- Music Reviewer and Artist Interviewer at The Big Takeover, Stereo Embers Magazine, Rebel Noise, Delusions Of Adequacy, The Record Stache, Label Obscura, Indie Music Review, and my Stratosphere Fanzine Yahoo Group.
I write reviews, interview artists, and submit news at music sites TheBigTakeover.com, StereoEmbersMagazine.com, RebelNoise.com, Adequacy.net, TheRecordStache.com, and LabelObscura.com, and IndieMusicReview.com. I also supply feedback to music creators about their songs here at Fluence.io. I am an established writer and have written hundreds of insightful music reviews and produced hundreds of fun and informative artist interviews over the years. My focus is on indie pop, indie rock, electronic, and alt-folk music, but I am not limited to those genres. I began my music career in the early 1990s by putting out a music-related paper fanzine titled Stratosphere which is now in online form at my Stratosphere Fanzine Yahoo Group. In 2007 I became a contributing writer for the long-running music site Delusions Of Adequacy. Over the years I expanded my reach, writing for other music sites as well, including Rebel Noise, Tasty Fanzine, Northern Transmissions, Stereo Embers Magazine, Label Obscura, Indie Music Review, The Spill Magazine, The Record Stache, The Big Takeover, GigSlutz, and the now-defunct Junk Media.
- social media, music writing, music writing / blogging, music journalism, music curation, music blogging, music interviews, music reviews
- indie rock, alternative, indie pop, metal, rock, electronic, singer/songwriter, music, pop, dream pop, downtempo, dance, ambient, trip hop, folk rock, film, indie folk, synthpop, fashion, shoegaze, electro pop, psychedelic rock, chillwave, alternative folk, post punk, post-rock, pop punk, lo-fi, entertainment, film / video, pop culture, lifestyle, soundtracks, food, photography
- NJ, USA
Hello Milo Starr! Your song definitely had me hooked from its down 'n' dirty, swamp-blues sound to your sweetly ripe, seductive vocal delivery. Love the zig-zagging rock 'n' roll guitar reverb, punchy drum beat, and sharp lead electric guitar line - all very The Cramps-like - along with your alluring vocals and amusing, story-telling lyrics about a 'vampire daddy' who "...goes to sleep at dawn / Four am / Don't even yawn." Like you mention in your background info, you have a history of working in film, theater, and comedy and you bring all of this entertainment value to "Vampire Daddy", taking on different roles, and vocal styles for each part. I felt like I was listening to the audio track of and soundtrack for a campy, Rocky Horror Picture Show-like film! And that's a very good thing. But I also enjoy how you bookend that with the more traditional swamp-blues sonics of fiery guitar distortion and drum beat stomp. Well done!
Wow, "Dysmorphic" is beautiful song and harks back to the golden days/daze of early 90s indie pop. It radiates a gentle longing through its crisp, but measured drum beat, occasional single cymbals crash, ticking stick percussion, hazily shining guitar strum, and soft, wistful vocals. The song is subdued, but captivating, a slowly unfurling charmer with nice touches, like the sporadic vocal harmonizing. You spin a bittersweet story-teller, where a relationship seems to be in jeopardy, but it's all done very subtly - no overt drama; just inklings of a disturbance, at least from the vocal tone and sonics. The lyrics tell another, more blunt, story, where the protagonist states, "No one was even right." and the other half, so to speak, declares, "Don't you know... / You're not happening." Ouch. But the tough lyrics are couched in such a languid, longing vibe that the words don't sting quite as much as they could. Although I'm having a bit of trouble discerning all of the lyrics, I'm really enjoying the overall reminiscing tone and the softer, airier vocal delivery that calms like a balm. Lovely.
Heya guys! You've got a sweet tune going for you here and I can understand The Smiths references for the guitar sonics and the lyrics and The Replacements for the casually delivered vocals. I'm a sucker for a good jangle-pop tune and yours definitely caught my ear and swept me along for the length of the song. "Un-Miserable" lightly carries a heavy malaise at its heart (from what I can make out, it's about miscommunication and failed relationships... ummm, maybe?) and it flows with a continually restless pace of briskly hit drums, shimmering cymbals scintillation, and the charming reverberations of guitar chime. While I do like the male vocals and the emotionally casual droop at the end of each phrase, I couldn't understand a lot of what was being sung. I don't know if my ears aren't that sharp, or if you're intentionally muddling the lyrics. Interesting addition of the found sound spoken word where someone is talking about having been to a party and "it was crazy". Sometimes audio clips like that distract or detract, but I think that fits well with the rest of the song. The song title, which becomes a mantra by its end, is great - where what is said is maybe not what is meant. Nice tune! Now I want to check out other songs you've done.
