Hey! You may recognize me from the numerous songs I've released through C3. I took a break for a while, but the end of weekly releases certainly isn't the end of charting for me. I've got plenty more planned for the future, and don't plan on stopping any time soon. I actually enjoy authoring all the parts about as much as actually playing it in-game, so even if my instruments shit the bed, I'll probably keep going.
So what kinds of songs can you expect from me? Well, you can go back and look at my C3 releases. There's probably going to be a bunch of stuff similar to that. But really, there's still some parts of my music taste that I haven't charted yet, so in general you can expect some variety, including prog, alternative, indie, pop, electronic, rock, metal, hip-hop, and possibly more as I explore more music. Here's a list of albums I've listened to, so you can expect stuff from here:
(currently in the process of rating all of my albums on RYM, still a work in progress. my ratings on Sputnik are heavily outdated but there for reference - once I finish with RYM I'll adapt them to Sput)
In general, you CAN request stuff - but only if it's on these lists. Don't start throwing random bullshit at me and saying HERE CHART THIS PLS!!! If there's something you want charted that I have highly rated on there (or that you REALLY REALLY think I would like based on what I have highly rated), then ask. I can't guarantee that I'll do it immediately, but I may make it a higher priority.
I would want to try to release on a fairly regular schedule, but circumstances or other business may get in the way, and I generally tend to procrastinate and be lazy, so I probably won't be able to. So, releases are generally "whenever," but I try to get something out at least every couple months or so. All songs released in this thread will be up to the same standard I aimed for with my C3-released songs - full-band, all difficulties, manual animations and venue, etc.
As an additional note, when I release a few selected songs from an album as fully-featured charts, I may also have the rest of the songs in a separate thread as Expert drums + animations only. These charts are only available as a Reaper project so others can complete the rest of the song, and downloads can be found in the "Drums Workshop" section of my WiP thread.
I've also created a color-coding "recommendation" system. [Red] - If your main interest in a custom is a fun chart, this would be the best pick for you. This song is a standout in this release for interesting instrumental parts to play in RB. [Blue] - If you don't know the songs in this release, this is one of the most accessible and/or popular tracks to get familiar with. [Green] - This is my personal favorite song in the release, musically speaking. I love it and it's wonderful.
These may overlap, and it just may so happen that one of the more popular and accessible songs is also really fun to play AND it's my personal favorite as well. In cases like these, I'll mix the colors likeso.
Note that I may take a bit of liberty with the genre in the visualizer image to better describe the individual song, but in-game they will generally be set to sort in the same genre as other songs from the artist.
Now, finally onto the songs!
The shoegaze dream-team is back in action, bringing you another classic album in full. This time it's Slowdive's 1993 sophomore effort, Souvlaki - releasing the day after the exact date of its 25th anniversary, due to a bit of an unforeseen setback. It's still pretty neat timing though, isn't it?
Souvlaki is an album that's often mentioned in the same breath as My Bloody Valentine's 1991 record, Loveless (which was our previous collaborative customs effort), as both are essentially cornerstones of the shoegaze genre. While Loveless was an album characterized by its noisy, hazy guitar textures, running a bit closer to noise pop in sound, Souvlaki puts more of an emphasis on lush, ethereal, mellower soundscapes and is stylistically more similar to dream pop. They're essentially opposite sides of the shoegaze coin, but still united in their dreamy, immersive, wall-of-sound atmosphere - they simply express it in different ways. The album was largely panned upon its initial release, as the shoegaze and dream pop movement had become unfashionable among UK press at the time, and Slowdive was hit by the brunt of this, semi-famously being declared to be hated "more than Hitler" by Richey Edwards of Manic Street Preachers. However, Souvlaki has been retrospectively lauded as a classic album of the nineties, and of the shoegaze genre.
Many of the guitars on this record are clean electric, or even acoustic - but when they are distorted, rather than sounding heavier and in-your-face, they feel like a wash of noise that sometimes hardly sounds like guitar at all. Listening to the album, you might be led to believe that the music is layered with synths and keyboards, when in actuality, there's hardly any of that at all. Nearly everything you hear is just guitar - guitars smothered in effects that make them sound less like an instrument and more like a sort of otherworldly sound. The vocals, in typical shoegaze fashion, feature a mix of male and female voices from Neil Halstead and Rachel Goswell, and have a "blurry" sound that blends in with the mix and situates them more like another instrument. The lyrics are vague, yet evocative, rarely having a clear subject (and sometimes being so something in the mix that you can hardly discern them at all), but still contributing to the album's overall melancholic, longing, and slightly nostalgic mood. The drums, while generally fairly back in the mix, run the gamut of playstyles - some tracks have them playing a fairly restrained backbeat, while on others the drumming is fairly intricate and playful, with numerous fills. The bass has a fairly similar approach - sometimes it remains understated, taking a backseat to the layered textures above it, while otherwise it cuts through and provides the driving force for the whole song.
