry, extremely off-topic, so I'll stop. PS: Having said that, I really enjoy your music on Soundcloud. There's an energy to it. A similar energy I get from listening to really early Soundgarden (UltraMegaOK, in particular). I think if you spent some time promoting it, you'll find wider appeal than you may think. But that's just my opinion of course.
  11. 1980

    This one took me right back to nostalgia city. First the NES-like synth in the intro, followed by the synth in the chorus. Good stuff. A question: Do you want the song to be firmly rooted in the '80s, or is the idea for it to have elements of the '80s but be more-or-less current sounding? If the former, then I'd suggest some more (gated) reverb on the snare. If the latter, then again I think the drums you have right now are key to achieving that goal. Either way, sounds great. Looking forward to hearing the melody line.
  12. Electronic tune with '80s bits

    Thanks, that's really useful feedback! The vocal and lead guitar production are two things that I felt date the song, so it's good to have that confirmed. I'm gonna leave this track for a while, and come back to it with fresh ears because I must have listened to (i.e. scrutinised) it more than 100 times over the past week or so. Thanks a lot!
  13. Electronic tune with '80s bits

    Should be fixed now.
  14. I think the original claim is false. Not all songs have the same 4 chords, or somehow follow the same progression or some variation there of. Some have fewer, some have more. I do believe that there are certain chord progression patterns that are used in the vast majority of songs. Things like a dominant V almost always resolving to a I, or to a lesser extent, a IV to a I. Or the prevalence of ii-V-I in jazz and its derivatives (some modern pop tunes make clever use of this progression; just listen to Bruno Mars's new album, for instance). But that's just the way Western music works. No one can tell an artist or musician how many colours or chords they should use. But, there is a threshold beyond which a song will sound too complicated/too hard to follow for the average (read: 95% of) listeners. And as a result they will tune out, press skip, or change channels. This is exactly why the pop 'formula' works. There are certain rules of thumb (an easily memorable and simple melody, common chord progressions, 4/4 time signature, etc) that musicians/producers stick to when creating songs that appeal to the masses. That's just the way things work. Then there's certain sounds and production techniques that are the flavour of the month/year that people will be drawn to, because it sounds familiar. The trick is to deviate slightly from all of this, but not too much so as to alienate your audience (too 'out there'), or bore your audience ('sounds like everything else on the radio!'). That's when you become 'original', a 'trend setter', 'oh he's so fresh and got his own sound!'. It's like anything artistic. Even stand-up comedy. Humour happens at the intersection of what is expected and the unexpected. Too much to the left, and it's boring, old hat. Too much to the right and no one gets it.
  15. Electronic tune with '80s bits

    Thank you @Sreyashi Mukherjee. I chose the synth sounds to be mostly '80s, but then tried to produce it like a modern track. There's some production stuff in there that I borrowed from French House which is what could make it sound '90s. It's a tricky balance to get right. Ultimately where I want to end up is continuing to create songs on my guitar, the way I've always done it, and then produce in a way to make it sound current. Current in the way that Gramatik, FKJ, Calvin Harris, or even Daft Punk (geniuses that they are) sound. It's not easy!
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