Hey guys! You've got a live wire one here, crackling at the start with the distorted guitars and then smoothing out into a catchy indie rock song. While the song is molded in the tried and true Verse, Chorus, Verse format, it doesn't bore one bit. You've got that massive guitar hook for the chorus which really carries the song along. Nice crisply authoritative drumkit work, sharply enunciated guitar lines that come off like a second voice at times, and some interesting lyrics, especially "All I want is a taste of electric bliss." Don't we all! :) I really enjoyed how the song all came together at its end with the added "Ahhh"ing back-up vocals, the sudden cantering drum beat, and fulminating guitars and cymbals 'n' drums turmoil. Good stuff!
Hello Martin! Wow, just what I needed on this hectic Easter holiday weekend; a beautiful, moving, expansive instrumental that has calmed me down and put me in a more meditative mood. Your composition would fit perfectly on the soundtrack for an inspiring film. It in itself is inspiring! :D The slowly unfurling start with its sharp, bright, starting-up sounds that dissipate creates immediate interest and then the gorgeous ebb and flow of wistfully reflective woodwind synths and poignant symphonic strings materialize, along with light, contemplative piano notes. The piano keys that sound like sweet drops of water and the gentle wash of heightened strings are captivating and I love how those sounds twine pleasantly together. The overall feeling is one of a radiating warmth and understanding - and compassionate uplift with the pull of those heavenly symphonic strings. Divine! I wish you and your wife Eva all the best.
Hi Adam! I am diggin' your smooth, but heartfelt soul-pop tune!! From listening to this one song, I'd say you're a class act with mass market appeal, in the vein of a Michael Buble, but exuding a calmer vibe. I hope you don't mind the comparison, but some of your phrasing does sound Buble-like, and I mean that as a compliment. I'm enjoying the all the different keyboard sounds that you include on "Virus", from the soft opening lines to the slightly reverberating, bubbly notes that form later on. Very interesting contrast between the gentle keyboards and the sharper, brighter horn accents. And you've got a cool groove going on with the crisp drum beat added to the mix. The overall smooth and subdued vocal and instrumental delivery of the song and the choice of instrumentation give "Virus" a polished, cosmopolitan feel that's very pleasing and elegant. I like how your emotions change over the course of the song, where at times you're more cool and direct, like when you intone "She convinces me to open my heart", and at others you're in turmoil, like when you exclaim "She's infected me to my core." Eye-catching imagery to go along with your appealing lyrics. As far as promotion goes, my advice to you is to contact and submit your music to music sites and individual writers who promote the pop/soul/RnB genres. You can also tweet about your tunes and post messages at various Facebook Groups. Build up your social profile (Instagram and other sites), even if it isn't all about your music, so people can find out more about you. You probably know about all this already, but I just wanted to add my 2 cents. :) That's so awesome that you've had the experience of performing on tour with Jamie Lynn Spears. Try to use whatever connections you have to get more ears on your music. I wish you all the best in your musical endeavors. :D
Hey Vincent! Wow, for a one-person bedroom project you have a very full and developed sound and I'm especially tuned in to your heartfelt lyrics. I like how you juxtapose the pleasant and upbeat sonics with your more searching vocal delivery and bittersweet lyrics. The intro with horn-tinged synths is nice and I love the specific types of synth sounds you use, from the airily floating, sustained synth line that lends a dreamier vibe to the occasional sprinkling of starry and bright synth notes. The chorus sections are the strongest parts of the song, when you describe someone who is "one of a kind" and how "I came back / because I could not forget / the one I left behind." Very touching and real. I also like the addition of the mild guitar line during those passages. Your sing-talking, confessional vocal delivery works well with your short-phrase, 'page-torn-from-a-journal' lyrics, where your voice presses forward with a slightly crestfallen tone. The only thing I would change is to remove the 'tropical island'-influenced syncopated beat that plays in the first minute of the song. You switch over to smoother and not as recognizable beats for the rest of the number, but for the 1st minute I wasn't sure about that breezy island rhythm. Just my opinion! :) Otherwise, this is an engaging tune that had me immersed in your words and vocal delivery. I especially dug your twisty, rhyming lyrics "So close right from the start / yet so far apart / That's when I had a change of heart." near the beginning of "One of a Kind."
