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Found 155 results

  1. Over the past few years, I've noticed a growing trend. Lyricists have begun referring to lyrics as "songs". It's becoming more & more commonplace on musician/writer forums like Songstuff.com. To be perfectly honest, it bothers me. I've considered mentioning it in posts...on the forum itself, but decided to do it in a blog article. A blog is less likely to be taken personally. Back when I began to notice this trend, I whipped out my trusty Websters dictionary & looked up the word "song". Much to my surprise, one of the possible definitions listed is...."a poem easily set to music". Go figure! So I guess technically, it's not an inappropriate use of the term. Still, it does seem needlessly confusing. After all, we have a perfectly good, time-tested, accurately descriptive, universally understood term for lyrics...."Lyrics"! Regardless of Websters one technical exception, use of the word "song" implies a number of characteristics.... That it's more than simply written text. That it's able to be listen-to, or played (as in the case of sheet music). That it contains some melodic, musical or rhythmic elements....above & beyond basic lyrical meter. I'm willing to bet that much of the general listening public shares my preconceived notions. Don't think so? OK then....do a little test for yourself. Ask 10 of your non-writer friends to describe what comes to mind when they hear the word "song". Any bets as to how many of them respond "words-only"? So why has this practice become so commonplace? I can't know for certain, but I can make a couple of educated guesses. After all, this is a blog. It's human nature to embellish whatever we do...along with its value & importance in the overall scheme of things. Bluntly put....it sounds more impressive to say that you write "songs". Safety in numbers...someone does it, someone else mimics the behavior...the more we see it, the less anyone bothers to question its' correctness. So what am I really getting at here? First of all, I'm not implying that lyricists aren't a valuable part of the songwriting equation. They certainly are! It's the word "part" that some seem to be ignoring. Here's a quick example of what I'm talking about. An engine is an indispensable part of a car. Fact is, a car won't do you much good without one. Yet, you never hear a mechanic refer to an engine...as "a car". Despite its importance, they recognize it as only a part of the final product. I imagine they also recognize how confusing it would be, if they began calling 2 different things by the same name. I'm also a bit bothered by our seemingly endless need to alter the traditional meanings of words. Take the word "hero" for-instance. Use of that term was historically reserved for extreme behavior. Thirty years ago, when you heard the word used to describe someone, it was safe to assume that they had done something truly extraordinary! But nowadays...you can't turn on the news without hearing the term applied to countless situations where people simply did....what common sense would dictate they do. Forgive me, but that's not heroic behavior! That's living your life in a responsible manner! Yes....we should encourage, recognize & reward responsible behavior. We simply shouldn't label it heroic! Give us another 10 years & the word will be virtually meaningless. This trend is making effective communication un-necessarily difficult. On musician/writer boards such as Songstuff.com, I regularly see member posts asking people to "review their song". Songstuff has both a "lyric critique" section and a "song critique" section. Which of those 2 sections would you guess that poster is attempting to direct you toward? Fact is....we don't know! We also get many inquiries about "how to post a new song for critique". Quite frankly, we don't know how to answer! You see, the procedure for posting an audio (song) file, is completely different from the procedure for posting a lyric (text-only). Well that's all I have for this installment. Hopefully...if you're a lyricist, I haven't angered or alienated you. I promise that wasn't my intent. I'm simply trying to improve our ability to communicate. Help us to help you folks! If it's a lyric, please call it a "lyric". BTW - If you haven't already figured it out, the answer to the question posed by the title is - "When It's A Lyric"! Till next time! Tom Hoffman Songstuff member profile http://www.tune-smith.com http://www.youtube.com/user/DrumStuffTH
  2. Hi all, I'm Giora tal

    Hi all, my Name is Giora Tal and I'm a singer songwriter living in Portland. I teach guitar on my free time in my local community center and make small music production in my home studio. I wish to collaborate with more artists and make some cool music. I currently have a few music blogs, YouYube, SoundCloud and some more. Feel free to visit and share. Giora T.
