Not often do you hear electronic songs in 3/4 6/8 or 12/8 and more songs in general I think should be.
Reviews for "On Go"
Onefin responds:
i agree, 4/4 is overrated
WOAAAAAAAH this is so nice! <3
Give me the juice.
(Sorry for the lack of anything constructive, I just really love the song and suck at making music so any criticism I give is probably flawed or useless so instead I attempt to replace it with terrible humor). But seriously, you deserve a whole lot more attention, and serve as a role model to me in my music production.
Onefin responds:
but but
i don't have the juice ; ^ ;
(it's fine if you don't have words, i get it, it's the thought the counts right :D)
--- === NGADM Round 1 Review! === ---
I was super impressed with your track. As usual, you delivered on many fronts from fantastic production (including respecting them good ol' dynamics), awesome instrumentation with a blend of synthetic and orchestral and you kept me interested throughout thanks to a variety of themes.
Scores are weighted so that comp and prod are 75% of the score:
Composition: 10
Production: 10
Enjoyment, atmosphere, replay and all the other odd stuff: 9
I found your composition really impressive from a variety of themes with little obvious repetition to your tempo change; from the ebb and flow of the slower sections to the extremely catchy high points. This really showed off your attention to detail.
As I said, the production here is perhaps flawless. Everything has its space and the track is very well balanced. I think on repeated listens I will have to turn it down slightly as the sudden jumps from quiet to loud (because of the aggressive percussion and synths) becomes tiring quite quickly. I might have reduced the difference in levels slightly or found a way to prepare the listener's ear for the perpetual up and down. Mercedes (yes the car company) have done a thing around this in their new cars - the speakers play a really loud noise if you're in a crash but it's not as loud as a crash would be, therefore your ears are ready for the louder sound and are protected.
This was a genuinely interesting track which I will definitely come back to in the future. It has a great atmospere and consistent theme which you have developed nicely throughout.
If this wasn't NGADM I would just give you 10/10 but because I have to be a pain, it rounded up to 9.8.
Fantastic work!
Onefin responds:
hey thanks metal!
lol the "too much dynamics" complaint, i've received it once or twice but this is probably the first time where imo i think it's really justified and i could have toned it down :P spade said he got really tired of the volume after a while so i wonder if that was part of it
interesting fact about mercedes, didn't know that :) one more piece of trivia to add to my collection
On my Gosh! This is an amazing sOnG, ond truly deserving of the One Gold medal in your pod—cOnGoratulations! There’s a ton of stuff it does well. It’s cleanly produced, smoothly structured, and it’s sO. G.roovy! And can we talk about your transitions? 0:48, 2:33, 3:50, and many of the other transitions in the track show more than a talent for maintaining OnGoing structural interest; they’re evidence that you pay a lot of attention to detail, and you’re willing to put in the work to enhance the small parts of your piece that makes listening to your track feel like a next-level experience (unlike the GoOns that copypaste a single drum loop for four minutes). A 9.2 from me means that I was thoroughly impressed with your work, and will definitely be listening to this song outside of the context of the NGADM.
Anyways, you did a ton of stuff well, but imo, there are a few things that could have On Gone a bit better. If we’re looking at the overall structure of the song, there’s a bit of empty space at around 2:40-3:10 that has a lot of delicious atmospheric tidbits, but not much that would interest the listener in the same way that the rest of the song does. You did something similar in Aeolia, I believe, and while it does its part in creating structural contrast, I’d recommend adding something there that creates more of a sense of progression—some kind of melody or a soft beat, for example, to give more of a sense of direction than scattered pads and sound effects. Aside from that, the other big issue I had with the track was the lack of a main melodic motif. You have tons of great melodies throughout the song (that solo at 4:17, the SUPER CATCHY contrabass pizzicato bit), but the section at 2:05 is the closest you get to having a ‘main melody’, and it doesn’t pop back again! And sure, a song doesn’t necessarily have to have a main melody to be a good song, but for this a song with this kind of style and structure, a melodic motif would do wonders for tying the different sections together (and to add to the super scientific ‘hummability factor’ that I secretly judge all songs by).
But seriously. Incredible work! Don’t get the wrOnG opinion—I’m excited to hear whatever inventiOn Goes on in your head that will be added amOnG other submissions to Round 2!
Onefin responds:
i was ready for the wordplay you'd offer in this review :) my new favorite
my transitions are less about putting a lot of effort into small details and more about me just having experience doing crazy transitions from a past of putting like 5 billion different atmospheres in a single song :PPPPP like it's the only way i know how to transition lol
i see what you're saying about 2:40-3:10, maybe that would be a good time to reiterate 2:05? the melody at 2:05 is just a variation on 1:34, which is played a third time at 4:30
the problem with the melodies in this track was mostly because i used like 30 slightly different chord progressions and no single melody fit all of them :( have to figure out how to work around that next time