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About Musickiks

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  • Birthday 08/27/1989

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  • Gender
  • Location
    Austin, TX
  • Interests
    music and film
  • Occupation
  • Favorite Radiohead Song
    Karma Police
  • Favorite Radiohead Album
    OK Computer
  • Other bands you like
    The Beatles, Gorillaz, Pink Floyd, Autolux, Modest Mouse, The Flaming Lips, Cake, Blur, Grizzly Bear, The National, Portugal. The Man, Spoon, Sigur Ros, Wilco

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  1. Long time since I've posted here! I moved to atease, as I guess I said a while back...don't hate me Anyways, some of you guys dug my band's last EP and it's been a while since we've released anything and I wanted to let you know we just released a new track called Proper Ghost Man on our bandcamp. It was mastered by Geoff Pesche who it just so happens mastered the vinyl version of In Rainbows and The Best of! Was geeking out about that... Anyways, if you'd like to give it a listen you can check it out here www.empiremachines.bandcamp.com Love to know you guys' thoughts.
  2. there's still people saying it's them...it's driving me crazy. people on youtube are even saying that "Yorke said it was called Putting Ketchup In the Fridge"
  3. haha so dead on. that was great, because it's true. just gotta do what you think serves the song best...
  4. i agree the vocals are sometimes a bit too loud, though you go and listen to a song like Karma Police and the vocals are exceptionally loud in that (i think), so it's got a bit to do with the song too I guess. As for emotional connection, I think it's probably because I'm still trying to get my bearings as a vocalist and not just a vocalist, but a vocalist in the studio. everything changes once that red light comes on, haha. very interesting to hear the vocal comparison to Tame Impala, never have gotten that one before...i've definitely been digging them lately. his vocals remind me of George Harrison + John Lennon. we definitely tried to curb as much Muse influence as we could in recent tracks (Never Enough, Sweet Teeth) just cause that's not really where our heads are at anymore, but it is still there throughout the EP. well awesome man, thanks for listening and i really appreciate the critiques.
  5. thanks for the critique and listening man. I definitely would like you to elaborate if you could, because I think you make a great point and I think it'd help me understand our music from an interesting/new point of view if you could articulate what you mean a bit more. I'm very much still growing as a songwriter so I don't expect to really "blow minds" just yet. maybe in small doses. (the outro of Never Enough is one of those moments for me, the chorus of Sweet Teeth is also one of those moments) I'm/we are really just setting out to write "good" songs at the moment. when we're satisfied with that, then we can discuss trying to break the mold and do some more off the wall shit...imo. but see I have trouble understanding how it's any more basic than say a Black Keys song, or a song by Portishead or The xx, I mean I think they all have "basic" sounds too, but they keep it interesting, using mood. How is it any more basic than any band that doesn't use extravagant instrumentation? I feel we've definitely shuffled up the moods and vibes of each song, the song structures and actual instrumentation in each song is different...I hate it when I hear a record and every song blends together or sounds the same, and I think we bypassed that pretty well... i'm a big fan of less is more. Talk Show Host being my favorite Radiohead song. I enjoy songs being airtight packages with only what they need inside. sort of a very Beatles mentality as well... but there's something when I hear our music too that I sort of might get what you're saying, almost like it's a bit "safe"? (that's what another person said) but it's still all pretty blurry to me.... so is there any way you could please elaborate because I think it would really help me get a better grasp of what we're doing. oh and if you're simply referring to sound of the production, i kind of agree! I definitely want more personality in the drums and all the instrumentation, it's a tad "flat" or something, like it lacks some personality it could have...it's very much something I want to look into for our next EP. and that's why i said in my big post above why "mixing" is an artform and so so so important. you can give something tons of personality, or suck the life out of it.
  6. i really appreciate that, thank you so much! and if you're a musician (since you're in YA) i wish you best of luck as well!