  3. What makes a good collaborator?

    So what makes a good collaborator? I ask because apparently I'm not. But I'd like to be. My situation: I'm not an experienced collabber. Technically I suppose I'm theoretically kind of a multi-instrumentalist, I guess. I play some guitar, some keys, competent on bass for pop and most hard rock (not necessarily metal , and def not jazz or prog) - but I'm only good on drums. I write music and lyrics, and I do everything down to the fx. When i get an idea, I tend to get a large spectrum of it: the lyric content, and lyric feel, the word imagery, the music genre or sub-genre, sometimes even down to instrument tones. Of course I don't get most of the details right away (and sometimes never), but I get a fairly complete overall picture of where I want the whole thing to go. I get its personality. Then I have to rise to the occasion and make it real. Aaaand it seems I also do this when collabbing. I tend to take over because it's my responsibility to bring my idea to life. And yes, I definitely think I know what I'm doing. Obviously the jury is still out on whether I actually even have half a clue, but I always try my best. Collab #1 fizzled. Part of that was technical delays on my end, but the initial writer eventually decided to return to a version of his original draft, and maybe shouldn't have offered his idea as a collab in the first place. Maybe. I dunno. The 2nd is an EDM song, which I'm very new to, and my collabber is better at it than I am, but completely missed the musical feel of the early draft lyrics I sent - maybe partly because I hadn't captured that feel in those early lyrics anyway, and partly because the subject matter and the target audience aren't things he can relate to personally. We were both very upfront about that before jumping in. So I sent an early draft version of the whole thing, and he kept bowing out, and eventually said I should send him my complete version and he'd like to help me produce it. That's great, but as a writing collab, I'd call it a fizzle. Collab #3 was some very nice pieces of music from one writer, and a very nice lyric idea from another. Just words here and music there. I warned them I was getting serious ideas for the whole thing, and would prolly try to take over. They said to go for it. So I arranged the music into what I'll swear on a copy of Atlas Shrugged is meant to be the verses, chorus and bridge. This required significant lyric rewrite, so I also wrote new lyrics with the feel and imagery I told them upfront I had in mind. The music writer seems to be happy, but the lyricist understandably feels left out. I used as much of the original lyric as I could make work, which turned out to be just the overall idea, the title, and the bridge (which I fleshed out and re-paced). So this hasn't fizzled, but if an initial writer is unhappy, I can't call it a success. These are all good and talented people (and I've found them all on these critique sites). I've been happy to have a chance to work with them. But the fizzle rate is making me seriously consider abandoning collaboration altogether. Which I really don't want to do. :-( So WTH?? Am I just one of those people no one can write with?
  4. Hi all, hope all is well. I usually write lyrics once I have a basic melody and maybe structure. This is the melody track Here is the first draft of the lyrics, what do you think? Maybe it's the weather, 100 of raindrops in your heart. They say it would get colder but you haven't felt warmth in a very long time. Wake up every morning, and you feel like you left something behind They say it would get harder, but harder is no harder when you're aching all the time.
  5. Hi all! I'm trying to write a song (after a long time) and I'm blocked! Main theme: I'm trying to write about a situation where your life partner is feeling shitty and things are not going well for him/her. You are doing well and work hard for it and you look at your partner and thinks they can do better and they should stop blaming the circumstances for their problems like blaming a force of nature for destroying everything (out of your hand) I want to use the "Force of nature" as a metaphor for "problems" and in overall tell a story from the "Happy" part of this relationship and how this "shitty" weather, can influence and ruin stuff. first draft: Verse 1: Maybe it's the weather, 100 of raindrops in your heart. They say it would get colder but you haven't felt warmth in a very long time. Wake up every morning, and you feel like you left something behind They say it would get harder, but harder is no harder when you're aching all the time. Chorus/Pre chorus: Forces of nature, washing you inside out Laying on a feather, won't get you anywhere. So stop blaming the weather, when you get stuck Forces of nature, washing you inside out. You can listen to the tune I work with for this song here Thank you!