Hi Shaun! Wow, very interesting cover you're done for the Blue Oyster Cult classic tune. It's always difficult to bring something new and interesting to a tried and true song, but you do bring a fresh take on it in the electro/synth-pop style. I'm enjoying it from the start with the sinuously unwinding synth line and your drawn out vocals contrasted with the clicking fingersnap percussion and patter of globular electronic notes. The song spins out in a hypnotic, electro-psychedelic spiral, but you also add a faster peppering of electro notes that builds in intensity towards the end of the song. Very ear-catching! I know it's a cover and these aren't your lyrics, but I like how you deliver the line "Romeo and Juliet / are together in eternity..." with a dry, knowing archness. It's nice how you kick it up a notch by the end of the tune as you go for a more upbeat pace and distorted vocals, both low and high. Cool cover!!
Hi Shaun - Great end-of-summer (or, heck, any season at all!) tune you've got here. I'm enjoying contrast between the laid-back, island-like instrumental vibe and the upbeat, lively tempo. I like the use of bongos to produce the pleasant, lightly bouncing rhythm and the sprinkling of bright, xylophone-like hits that give the song its sweetness. Your vocals are mostly mellow, but direct and I like you raise your voice to a higher, pleading register on occasion, giving your lyrics a more urgent feel. This is a lyrics-packed song and it was fun to follow your words and to figure out where you were going with what you were saying. I especially like the refrain "If your heart aches for heartbreak / come and call me / I don't want to sleep alone tonight." What's intriguing is your song title and the somewhat bleaker/bittersweet lyrics that belie the fun nature of your instrumental and vocal delivery. "Feeling Sinister" is a veritable study in contrasts! Not sure who's on female backing vocals, but it add a nice dimension to the expression of the song. I like the light sweep of synths throughout the tune and that's so cool that you used real horns at the ending of the track! Love the sharp toots of trumpet and then the smoother flow of other horns. Again, an ear-catching contrast between the two. All in all, an engaging song that's perfect for summer, but can be listened to any time of the year! I appreciate you contacting me about "Feeling Sinister".
Hey Bo Haan! You definitely deliver a (de)lightfully funkified version of The Weekend's symphonic ballad and it's easy to go with your mellow musical flow. I like your smooth, but still poppy groove with the syncopated beat, piano notes, and briefly plucked guitar refrain. Nice falsetto vocals too, especially with the harmonies mixed in at times. I hear shades of MJ with your vocal delivery. I was going to go into the lyrics, but then realized you're doing a cover song! Anyway, I like the touches of squiggly and buzzing electro-notes too. Nice job on this one! :)
Hi guys! Wow, what a blend of musical style(s) on this footloose and fancy-free number! I'm hearing an interesting mix of rock, ragtime, and what you've called "fairground avant-pop" and I call theatrical carnival sonics. I'm really enjoying the "base" of the song that's comprised of rolling runs of piano notes and jauntily hit drums and cymbals. The changeable tapping and clacking percussion also keep the pace lively. And on top of that, to give it some crunch, you add short rock guitar riffs. I like how you work within the confines of the mainly 'verse, chorus, verse' structure to include varied lyrics that aren't too repetitive. I'm assuming it's Ashley on lead vocals? I really liked your lower tone, roughly exclaimed vocals that bring a menacing edge to the song. I also like that I can clearly hear most of your words, as opposed to some other singers that mumble their lyrics too much. Interesting lyrics too, like on the admission "I can't shake these demons / that shape my desires." The back-up vocals are good too and give it a fuller sound. Going back to the structure of the tune, I like that break near its end where you change to a slower pace and strip it down with just the guitar and vocals, until you add the drums, cymbals, and organ notes. There's a great bit where you rip out your vocals with powerful emotion during this break. Then it goes back to the regular format of the brisk beat and kinetic percussion contrasting with the foreboding vocals intoning "Shake the cage / Burn the stage." It's a well done song, guys! Interesting and fun to listen to.