Like Loveless, none of the charts on this album are particularly challenging, but they're still generally varied and fun to play, and the musical experience provided by this record is simply stellar, so we hope existing fans of Slowdive enjoy this release, and that anyone who's not already familiar may find a new love!
I'm just gonna give it to you straight here. "Alison" is simply an astoundingly gorgeous piece of music - it sits firmly as my 5th favorite song of all time, which is no small feat considering I've heard thousands of songs in my lifetime. It was the only single released from Souvlaki, and has remained one of the band's most popular and enduring songs - for good reason. Right from the start, the song hits you with spacey guitars that seem to just drift along, neither in or out of tune, before the vocals come in. Now, this is going to sound super hyperbolic, but there is not a single misplaced note throughout the entire piece, and every note of every melody is simply perfection, coming together to create an impeccable pop song. The lyrics tell the story of a drug-addicted girl whose life is falling apart around her, whom the narrator is simultaneously strangely enthralled by, yet deeply concerned with. He doesn't know what to do to help her, and when he tries to get through to her, she just laughs it off, casually denying the reality of what's happening to her.
The drum track in this song is likely one of the most fun on the album, sticking mainly to a driving 8th note beat on the ride, but with lots of ghost notes and fills throughout the song, and a slight swing to it all that gives the song a bit more of a lively and upbeat feel.
The guitar part consists of a mix of chords and single note arpeggio patterns, with plenty of variation throughout the whole song keeping it interesting. It also concludes with *gasp* a guitar solo - a simple, but very pretty one.
The bass part is simple, being mostly 8th notes on different frets, but it contributes a lot to the song - that blue-orange-yellow-red progression in the chorus is just delightful.
Vocals, like most of the songs on this album, aren't too hard to sing, but it's such a lovely melody that I can hardly imagine not having some fun singing it. Plus, there's a nice harmony in the chorus where Goswell joins in that really completes the part.
"Machine Gun" (Septekka)
This song is one of the slower, dreamier, and more melancholic songs to be found on this record. It features layers of acoustic guitar, as well as heavily-affected electrics, easily mistakeable for synths, that seem to glide over the mix, providing the song with an "icy" atmosphere. Goswell and Halstead trade off on lead vocals between the verses and chorus, with Goswell's heavenly high voice and its descending melody contrasting with the slightly more dissonant and downbeat chorus. After each chorus, the guitars take more prominence, drenching the whole piece in what sounds like a warped reprise of the verse melody.
All of the instrumental parts on this are quite simple. The guitar is entirely slow 8th-note acoustic chord strumming with occasional 16ths, as the lead guitars are too spacey and blurry to accurately chart, sounding more like keyboard pads than guitar.
The bass part simply plays 8th notes alongside the guitar chord progression, and the drum part is a quite repetitive 8th note ride pattern.
This song does make a great tune for harmonies, with the aforementioned tradeoffs between the two vocalists in the verse and chorus. There's also another harmony in the verse that could easily work as its own solo melody, but fits very nicely in conjunction with the lead.
"40 Days" (DemonUnicorns)
"40 Days" is one of the more upbeat and poppy songs that the album has to offer. It's rather similar in tone to "Alison," though perhaps a little less dreamy and with a bit more emphasis on a more forward rock sound. It starts out fairly clean and a bit restrained, but following each chorus is a dramatic swell into the striking guitar lead. The lyrics were particularly inspired by the breakup of Halstead and Goswell, who were in a relationship prior to th writing of this album, and they lament the loss of a lover in a way that likens the pairing's end to an actual death. The outro really drives the song home, reprising the earlier guitar lead but with one last stunning vocal melody, while the guitars kick it up a notch further.
The drums on this song are also quite fun, with a similar 8th note ride pattern to the one played in "Alison" with a feel that's both driving and loose. There's a good variety of fills throughout, such as the dramatic flam-kick fill into the guitar lead, some quick 32nd note snare rolls, and tricky triplets on the snare and toms.
The guitar part features 3-note chords played in 8ths with little fluorishes of 16th notes, but changes to a single note melody during the post-chorus guitar leads. Watch out for little solo-ish HOPO bits in the outro, as well as some quick triplet strumming that could throw you off.
The bass part is again, mostly 8th note strumming on different frets, but there's enough little variations in the strum patterns to keep it from being too boring.
This could be the trickiest song on the album for vocals, with a decent amount of range between the verse and choruses, as well as a second harmony (besides Goswell joining on octaves) that's not too obvious and might be tough to pick out.