  6. Say it

    Hello from Sweden! Started recording something I've been writing on for a while. I'd like to hear what you think of the songwriting so far. But any feedback are welcome. https://soundcloud.com/zzzeb/say-it/s-hKOQ2#t=0:01 Say it Verse: We've cleaned out the house now And we're out on the porch again Waiting for the mover to come to put an end to it all Everything for the last time Nothing left to mend no Walking down the stairway But I don’t think I want this to end Chorus: Please Say you hate me to the bone Say you don’t need me anymore Say you don’t feel anything Make me your enemy Make me walk out of here Verse: You Got the keys to the car now and I got the motorbike yeah We can just ride out of here To the point of no return No more tough words to say Time to start to forget, oh no Walking down the stairway But I don’t think I want this to end Chorus: Bridge: All our memories packed in bags full of polaroids From the times when I could fill your eyes with tears of joy All of our memories split in half like all our dreams and I don’t think I want this to end Solo: Chorus:
  7. Lyricist Available - All Genres

    My name is Hayley and I am a lyricist of all genres of music. I have been writing lyrics since I was little and have worked with many independent artists around the world including a producer in Japan. I write on all topics & subjects and would love to work with other artists/songwriters/musicians. I have 2 ways that I work with collaborators and you can choose which you would prefer: 1) Collaborate with no fee BUT I do REQUIRE: Credit as the songwriter, Royalties if the song goes anywhere, and permission to use the song on my pages as references to my work and to send to music publishers. 2.) Collaborate with fee, credit (royalties if it goes anywhere.) I am always available to collaborate and can usually finish a song within a few days. Please message me if interested! Thanks Hayley.
  8. Hello there, I am a musician from Jamaica. I have a track in the form of tropical house that has been worked on quite a bit that really just needs lyrics.I have been trying to I would love to collaborate with many of the great minds on here. If you would like to collaborate with me in any other way, please to let me know.
  9. Princess - Synthpop

    Here's a song I have been working on lately. Let me know what you think would make it better. Thanks! Verse 1: Back’s against the wall and you are Nothing but a spectator Can’t drown out that self doubt, now Just relax and settle down, now Why did’ya come? Pre-chorus: They’re watching me, watching you, watch me They’re watching me, watching you, watch me Chorus: Bottle label princess in you Picked apart, in a sundress Verse 2: Building up your little castle As your bottle comes unraveled Walling out the spectators Can’t drown out that self-doubt, now Just relax and settle down, now Why did’ya come? Pre-chorus: They’re watching me, watching you, watch me They’re watching me, watching you, watch me Chorus: Beer bottle label princess in you Picked apart, in a sundress Verse 3: Looking out at all that you aren’t Clutching at your only comfort Nothing but a spectator Watching all the spectators Can’t drown out that self-doubt, now Just relax and settle down, now Why did’ya come? Version 1 https://soundcloud.com/josephinethehorse/princess Edited version:
  10. One of my all time favourite songwriting collaborations is that of Chris Difford and Glenn Tilbrook - the founding members of UK band Squeeze. All the Squeeze hits were co-written by the pair - Chris writing the lyrics first and then Glenn composing the music. Chris has compared the moment he first hears Glenn's compositions as like opening his Christmas presents. I met Glenn Tilbrook last year and shook his hand which was a dream come true for me I'd be interested to know about other Songstuff members' all time favourites........and have you ever met them?