  7. just so it doesn't seem like i've ignored you in this thread Relying, let me just say here, Thank you so much for giving us a spin on your station Mike! No worries man! It is I who must apologize for the slow response! haha. Just wanted to give this review the care it deserves and I haven't been around as much...I kiiiiiinda have been spending my time at AtEase . and I added your name to the thank you notes properly now anyways, I'm glad you dig the name. I agree it is a bit cold at first glance, and it does have an immediate sort of "alt rock" thing going, but I think once people hear the breadth of our sound the name will sort of take on a new feeling, at least in my head it does haha. I sort of feel like it gives us the ability to spread out and do different styles and still maybe seem cohesive but I could just be crazy. I sort of see something like a mix of Portishead + The National + The xx + Gorillaz in how I want the name to actually feel....if that makes any sense...might just be since those are going to be big influences on the next record...? As for the site and cover, it was actually all free! pretty much the only part of this whole damn thing that was! the site was a ton of trial and error as I did want it to have a very professional look...so I'm glad it seems we've accomplished that haha. As far as our goals go. I mean the sky's the limit. We'd love to be as big as The Beatles one day. That's the true dream/goal, that's the standard I hold myself to when I write... but we'd ONLY want to get there by doing what we love and never by putting out something that's not us. simply by making quality creative music (and luckily we like making music that's not super accessible but not overly ambitious as well...at least for now while we're getting our bearings, and in the end it's simply the type of music we most enjoy) and it's not because of craving fame or something but because of connecting with so many people and you know giving them an escape or something to do on the weekend and traveling...being well-respected songwriters and entertainers as well and really feeling like we've given something special to the world... and the next goal down would be to simply be able to live comfortably by making a living off making/performing music. and I think we're at the perfect age to capitalize on the opportunity we currently have. (age 22) I was wondering how you would feel about the absolute drastic change from the old lo-fi recordings (er mixes...you'll see after reading), still pretty cool you got to see and hear the transformation first hand. The biggest most crucial thing I learned during the entire process was that mixing is almost just as important as the songwriting. mixing is truly an artform. We had 30 different engineers mix a song or two of ours and only about 4 came out with something we thought would display our music the way we wanted. also sometimes it's not just a lo-fi thing but a simple error in judgement/engineering which can leave a vocal sounding lifeless or drums sounding lifeless even though the PERFORMANCE itself is there. and it could be something as small as a lack of certain EQ tweaking. This is kind of how we felt with our original mixes. These are actually the SAME recordings, just mixed by a different engineer. was pretty mindblowing to me and everyone in the band when we first heard what our music COULD sound like, if just mixed by another engineer. so down to the EP... Never Enough - I actually wanted the drums on Never Enough to sound slightly dirtier kind of more 90's trip-hoppish but you can only do so much when working with one engineer for recording and another for mixing (especially when said mixing engineer is all the way across the pond in Hamburg, Germany!) and don't want to piss either of them off by just bogging them down with revisions (our mixing engineer said it was the most revisions he has EVER gotten!! and we just kept piling them on too when we'd hear certain things!) but mainly, as this our first foray into things, simply not KNOWING what is possible and what can be done differently in either the a. mixing stage or b. recording stage. and even just not having a complete understanding of c. the mastering stage. We'll be a little bit more in tune with things next time around, as we've gained a little more understanding of things. Interesting you say that about emotion, because Never Enough is very emotional to me. I'm kind of frustrated/sad/jealous but also a bit pissed off in the song, as it's about a guy who cheats on his girlfriend and his girl just takes it...yet he still tells me he loves her. Sweet Teeth - An interesting note the "hey ey eys" are actually how this song began! well sort of, I had this vocal melody for Never Enough that we eventually squashed for the song but thought it was still good on its own and used it to create the "top notes" of the rhythm guitar riff and right after playing the new rhythm riff a few times over, the ey ey's just popped into my head. and I sort of wrote the song around them. I agree the ending is a bit hammed up! haha (shhhh ). It was the last song recorded and we were in a bit of a rush and I thought it'd still work well since like you said, it's a bit natural, the melody just sort of floats there till it ends. and I'm also not sure I had much else to say. This is our choice for a "single" sort of, and seems to be everyone I know my age's (20-22) favorite. Outpost - Lyrically this a totally fictional song about aliens taking over