One of the more unique songs on the album, "Sing" has a laid-back, almost trip-hop-esque groove. It also stands out for being one of two songs on the album to be produced by Brian Eno, who was too busy to help produce the album when asked, but agreed to record with Halstead for a couple days, with this song and its relatively minimalist approach being the result. It starts out with an ambient intro, before the cool shuffling drum beat and the prominent bassline come in to provide the song's backbone. With buried guitar and layered, unclear vocals, the song seems to drift along with a totally ambiguous structure besides the recurring "sing where the other boys can't watch you dance" lyric, up until the outro of the track makes an interesting change-up that's distinct from any of the rest of the song.
This song's guitar part is quite distinct compared to the others on the album, and is quite interesting despite being soft in the mix. There's lots of fun little HOPO noodling between green, yellow, and blue, and it diversifies even further later on in the song, with even a brief not-quite-solo section where it takes the lead.
This one's also notable for being the only song to feature keys, thanks to Eno's hand. The intro has some slightly tricky chromatic scale runs, and the first half of the song has similar "noodling" across a few different notes to the guitar. Later on, it plays a melody that seems to mimic the guitar part.
The bass in this song is one of the more fun ones in this pack, as it's a cool and catchy bassline that is quite prominent and distinct throughout the song, a decent amount of variation as well.
The drums in this song are admittedly rather repetitive, but the beat itself is a bit of a tricky and memorable one, with it's swung 16ths on the hi hat. The outro also changes things up with a ride pattern with unusual snare placement and lots of ghost notes.
The vocal part in this song is pretty interesting, especially for harmonies, despite only using a small range of notes. They were also quite a chore to chart. The recurring "sing where..." melody, sung by both harmonies, acts as an anchor of sorts, while the lead sings various other lines on top of it that never repeat in quite the same way.
"Here She Comes" (Septekka)
This song is a short, soft ballad that is quite subtle compared to the rest of the album. Clocking in at just over 2 minutes, the focus is largely on Halstead's solo voice, accompanied by layers of mostly-clean guitars that you might not even realize are layered until you dig further into the mix, as well as sparse percussion including shakers and hand drums. This is the other Eno-produced song on the record, with his less-is-more touch having a noticeable impact on this piece.
Guitar on this song plays a fairly sparse lead melody, that's mostly single notes with occasional chords. The bass is mostly long sustains, with 8th notes every once in a while, and the drums mostly stick to the hand drum part, with 16th notes on the yellow and blue toms. The vocals are low and simple, but nice and pleasant to sing.
"Souvlaki Space Station" (DemonUnicorns)
This song's title is pretty accurate, because it's at this point where the album gets shot straight into space. It's an endlessly reverberating blissful fuckfest, and I mean that in the absolute best of possible ways. Following the sessions with Brian Eno, Halstead started taking more influence from the genres of ambient, IDM, and dub, which was displayed most significantly on this track (prior to the band's third album, at least). It starts soft, with echoing guitar and other effects floating around, before it starts to pound its way along with heavy drums and a driving bassline. Goswell's angelic, otherwordly, harmonizing vocals enter in, adding more beauty to the piece, which gets more and more tripped out as it goes along, with increasingly layered guitars, and the once-solid drums now reverberating away into obscurity. The song slowly starts to disintegrate as it reaches its end, with the very ending perhaps being an inspiration for the end of Radiohead's famous "Karma Police."
The guitar part focuses mainly on a progression of 3 chords - the delay echoing was charted as separate notes so there's less dead space where you're hearing notes but not playing them. The chorus has an ascending progression anchored to green, and later on in the song there's a good amount of variation, with the outro being totally different from the rest.
The drums mostly play the same beat (with some variations later on), anchored by a solid kick and snare with interesting hi-hat placement above that, and alternates between hitting a crash cymbal and an unique dub-esque percussion sound at the start of each measure.
Like "Sing," this song has another slightly repetitive but still really cool bassline that's no slouch compared to the other parts in the song.
The vocal part has a lot of really cool harmonization, from the block harmonies in the chorus and final verse, to the third harmony singing totally different lyrics and melodies in the main verses and chorus.
"When the Sun Hits" (Septekka)
Despite not being released as a single, "When the Sun Hits" has remained one of Slowdive's signature tunes, perhaps the most popular song from this album alongside "Alison." It's an energetic, mid-tempo driving rocker that has perhaps the most traditional alt-rock sound on the album, perhaps even with elements of grunge, and was almost dropped from the record for this reason. It has the classic quiet/loud dynamic between the verse and chorus, starting with soft guitars and light ride cymbal tapping before the distortion hits and the drums come crashing in, with piercing guitar leads that cut straight through the mix. The lyrics seem to concern a relationship - or perhaps a person - that burns too bright, causing the narrator worry for how long it (or they) may last, and it's the line "it matters where you are," delievered just as the song explodes into the chorus, that makes perhapa the album's most iconic moment.