  11. I made music using the crying laughing emoji! 😂 This is my first attempt at creating a MIDI drawing that actually sounds good. It ended up being an epic orchestral piece with jazzy chords! What do you think? 👌🏼💯🔥
  12. This is the first installment of a blog series. The series is intended is to provide a peek behind the creative curtain, taking an in-depth look at the process itself. For this installment, I'm going all the way back to the beginning. "Slow Down" was my very first song. Originally written/arranged & recorded in 1995, it was re-recorded in 98. The Idea In past articles, I've pointed out that my songs typically evolve from one of 4 starting points: - a chord progression - a riff/pattern - a section of melody - a central theme In this case, the idea was a basic progression I stumbled upon. Not really a chord progression in the strictest sense, but never-the-less a progression. While experimenting with combinations of 2 and 3 note intervals, an interesting pattern began to emerge. It's built upon traditional I-IV-V framework, but layered changes within that framework give it a unique flavor. Rather than try to explain it, I'll show you in a brief video which...... Shows a tablature rendering of the primary pattern positions Demonstrates the actual progression http://youtu.be/yxWZMHQy10c Fundamentals The song is set in Mixolydian mode. For those unfamiliar with the term, Mixolydian mode is essentially a diatonic major scale/key, with the 7th flattened. The flattening of that one note alters the fundamental step pattern of the key. That single change in structure has a huge impact on the flavor of the resulting composition. It's common practice for songwriters to step outside of strict key structure. In other words, it would have been OK for me to employ notes not contained within the basic 7-note scale (A mixolydian). That being said, I chose to remain within the confines of that scale! The vocal melody, bass guitar, 2nd & 3rd guitars were set in A mixolydian, as was the entire arrangement for the bridge section. The secondary guitar part is comprised of 2-note intervals. Guitar #3 is single-note leads and fills. The 3-note combinations played at the outset of each A, D & E section, are the only things vaguely resembling traditional chords. Each combination is comprised of a root (tonic), a 5th and a 9th. Definitely chords, but by no means traditional. Structure Introduction (8 sec.) / 8 Bar Musical Interlude / Verse-Refrain / 4 Bar Interlude / Verse-Refrain / Bridge (Middle- / 8 Bar Interlude / Verse-Refrain / Ending w. fade Subject Matter Because of the feel established by that primary guitar progression, the song wouldn't have worked with an uplifting lyric. Serious, darker subject matter was called for. Substance abuse (specifically alcoholism) was my final choice. The lyric was written from the perspective of the alcoholic, in this case a male. It's intended to depict the typical downward spiral of both the substance abuser and the relationship. The idea was to reveal the changing mind-set of the abuser as the addiction progressed & the relationship disintegrated. As is the case with most of my songs, the melody was written before the lyric. I also had a specific meter structure in mind. The downside of this particular structure was that it wouldn't allow for a wordy lyric. I had to rely heavily on subtle changes in the person, tense & exact wording to get the lyrical message across. Personally, I enjoy the challenge that comes with this style of writing, but it does present obstacles. The message/meaning isn't as obvious as it is with other styles. A greater burden is placed upon the listener to listen intently. Unlike more popular lyrical styles, the listener can't cherry-pick key words and phrases. The lyric needs to be taken as a whole for the message to come through as intended. Lyric I smile and start another day You smile and tell me it's OK We should have known we would get through it You'd think we'd know by now I promise I....won't drink much tonight I know I blame my life on you You tell me I don't have a clue You should have known not to back-talk me I'd think you'd know by now I know that I....said I would slow down Should slow down Must slow down Will slow down Next week swear I'll slow down! I get up & start another day You're not here to tell me it's OK I should have known you didn't love me You'd think I'd know by now I don't care if...I ever slow down! Final Production Notes Both the 1995 and 98 recordings of this were done on a Tascam 424....4-track analog cassette recorder. Some years later, when I upgraded to a digital recording setup, I dumped the original 4 analog tracks onto 4 empty digital tracks, cleaned them up a bit, compressed & remixed the song. To give you an idea of what I was working with...... The drum track was recorded all at once. No overdubs were possible, because it was done using a freestanding electronic metronome. With the old analog decks, if you tried to record a standard click-track, you'd get ghosts of it bleeding