Hi guys! What an absorbing "Making Of" for your song "Established in Baltimore"! I had a great time listening to and understanding how you constructed this song. The process of creation is not something that the average person thinks about when listening a tune, so it was really interesting to find out the sonic and lyrical backstory of this song. The idea of creating sounds out of an old, broken down piano that only had its strings and soundboard left is pretty ingenious, and while I don't quite understand the jump from sampling the sounds of the strings to building a sampler instrument (and then performing each note on a keyboard), I could see the complexity and challenge in, like you say in the video, making "something out of nothing." I especially liked the segment about the drum sounds; about using your fist to bang on the piano's wood to replicate the sound of a kick drum and hand slaps to mimic a snare drum. As for the song itself, which runs through your video, and is the focus of the end of the video, it has a nice percussive rhythm and there's a pleasantly old-time feel to the piano strings. The storytelling lyrics are great, about someone who's climbing a ladder ("You're looking down at the distance that you've gone."), I'm assuming figuratively, and I like the vocals that are touched with longing. This "Making Of" definitely whets the aural appetite and makes me want to listen to "Established in Baltimore" in full!! Oh, and the meaning behind the song title is sweet. :)
Hi guys! Just listened to "Hot Air Balloon", which is an interesting song title because the flow of your song has a floating quality to it, although I picked up more of a 'rainy day' vibe to it, with the contemplative and restrained sonics and vocals. Nice work with the delicate picked guitar chime and occasional whisper of reverb guitar - and also the waterdrop plink of the piano notes. The sing-talking, sighing vocal delivery also compliments the overall subdued ambiance of the song. It's definitely a lyrics-centric track, and while I couldn't catch every word, I do like the key refrain "What we sing is what we believe / What we believe might not hold to be true." While I do like the style, vocals, and instruments, for some reason I felt like lightly pulled symphonic strings should enter the mix halfway through the song or closer to it end. I don't know why, but I was waiting for some addition like that. Or maybe having the guitars come on a bit stronger by the end. That's just my opinion. The song is fine as it is if the intent is to create a hushed, hesitant, mellow, slightly melancholic atmosphere. Nicely done!
Hey Justin! Thanks for asking me to provide feedback on your intricate and involving track "Anomalies". You definitely have a knack for crafting interesting sounds into an actual song. What I really like about your output is that the sonics/notes/instruments you use are pleasing to the ear and not noisy, dissonant, or too out-there. Then you blend it all into an understandable progression and evolution of sound. Even though there's a lot of complexity to a track like "Anomalies", it flows easily and delightfully through the ears and the mind. I enjoy your use of contrast within the track; juxtaposing the slow, sustained, ponderous, slightly melancholic tone of an expansive, extended synth line with the myriad of electronic notes in various forms playing off of each other throughout the song. You also get a nice rhythm going as well. I'm not as familiar with the effect that you use where specific notes are fast-repeated for a split second here 'n' there. I mean, I have heard it before, but not that much in most of the songs I listen to, so that caught me by surprise and it kinda made me freeze every time I heard that technique because I thought that the playback of your song was stuck!! LOL But I kinda got used to it and went with it and it makes sense in the structure of your song. I love the mid-section and ending, where you have those delicate, bright, tinging notes; two runs of them and one with a touch of reverb on it. That's beautiful to listen to. And, again, I love that contrast between those light notes and the burgeoning, extended synth ambiance. All in all, a great job and I really, really like "Anomalies" and, as it's a good indicator of the rest of your Anomalies EP coming out at the end of June, I'd say you have a winner on your hands.
Hi David! Your song presents an unusual, but interesting contrast between your downbeat but still hopeful lyrics, stark, concise vocal delivery, and measured pace - and the jaunty, almost ska-like (!) rhythm and delicate piano/other (?) notes that keep the tone light. The focus of the song is definitely the lyrics and I liked several of the lines you penned, especially "I am still a loner now / but I'm a-gonna get through this anyhow." You included a backstory about the song and video that give them a deeper meaning, which is very interesting, but if someone didn't know that info, they would be taking your lyrics at face value; about someone who hasn't changed over time, even though he expected or wanted to - but that there is still the hope or thought of changing. Which is deep enough lyrically! The sound and your vocals have a retro-pop feel which is perfectly suited to the intent of your lyrics and video. If you wanted to change anything at all, I'd say to play up the retro angle and include more instruments and song structures that revive the American 50s past. I think your lyrics and vocals would shine even more in that type of setting. Or try to go "darker" with spare guitar lines, an ominous synth ambiance, and your terse, bleak vocals. Just suggestions if you wanted to create a fuller or more dramatic sound.