people from earth who have been living on mars for tons of years...hahaha. sort of a man talking to his wife throughout the events. it's the first song we wrote for the EP. I thought you might be a little more surprised with the 100% melody change in the verses, as I actually changed it because it seemed wayyyyyyy too Muse'y originally and it didn't speak to where our heads were at near the end of the recording sessions. I find it funny that every song that my old songwriting partner was involved in sounds Muse'y or is said to have a Muse influence by most people! As he always said he thinks they're great but is not really influenced by them and that "bellamy and him" just have the same influences. and everyone, including people in the band... sometimes all we could really hear is Muse in a lot of his material. still great...just Muse'y. which brings me to... Dog Eat Dog - Yeah now it's me singing so I took as much Musiness out of the song as I could by instead of going falsetto, going low and with a sort of lackadaisical contempt tone-wise in the choruses I guess it'd be? We're definitely going to steer clear of any song with this much Muse'iness/momentum next time around, and that's natural anyways as I didn't write this song as you know...very happy with how it all turned out though. The wah guitar solo in the interlude is sort of me trying to channel Jonny Greenwood a bit haha. I'm not big on regular solos but it seems it's what this song needed so just went with it. Panda Thief - I agree with the obligatory experimental track sort of, it just a jam we had going for a while and we fleshed it out a tad in the studio, feels kind of like our STS9 track. Titled Panda Thief as it's a tribute to the old crew where that jam originated from Burning Ties - I'm glad you still enjoy Burning Ties as it also changed a little in some respects. The lyric "burning ties" was basically because this girl had just gotten broken up with, her boyfriend's choice, and even though I liked her and she even admitted to liking me, and we made some advances towards those feelings both emotionally and physically...I got the feeling that she didn't want to really talk or even be friends with anyone that is connected with her old boyfriend in anyway, let alone start dating...which at the time deep down was what i really wanted. and around then is when it really hit me as like "well...if she's moving on, she's moving on." This song flowed pretty well in the writing process without too much trial and error. Also the first song of mine I've ever recorded in the studio. I'm interested in what you mean by abrupt...I guess because the ending sort of just has 3 lines then ends? I kinda just wanted it to be an overwhelming buildup and almost headrush and then end with just that fluttering, leaving you a bit stunned. When we play live though (first show this Sunday!) we are extending the Outro a bit with some falsetto Beatles-like ahh's coming in and then it sort of climaxing and then falling back down. Also great find with the metallic guitar and Pull/Polk they DEFINITELY sound similar...and that was in no way on purpose, actually it was my songwriting partner who did that and it's actually two synths modulating randomly, one going forward and one reversed. Thanks so much for the critiques and the good words man! I really appreciate it! and also of course thanks again for the help with the EP/starting out band process and decision making and stuff. It's been a seriously long ride...(Outpost was written in September 2009!) Well on to the next one! Best of luck with your stuff and if anytime you need anything critiques/thoughts whatever just let me know!
  8. your fucking avatar...way too great. really appreciate the kind words though, that'd be me on vocals. love to hear what you think of the rest when you get a chance!
  9. hahaha, i've been to one of his acoustic shows like 8 years ago, but no, i'm not. i'll say though that Nick (lead of 311) and Zack did cover Karma Police on their like "Vote for Jon Kerry Acoustic Tour" a few years ago.
  10. ya, i mean that's a good idea of their fun rap-rock style. but on Grassroots they have a bit of a dirtier less mainstream sound, jazzier, funkier and better/more interesting song writing. Transistor is kinda their alt-rock masterpiece (yes yes i know you're laughing), darker than anything they've ever done (notlikeToolnotlikeTool), and sort of has that space-rock thing going on, interesting sounds etc.
  11. that's cause you probably (*probably*) haven't heard Transistor (1997) or Grassroots (1994), which are at the least 22 times more creative and well, better than hybrid theory. i'm grossed out even typing hybrid theory. how dare you impose that on me.
  12. there's such a huge misconception about this band, so i always feel it's my duty to at least try and clear it up somewhat. i used to love the shit out of 311. (yes i said that) please do not compare them to the trash that is Limp Bizkit or Linkin Park for that matter. 311 is very tongue in cheek. Fuck the Bullshit is a good example of that. a good portion of their music, but not all is just music meant to be fun. (that pic in the youtube of them is ultra douchey, and they are a bit douchey these days) but they have a range of styles that's not just rap-rock and not just reggae. can't say i'm into most of their music anymore, and not because it's bad, it's just not my particular style anymore really imjustsayin.
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