through to other tracks. Even after the click track was erased, remnants of it remained and would be heard on the final recording. The drums & bass guitar shared a single-mono track on the cassette recorder. Drums were recorded first, then primary guitar, then bass. At that point in the process, a combined premix of drums and bass were bounced over to the only remaining track. That allowed the original recordings of each to be erased....opening up two additional tracks. The 2nd guitar was recorded on one of those, lead vocal on the other. The final lead guitar bits were recorded last, wherever open track space remained. All the guitar parts were recorded through a mic'd amp, with effects already applied. Drums had to be recorded with individual EQ adjustments & effect already applied. Compared to current standards, this was the equivalent of working with stone knives & bearskins. Honestly.....given the limitations of the process, I'm amazed that it sounds as decent as it does. Overall, it's a bit muddy, the vocal could sit a little higher in the mix and there are several predominant "s" sounds in the first verse vocal. Hopefully, you're able to overlook the production shortcomings and enjoy the song. YouTube Video Version (*includes full song) - https://youtu.be/RCk-QW_smaw Tom Hoffman Songstuff member profile http://www.tune-smith.com http://www.youtube.com/tomhoffman1
  13. Hi there, I'm Omar

    Hi there everyone I'm a 21 year old singer songwriter from the UK, here to share, talk about and lsiten to music (:
  14. Hello, I would just like someone's opinion about something. So I find it very hard sometimes to find a melody that sounds good but hasn't been used before. Very often, when I find something good, I realize what song it's actually from. But... it's not always a long melody. Sometimes just one bar of 4/4. So my general wonderment is this: If I'm writing a melody, and one bar is similar to an existing song (we're talking about 3 seconds of similarity here), should I just use it as long as the other parts of the melody are different than the song in discussion or am I being an extremist of originality? Thanks!
  15. Hey guys, I am new to the site and have a few questions regarding mapping out the drums to my songs. A little background, I have been playing instruments, singing, and songwriting for over 10 years. I have alot of live experience and a good deal of studio experience as well. now to the question. I have been working on an alt rock/pop punk album for a couple years now and am in the process of recording. I have all instrumentals and vocals worked out but my struggle is with drums. In the past I have always worked with a drummer who has written their own parts for my songs but currently I am on my own. I have a basic understanding of drums and can write basic beats and fills but lack the knowledge to write really unique and stand out pieces that I would feel comfortable releasing. So I would basically like to know, are there any guidelines to what accents should be used and when (like what beat do you typically hit an accent cymbal, and which to use ect..) ? Information I'd really like to hear as well would be mixing. I use drum programs to map out my drums such as superior drummer and dont quite understand changing the velocity and eq on drums. sorry if this is vague but I am very inexperienced with writing drums and would love to gain some insight, thanks! Eliott
  16. Hello From Philly!

    Hello! My name is Mary Allain, I am a music student and Philadelphia based singer/songwriter and I'm here because I really need some feedback on my songs. I have written a lot but not recorded much, so when I have recordings of my music I am really looking for a lot of advice when it comes to recording, mixing, and mastering (I am awful at Pro Tools so help with that would be awesome). I am currently working on a website and better ways to market myself so any help at all with that would also be greatly appreciated. Just a little bit about me: As of right now I play 7 instruments. I play piano, guitar, oboe, english horn, ukulele, mandolin, and the alto saxophone. I started taking piano lessons when I was 6 and ever since then I have been completely hooked on music! I've taken private lessons in oboe and guitar, and have sang in many ensembles throughout my education, but I have taught myself everything else. I write songs and have done a very small amount of composing and producing, but I am much better at lyrics than at melodies (aka I'm very bad at melodies). What I really want out of Songstuff is a place to get real criticism of my music from people who know what they're doing, and hopefully eventually have some collaborators so I can learn even more. As a music major currently at college, my ambitions for my future are to hopefully be a songwriter, lyricist, producer, or just studio tech, but obviously I need a lot of feedback and a lot of practice to achieve these goals. Thank you for all your help! Mary Allain
  17. April Audio Blog

