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made some music or sounds if anyone wants to hear


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Yes, most of them I would also call "sounds."  There are some interesting "sounds" in there, some very interesting indeed, but right now I don't clearly hear a song running through them.  I'd really like to hear such a song, using these interesting sounds.

 

"A song," as I mean the word, is really just "a clearly-recognizable and systematically-developing pattern," which serves to create a context within which these various "interesting sounds" are introduced and developed.  The listener feels that it has an introduction, one or more developments, at least one pleasant surprise, and a conclusion.  The listener also feels that the composer had a definite idea of where he intended to take him, and that he took them there ... like a knowledgeable guide in an unfamiliar place. 

 

This "song pattern" can be absolutely anything, as long as it is there.  And, I think, "a suitable pattern" for this material should also be "quite abstract."  A musical journey, shall we say, "not for the timid." 😀  But a thought-out, cohesive pattern, nonetheless.  ("The tour-guide must have a map somewhere ...")

 

You've got some really very-interesting material there, "sitting haphazardly in that cardboard box over there."  I don't think that you need to develop any more material.  Start pulling some of them out and arranging them on a nearby table . . .

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9 hours ago, MikeRobinson said:

Yes, most of them I would also call "sounds."  There are some interesting "sounds" in there, some very interesting indeed, but right now I don't clearly hear a song running through them.  I'd really like to hear such a song, using these interesting sounds.

 

"A song," as I mean the word, is really just "a clearly-recognizable and systematically-developing pattern," which serves to create a context within which these various "interesting sounds" are introduced and developed.  The listener feels that it has an introduction, one or more developments, at least one pleasant surprise, and a conclusion.  The listener also feels that the composer had a definite idea of where he intended to take him, and that he took them there ... like a knowledgeable guide in an unfamiliar place. 

 

This "song pattern" can be absolutely anything, as long as it is there.  And, I think, "a suitable pattern" for this material should also be "quite abstract."  A musical journey, shall we say, "not for the timid." 😀  But a thought-out, cohesive pattern, nonetheless.  ("The tour-guide must have a map somewhere ...")

 

You've got some really very-interesting material there, "sitting haphazardly in that cardboard box over there."  I don't think that you need to develop any more material.  Start pulling some of them out and arranging them on a nearby table . . .

I greatly appreciate the feedback, I agree alot of my tracks aren't the most musically thought out pieces more of ideas trying to be worked out, I will use your advice thanks for taking your time to listen!!

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7 hours ago, VoiceEx said:

Who you callin human? 😅

 

It was a little hard for me to hear what`s going on in there. But from what I could tell, I think you have some nifty ideas. There were quite a few interesting soundscapes and maneuvers I can imagine would sit nicely if they were complimented by coherent patterns. Like. Some of your musical transitions, which are abundant, could actually fit very nicely if those were intros / outros / mid-transmissions, rather than being an overarching theme. I`ll give you an example to what I mean.

 

Lets say that you are building a none-traditional concept, or experimenting with expressionism. It would be important to pay close attention to the contrast between the various layers, and how it all ends up sounding on the surface. In other words: even if you are intentionally making a song (or sound) seem like an acid trip, mental breakdown, or even a hallucination, you would need to provide the listeners with a format that makes the actual song (or sound) flow.

 

Playing with impactful elements such as: shock, sensory disorientation, confusion, dissonance (etc etc), are more likely to leave a positive impact if they are taken in as part of the overall experience - rather than coming off as a blunt "assault on the senses". Meaning, that even if your intention was to express a "musical reflection" of a persons state of mine, or emotional prospective - with your current format - I think that the audience will only be able to meet you half way.

 

Just my two cents. I hope what I said made sense. You have some good ideas which could work. But I think you would benefit from giving your stuff more structure. You already know what your songs are about, right? but the listener doesn't. Meaning that if you can bridge that gap, maybe it will lead you to experiment with even more concepts.

Are you saying you're un-human? what you say makes great sense though. With my current music I'm working on transitioning to far different moods then back and what not, a lot of times I get stuck on all the background sounds and forget about the structural direction I was going if that makes sense, but thanks for listening and providing feedback it's greatly appreciated!!

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Here's my latest "try" ...

 

"Sounds ... you've got to have them."  Many bands – especially in the nascent 80's and 90's – defined themselves successfully by their "sounds."

 

"But, sounds need structure," and that "structure" is ... "a song."

 

"A song" is presentation."  It's how you first introduce your audience to your magnificent sounds, then lead them through it.  There are many time-tested "song structures" that you can use for ideas – from "AABA" to the Sonata to the Fugue.  But there is always something.  People expect to be introduced to your wonderful new sounds in the presence of a tour guide.

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