The core of the drum part is quite simple, tapping along on the ride in the quiet verses, then playing a straight-ahead 8th note beat on the hi-hat and ride. However, the part is elevated by the heavy crash usage and the numerous fun fills throughout the song, in which the drummer throws in a bit of swing.
The guitar part is entirely single notes, with no chords - from the verse, where it plays a high melody with a neat little Y-B-O-based pattern, to the chorus, where it plays the reverberating lead melody and the aforementioned "piercing" highs immediately afterward. Bass, on the other hand, is fairly mundane 8th-note strumming.
The vocal part is typical shoegaze fare, with a simple but enjoyable melody in the verse, and Goswell joining Halstead for harmonies in the chorus. The third harmony comes in on the "hey hey"'s and "burn away"'s where it sounds like they turned the dry/wet balance on the reverb all the way towards wet.
From this point, the album starts to take a more relaxed tone, with this song being particularly laid-back, drugged-out, and often-overlooked. It starts out with a simple, atmospheric guitar line before the drums and bass enter in to give it a bit more momentum. More guitar layers start to come in as the song progresses, and the distinct handclap sounds on 2 and 4 help drive the song forward. The moody vocals culminate in a simple, but effective and memorable hook consisting of just the word "yeah."
The drum part is surprisingly intricate, given the relaxed tone of the song. Its basis stays in a slow ride beat similar to the one found in "Machine Gun," but it contains considerably more in the way of variations and fun fills throughout.
The guitar in this song is also quite varied, mainly sticking to a progression of 3 chords with single-note arpeggios in between that are never really repetitive. There's also some brief lead sections in the mix.
The bass, like many others here, is fairly simple 8th note strumming, with a few little 16th notes mixed in.
Vocals have another simple but enjoyable melody, and the "yeah" hook, where the second harmony joins in, is a pretty fun part that might throw you off the first time, as well as the bridge which changes things up.
"Melon Yellow" (Septekka)
This song's title is reminiscent of the word "mellow," and that's what this song is - a very mellow and pretty song, with clouds of enchanting noise that float across the music. It features a distinct drum sound combining reversed cymbals with an unaffected kick and snare, as well as a memorable bassline that holds the song together like glue. The guitar starts out sporadic, but gradually increases in density, first with pretty melodies, and then with walls of effects and layers. The vocals are spaced out, floating along with a catchy and mesmerizing chorus of "so long, so long... it's just a way to love you..."
The guitar starts out slow, but picks up a bit later in the song, with its varying lead melodies that start to take greater prominence as the song goes on.
The bassline is a pretty cool one, although repetitive, as it doesn't really change much throughout. It's still a neat part with its HOPO transitions as it slides down the neck.
The drum part, while unique in composition, is honestly quite boring, playing the same rudimentary beat for the entire song.
Again, a quite decent song for vocals. While the hook does repeat itself a bit, it's a good enough melody that it doesn't really get old before the song comes to an end, and it has a neat harmony that goes along with it.
On its final note, the album takes a turn for the sparse and emotional, with the acoustic ballad, "Dagger," which sounds unlike almost anything else in the Slowdive's discography. The song brings the equation down to just acoustic guitar, vocals, and soft bass, and yet it feels just as dreamy and beautiful as the rest of the album. The unusual chords and half-step down tuning on the guitar give the song an eerie, but alluring feel. The song carries heartrending lyrics about a collapse relationship where the narrator didn't understand how much he wounded his partner until he realizes how much he misses her, and after all the swirling layers that preceded it, Souvlaki simply concludes on a soft acoustic chord.
As you'd expect from an acoustic ballad, the guitar part essentially consists of 3-note chords strummed in a mix of 8th and 16th notes, which makes it decent enough for solo play but also a great song for voxtar.
The bass is mostly just a simple supporting part, mostly made up of quarter note and eighth note strumming.
This is a great song for singing, especially if you have someone to harmonize with you, as that chorus harmony is just oh-so-pretty. The third harmony doesn't come in till the very end, but the other harmony plays a prominent role in both choruses. One configuration that could work really well is having both a guitarist and bassist playing voxtar style and singing harmonies.
The list of all my releases has been moved to an auxiliary post due to my OP reaching a length limit.
Check out my thread for full band, all difficulties customs from a variety of artists and genres!
i think that indie band pink floyd really messed up when they didntmake that whole song money just the cash register sounds
pink floyd's "the wall" is an entire concept album about a man who needs no education because his dream is simply to build a lovely big wall
Hell yeah thank you, animals is my fav pink floyd album and their most prog one. I'll link this to my spreadsheet, i have a lot more pink floyd stuff that needs to be in full band (so maybe you want to take a look ). im now more into real prog drumming so i have less time to do some more pink floyd and prog customs. i love your stuff. keep up the good job.