    Hey All, I've just started writing an April Audio Blog and have just published the first article: "5 Reason to Record Your Song Today". I hope to continue writing articles on various aspects of song-writing, music, recording etc. What sort of topics do you feel would encourage you as you seek to grow and develop as a song-writer? Are you interested in music tech, recording equipment, songwriting techniques, music promotion etc? Any feedback is much appreciated. You can find it here: https://www.aprilaudio.com/5-reasons-to-...ong-today/ Or on the Facebook page here: https://www.facebook.com/aprilaudiomusic/
  18. The Value of Knowing Your Worth

    "Hey, can you come play my party for free beer?!" "If you come play guitar for me for $50 this time there will be more gigs to follow!" "Do you have some unlicensed or royalty free music I can use for my video?" "I can pay you in (insert social media platform) more followers if you do this for me." Knowing one's value or worth is the best advice I could ever give anybody wanting to jump in this crazy music industry...OK, the end!! Whew, thank goodness you don't have to read anymore! Seems so simple, right? Monetarily speaking, knowing your worth can be an incredible advantage to your career, or not knowing what your "product's" value is can be a horrible disservice to you and your fellow colleagues. This is what I mean. What we do in the music industry whether it be a song writer, jingle composer, player, artist, manager, booking agent, etc. is entirely different than any corporate structure set in any other genre of business. There is no infrastructure to evaluate how much you should be making on a global scale. There isn't a chart on the internet to tell you how much you should be making. That certainly would make it a lot easier. From what I've learned, culture and the city you live in seem to set a standard. Granted I can only speak as an American understanding the evaluation process in music. Los Angles, New York, and Nashville are what I call the big 3. From there I would say the next tier cities could be an Austin, Texas or a New Orleans, Louisiana for example. But the big three usually set the trends in the largest commercialized music markets (Pop, Rock, and Country). They also have more opportunities in all areas of music as well. How much should I charge for my services? It all depends on your culture, city, and what will you gain out of it. In Nashville, a guitar player hired to play some songs have a pretty standard base rate of a local show getting paid $150 and if there is travel involved no less than $200. But I've excepted gigs for a lot less. Even $50! In corporate business suit and tie world they would ridicule you for taking a 75% cut. I don't blame them. Let that percentage sink in. I didn't know what I was doing was undermining a system that would devalue and under appreciate a player that would be well deserved of a base pay of $150. Integrity in the market place is a concept that , in monetary terms, people will know what to expect. Consistency if you will and it even sets a bar predicated to a system that can establish tiers. For example, do those local shows for $150 and when you have the street credit eventually you can make the jump up to $200, then $225, and then so on, and so on!!! Your culture may have something set in place. Maybe? Maybe not? Isn't it funny? Do you ever wonder if somebody slapped a sign on your back that says "will work for free" instead of "kick me!" Know your worth. Set a standard. Educate yourself from other musicians/writers/engineers/blah/blah/ bah. Let those that have walked that path mentor you. Help your community by establishing that your vocation as a creative is important to be worth given money. I had a coffee with a friend when I first started traveling to Nashville. I expressed that I didn't know my value or even when should I take a gig. I still use this rule to this day and I absolutely love it, and I think it applies here. After he mentioned base rates in Nashville he ended the subject by saying, "Two out of three ain't bad." 1. Is the money good? 2. Do you like the music? 3. Are they good people or are they fun to hang out with? "If you can say yes to at least two of those...two out of three ain't bad."
  19. Hi: Sometimes years after I've "finished," and "released" a song on CD, I see ways to make the song better. When I perform the song live now, I do it with the improvements. Just because the song's been recorded does that mean the recorded version is "it?" After all, none of my songs are on the charts. It's not like Paul McCartney changing parts of "Yesterday." But still some people in the audience notice and ask "why did you change it?" Is it my obligation to keep a song the way people know it even if I can make it better? Tamara
  20. For all members using Soundcloud - we now have our very own Soundcloud account. https://soundcloud.com/songstuff-community Please follow us and look out for our regular Songstuff Community Member Sets where we showcase songs which have been posted here on the site.