Hiya Justin!! I really like what you're doing with Stereoddyssey on this song and I can't wait to hear more from your upcoming EP. The intro of the children's exclaiming vocals is cute and apropos to the point of "Earthchild" and I enjoyed the contrast of the shaken metal percussion and brisk hand claps (or is it wooden clacks?) against the nocturnal synth ambiance that is extended slowly over the faster, rhythmic pace. You add various instrumentation smoothly, like the hand drums and occasional synth and piano (?) notes. The overall effect is down to earth in a good way, with an overlay of more expansive atmospherics. I really like that upbeat, sparking tempo rubbing up against the more contemplative, floating synth vibe and reflectively plunked notes near the end of the song. You also intersperse the tune with the gleeful burble of kids' voices, which is great, although the very end of the song cuts off a bit abruptly. There's a kid's enthusiastic voice and it sounds like he may be vocalizing "Whoop" or a similar sound, but the very end of his exclamation is cut off. Otherwise, it's an enjoyable, thoughtful, rhythmic song. Thanks for sharing it!
Hi again Claus! Well, I must say that this song was a bit of a challenge for me, because I'm usually not into "noise" per se in a song, unless it's done with finesse, and "No One I Know" just makes it on the better side of discordant. I supremely enjoyed the slow, ruminating pace of the song and the contemplative to sometimes poignant piano notes. You definitely put the listener in an aurally discomforting place though by contrasting this softer, more reflective vibe with the sporadic high-pitched electro-notes and cycling noises that maybe come from a guitar, or maybe synths...? Can't quite place the origin of those sounds. I do like that gliding, but still strongly pitched sound that comes in near the end of the song. Again, I'm not sure what instrument produces it, but it worked well as a bridge between the noisier aspects and the more melodious parts. I know I said this for another song of yours, but especially on this one, it's hard to hear your words. Your exclamatory, emotionally troubled vocals that convey a sense of loss are well done, but I can't make out what you're saying in the mix... The video goes hand in glove with your song - nicely done! In the video you contrast an elegant dancer performing amid the ruins of a rundown building as an older man futilely sweeps the dirty ground. Very thought-provoking as usual!
Hi guys! Wow, nice one here - Love the up-tempo pace, crisp beat, and fluidly-played guitar lines. Nice contrast between the two guitar lines and I'm digging the overall smooth, propulsive flow of the song. You definitely have an assured grasp of dynamics that keeps this song interesting. The vocals are light and pleasant, recalling a straightforward Evan Dando without the crestfallen undertone, at least to my ears. The song starts off quickly enough, but then you kick it up a notch with more exclaimed vocals about being "left here with this fever / which only grows stronger", which is exactly how your song progresses at its end - coolness! You do include a lull with just light sing-talking vocals and guitar strum, which then slowly builds with the addition of a distorted guitar line and backing vocals into full-bodied sonics by the end of the song. Everything sounds as it should to my ears; it's an involving tune with a great ebb 'n' flow pace, clear lyrics, pleasing vocals, and driving instrumentation. Well done!
Hey Graham!! Thanks for sending me this intro video about your sound 'n' vision. I really dig that you're originally from and still based in Camden, NJ and have reestablished the Victor Talking Machine Co. record label and are revitalizing the rock 'n' roll genre with your engaging music and entrepreneurial spirit. In your video you include clips from 4 of your songs. The first one, "Repeat Deceiver", radiates a straightforward vibe with catchy hooks and melodies that support your strong and heartfelt exclamations. I definitely think your compelling vocals are the key to your sound; raw, but controlled, emotional, but not overly dramatic. Next song "Valerie" really caught my ear due its 80s throwback sound with a catchy, cycling guitar motif, the contemplative, mid-tempo pace, and of course your vocals that alternate between smoother and reflective and rougher, passionate cries. You have a nice sonic variation going on with the representative songs; like on song #3 where you've included symphonic strings and a more mellow and reminiscing vocal flow (yet still urgently delivered). I love your bittersweet vocal delivery on the lyrics "Oh, how our lives changed / Reminds me of the time / when you were mine." And on song #4 you crank out the rock 'n' roll with a horns section backing you - well done! I'm enjoying the strutting tempo, more complex guitar line, emphatic drum beat, and your looser, down 'n' dirty, but joyful vocals. You've got it goin' on!!
