I really like this song as well. I like your style of composition in general, it's creative and unique. This song seems like you're reaching towards house/trance, but I'm not sure what to call it.
Anyway, the progression is nice and builds up just perfectly, and the tune is catchy and original. It doesn't get old at any point, and lasts for just as long as it needs to.
My only qualm is the vocals could, though they do work well and add to the song, either use more lyrical variety, or be used more somewhat more sparingly.
Your compositions are definitely professional sounding as hell though, and I definitely look forward to more from you.
Aw, shucks, now you're getting me all teary-eyed. In all seriousness, thanks for everything, man. It really means a lot to see a review like this.
In any case, I like to set challenges for myself, and this was one where I tried to make a (worthwhile) song out of four or five vocal samples. Normally, I'd also go for a bit more lyrical variety, but this was really an exercise in how much I could create from limited tools. Looking at it now, if I were to remake this, I'd probably ride the samples a little less hard, or make them a bit more different in each instance.
Thanks again, and I hope you enjoy the new stuff!
Hey, this is really good! It got a little annoying, but there's 99% of electronic music for you lol. Anyways, I'd classify this as some form Electro (not quite in the league of complextro, but close) And it's a really nice track throughout though.
Mind telling me where you got your bass? o.o it's sexy
Hey, thanks for taking the time to review! I agree on the genre verdict; don't think it honestly qualifies as Dance, but wasn't exactly sure how to classify it for the portal. As for the bass, it's actually a patch I made in Reason using the Thor synth, and I can hook you up with it if you have Reason. In the all-too-likely event that you don't, it's basically a saw-square combination (predominantly saw, with two square synths filling in one and two octaves up). Run separately through a LPF (saw and the one-octave-up square, no res necessary) with a filter envelope turning the frequency up from 520 Hz to 15 kHz with an attack of 70 ms and a BPF (both squares, no envelope or res manipulation necessary), then universally through another LPF (frequency set to 20 kHz, used for automation purposes). Then there's a widener and some heavy fuzz distortion, an optional bitcrusher, light EQ and reverb, and some compression.