  21. Quite an oldie from me but I thought I'd post the acoustic version here. Collaboration between myself and composer Serg Butler from Moscow. The lyrics were written to a keyboard melody. Before You Go (Music composer: S Butler, Lyrics: J Hutchinson) (Verse One) I used to think that life was very simple And nothing ever magic happened Time just passed me by I always thought that I was no-one special I'd always be alone It was the way that things would be (Pre chorus) Then, you just came into my life And now, everything has changed (Chorus ) Before you go just tell me one thing I'm left always wondering When I think of this I cry Say that you know that I'm always waiting Nights anticipating When you're back again I'm high (Verse Two) I used to think that love would never happen I often used to wonder if This chance had passed me by I always thought romance was just for others I'd spend my time alone Love just wasn't meant for me (Pre chorus) Then, you just came into my life And now, everything has changed (Chorus ) Before you go just tell me one thing I'm left always wondering when I think of this I cry Say that you know that I'm always waiting Nights anticipating When you're back again I'm high (Bridge) I can't explain How you've made me feel about everything I won't complain No matter how often that you need me (Chorus ) Before you go just remember one thing I'm left always wondering When I think of you I cry And don't you know that I'm always waiting Nights anticipating When you're back with me I'm high again (c) 2012 S Butler/J Hutchinson Recorded at Discolife Studio, Moscow.
  22. Hey guys, I'm mainly a composer and a songwriter working with a piano, guitar and a bass. I don't have any good recording equipment yet, other than logic pro x. I am content as a songwriter and composer, but as soon as it comes to actually producing what I've wrote, I am never satisfied. There always seem to be quiet a corny, supermario bros vibe to the sound. I'm using mostly pre-set software instruments such as the on board pianos, basses, strings, brass drums etc. I wonder if anyone else has had similar issues? I'm hoping it's my production technique as apposed to the actual intellectual property of the music. Thanks Josh
  23. Hi all! After receiving so much helpful feedback for our last song "This Is Not Me", I dare to post the second song we recorded. This is our new Song "In Your Face": What do you think? What about the mixing? About the violins, the vocals, the song as a whole? It was recorded at the same time as the last song, so all those great feedback you posted for "This Is Not Me" did not yet left its marks in this song. But in the next one! This time, it is a live recording as well, but we did re-record the main vocals again. Also, the guitars where recorded a second time to make them sound bigger. Thank you in advance! Yves
  24. Fade Away - Song and Video

    Hello everyone, Excitedly and humbly presenting my song, 'Fade Away'. Please view/listen and give your critique on lyrics, music, playing, singing, video... Looking forward to hear your constructive criticism to learn and better. Thank you, Priyan 'Fade Away' Lyrics: It's a nice morning To fade away There are winds calling To sail away Am I through with the blues Changing hues of the truth Can I fade away Then my words stumble And they fall And I see the writing On the wall As we go down life's road Searching for the pot of gold Can I stay away Plenty of voices fill the air The louder you scream, the more you're heard I wanna blank out all the noise Ride away from all the choice Where I just can be me It's a nice morning To fade away There are winds calling To sail away
  25. Hi There! We just recorded our new Song "This Is Not Me". It is a live recording in our band room (except for the guitars, those have been recorded a second time to "fatten" the distortion). Any feedback, comment, opinion is appreciated and helps us to improve ourselves for the next record Cheers! Yves Lyrics: I lost the ground, can't feel it anymore, where I have to go? Oh I lost the ground, can't feel it anymore, there's nowhere left to go. Let them push me hardly and threw it all away, let it destroy myself until I'm done and gone. You believed in me and gave me all your trust, now you let me be and I feel so lost. My heart is full filled with sorrow, so deep that I can't run away. And empty is the room, where I feel hollow, so sad and freezing cold. I lost the ground, can't feel it anymore, my voice has gone away. Oh I lost the ground, can't feel it anymore, dark clouds have come my way. Oh I never felt so lost, I don't know where to go. This is not what I used to be. Oh I never felt so lost, I don't know where to go, this is not me. Please believe me I need your help to stand, I cry out here just to hear myself. I don't know what I used to be, this is not me. This is not me. Not me.