Hey Jesse! What a refreshing blast of a song during the winter blues I'm experiencing at the moment! The bright guitar lines and especially your strong, emotive vocals carried me nicely through the tune. I like the cycling guitar motif; it's catchy and ruggedly rock-oriented. I'm really enjoying your vocal delivery - it's raw, sharp, and not tempered emotionally (i.e., not subdued). You put it all out there, but you also exclaim clearly, which is a great thing! Too many lead singers bury their vocals in the mix and it's hard to hear the lyrics that well, but you don't have that problem at all. Interesting lyrics; I like the lines "I took to the sky... / I never really had a choice.", as well as the song title refrain. I like how all the instruments fit into the steady rhythmic stomp, including tambourine hits and that piercing guitar line ring that appears mid-song. The only thing I'd want a bit more of is more dynamism to the tempo of the song and a less continuously steady pace. But other than that, and it's a minor suggestion, I enjoyed your tune very much!
I liked the information given in the video, the actual visual run-through of various aspects of the site, and the even tone of the speaker. While the purpose of Fluence.io is clear to me, however, it still might confuse newcomers who see this video for the 1st time without ever experiencing the site firsthand. The video is possibly too short and too quick for newbies. Maybe you could have more videos that specifically target the artist and curator respectively, so that you could spend more time on each entity. I think you need to stress the artist side of it more; this video was heavier on info for curators. You have to sell it more to the public, so I'd say keep this video, but then have another or other vids that artist-specific, like "musician", "director", etc..., so that, again, you are more target-specific for who gets the information. Hope my suggestions help!
Wow, I love the beautiful, mellifluous, quick-picked guitar at the song's start! It moves like a fast-flowing stream and had me hooked immediately. The clear, sharp vocals are a nice contrast to the guitar and I enjoyed the alt-folk sound of the guitar merging with the verse/chorus/verse pop/rock structure of the song. The verse/chorus/verse dynamics are solid, but what I particularly liked were the bits between the verses and chorus sections; the build up of the guitars and the "Oohing" background vocals. Very interesting lyrics, especially the lines "A prisoner is free / when you give him the key." The vocal modulation is good, with an intensity in the vocal delivery that increases on the chorus parts. The blending of all the sounds at the end of the song was very satisfying. While I did like the drum work too, I feel that the production is actually too clean overall and that the drums are a bit too pronounced in the mix. I'm sure your sound translates even better in the live setting, where you can rock out more and dirty it up. I'd love to hear a live recording of your performance; maybe that can be the format of your next EP. This song radiates an anthemic American feel, which is interesting since your based out of Essex!
Cool and solid rock 'n' roll song in just over 2 minutes! The instruments, song structure, and lyrics are great. I was hooked sonically from the start. I love the grungy (in a good way!), grimy, circling grind of the guitars and the sharply emphatic drum beat. Nice mix of song dynamics where, about 3/4 of the way through the song, the intensity increases with a bashed drum beat. I really like the lyrics and the melody; love the line "You didn't take the time to look deeper than my skin." While I do like the vocals overall, I think they need to be kicked up a notch; add more emotion, and maybe a slightly lower register, to the vocal delivery. It's rock 'n' roll, so it should be raw 'n' loose; not overly controlled - at least that's my take for this song. Near the start of the song there were some sporadic alternating vocal lines, which was an enjoyable change-up. I'm thinking it would be cool to augment the main vocal line on the chorus sections with another vocalist or have doubled vocals by the main singer. You describe your band as 'noise pop' and I do see that marriage of the rock 'n' roll noise with the prettier melody and cleaner vocals. Overall this is a nice tune. And I have to say that it's great to hear about the plight of a "pretty boy" in song lyric form!
Hi Claus! And so we peel back the "Banana" to expose a lyrically thought-provoking, indie electro-pop song. I like the very start of the track, with the thwacking beat and slightly reverberating notes. You make it swim in a portentous undercurrent due to the deeper aural tones of several instruments, as well as some wordless male vocals that occasionally materialize. You build up the intensity on the chorus nicely with the strokes of smoldering guitar and added back-up vocals to your vocal lines. I like the instrumental and vocal variety of this song, where you alternate between sing-talking and actually talking in a deeper tone. Your vivid lyrics really stand out, especially "...do you think you can kill / something you have not created?". My only issue is that not all your words can be heard clearly throughout the song, so I'm thinking maybe a change in the mix could lift your vocals a bit out of the instrumentation; because I think you're enunciating fine, but sometimes your vocals are just dropped a little too low in the mix. Just my opinion! You've got all of interesting things to say, so I want to be able to hear it all clearly. Sometimes a banana is not just a banana... Otherwise, nice song overall with a reflective vibe and engaging electronic and other (piano, guitar...) instrumentation.