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Thread: Jinsai

  1. #91
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    Thank you, sir, for the lyrics. I can get most of them through my cheapo Sonys, but at least you know how to mix the vocals proper, unlike a certain Pumpkin...

    Yeah, he was saying he loves the vocals "because they're chill and yet energetic at the same time". I've had a few people actually double take when I tell them it's by a dude from a NIN message board, which is hilarious. I went back to listen to The Body Politic yesterday after I posted, and I just love the transition into the mellowness of the "I know you so well" coda?

    (Would that be considered a coda?)

    Also, someone may or may not have just thrown ya some money for New Disconnect. Gotta grab the other one after I engulf myself in this one.

  2. #92
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    thank you! New Disconnect is my favorite of the albums we've done, but that might be because it's the newest. Hope you like it!

    The next project I've been putting together probably won't have any vocals at all in the traditional sense. Will probably be more glitchy and electronic / ambient. I'm really not sure where it's going, but I'm at least determined to finish it without overthinking it, so hopefully it won't take me years to complete

    I'm probably going to take all the music off Spotify (not much point for the hosting cost via Tunecore) so I think everything will just migrate to the Bandcamp page soon.

  3. #93
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    No problem, my man! This gets a good listen over the weekend. Can't wait to soak er in!

  4. #94
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    Alrighty, after too many delays I am diving in this morning!

  5. #95
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    Apologies for the length of this post in advance. Every...every time I tried to sit down and get this sucker listened to, my phone would ring 4 songs in. But we got er done, finally. Buckle up, dude. None of this is blowing smoke up your ass, and if you hate any of the bands I compare this to, I also apologize in advance. As a guy who would sweat over the right track order on mixtapes/CDs, this is an ideal sequence.

    Diplomacy: Big chorus, right out of the gate. Sets up the album perfectly. Vocals remind me of 24/05. Actually, that chorus feels like a slower chorus from that song. There's plenty going on in under three minutes. Great harmony vocals just audible in the mix on headphones. That chorus grabbed me immediately and made me anticipate what was ahead.

    Ground Descending: Huge, HUGE Depeche Mode vibe from this sucker. Those synths are brought to the forefront and pulled back at just the right times. The "I won't let you breathe too much..." hook is tremendous. DM is one of my favorite bands, so this brought a smile to my face, legit.

    June Future: Layers, so many layers. Vocals remind me a bit of Matt Talbot of Hum. Awesome use of transitions in the song, you never know what part is coming next. The "No!" vocal effect is one of those nuances that makes music music. That chorus is perfect pop rock.

    Can You Hear Me Now: I've noticed on Parallel Policy and New Disconnect that you are able to make a basic 4/4 beat have distinct little touches to separate them from just a preset. Hopefully that makes sense. What's the effect's name for the "vocals through a telephone"? I've always loved that. I've never heard commercial jingles sung in this way. Vocals are so, so chill.

    Lemming Jump: Again, it sounds so, so simple. The "glitches" are there at just the right times again, and not overstaying their welcomes. There's that 4/4 small effect again.

    Santa Cruz: Dat intro. You know the feeling of getting good and stoned and you and the song feel like the only things in the universe? The cliched (but in a good way) epic after the interlude. There's also a lot going on here. It just keeps changing. Instrumental breaks just build in intensity, yet remain at a simmer. The "Code" of the album, the long one that really draws you in. Dat synth solo, goddamn. Simple piano outro, never a bad thing.

    Yes All of the Time: Didn't see the acoustic coming at all. Bright, with rich sounding strings on that guitar. There's never anything wrong with simple strings, an acoustic and singing. Are you doing the harmonies? They're set just right in the mix. Also, didn't see the horns coming. Crazy synth solo last song, and horns here. Experimenting is always fun! The extended outro will always get a thumbs up from me, brings the song and energy down to prep you for...

    Here Comes the Midnight Sun: Aphex-y. Yeah, I said it. Bit of Squarepusher in there, as well. Great tone on the synths. Layers, so many layers, again. It's "busy", but you're able to pick out specific instruments in the mix with a little concentration. It's the little things, like that guitar(?) part from 1:54 to 1:59. Lots of energy in this track, and it's always fun to slowly drop each track out, regardless of how many used.

    New Disconnect: Has that "big-time final track" intro. The "chimes" in the intro are a standout. Is that marimba, or a sample? Again, it's a nice little touch. I'm also a sucker for outros like that. Just enough boiling under the surface to tie the album together.

    Anyone else reading this thread, check this stuff out. I'm kicking myself in the ass for not getting this off you sooner. Totally worth the money! Keep this up!

    (Phew)

  6. #96
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    Quote Originally Posted by poinoup View Post
    What's the effect's name for the "vocals through a telephone"?
    Actually generally called a telephone effect. There's various ways to pull it off w/ EQ and distortion. "The King's Microphone" by Waves is a great go-to for that sort of tone. In that song though, I actually sang the vocals into my laptop microphone... originally was intended to just be a scratch take, and none of the ones done on a proper microphone sounded better to me.

    Here Comes the Midnight Sun: Aphex-y. Yeah, I said it. Bit of Squarepusher in there, as well. Great tone on the synths. Layers, so many layers, again. It's "busy", but you're able to pick out specific instruments in the mix with a little concentration. It's the little things, like that guitar(?) part from 1:54 to 1:59. Lots of energy in this track, and it's always fun to slowly drop each track out, regardless of how many used.
    Fun strange thing, that song started out as a weird, misguided remix of Mozart's symphony 25. If I unmute the track, it sounds so bizarre... Ultimately probably spent more time messing with this one than anything else. Took months of tweaking to get it "right."

    The "chimes" in the intro are a standout. Is that marimba, or a sample?
    That was made with a plugin synth, I think it might have been put together with Massive or Razor.

    Keep this up!
    I hope to make something like it again, everything has been crazy w/ the pandemic regarding collaborative music making. I'm putting together some electronic stuff though, and I'm happy with most of it

    We also made this record a while ago if you wanted to check it out! https://sirensection.bandcamp.com/al...nt-all-at-once
    Random side note, that album was mastered by Tom Baker, who did the mastering on The Downward Spiral, Broken (most NIN stuff actually, now that I'm looking), the Prick self titled album, and he is generally a badass. We attended the session with him, and he's a genius. Super nice guy too.
    Last edited by Jinsai; 09-21-2020 at 11:25 AM.

  7. #97
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    I went for a good stroll to the pot shop after work and gave this another listen. I'm probably going to end up pestering you for the lyrics again. That "timing out my cigarettes, to not quite make a chain" line is AMAZING. I'm still really digging this sucker.

    Diplomacy and Ground Descending are a great 1-2 for starting the stroll down to the dispensary. I have definitely had Ground in my head the past few days. I'm going to grab that other album next week. Expect another long winded review.

    The Baker connection is awesome, experiencing it with him is even more over the top. Hopefully, you told the rest about my acclaim for it, they've done well.

  8. #98
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    Quote Originally Posted by poinoup View Post
    Hopefully, you told the rest about my acclaim for it, they've done well.

    it's been... a crazy time. I sent John the things you said on here, and I think he appreciates it. He doesn't really have time to work on stuff right now.

    My favorite lyric we ever came up with together was that thing on Parallel Policy, "put your stethoscope to safe and press your face against this cold divider"
    That was my favorite moment of "collaborative lyric writing." Tom Baker also mastered Parallel Policy btw.

    And why not, I have nothing to do today... I'll write up the lyrics for the other albums. I really shouldn't have masked them as much as I did.
    Last edited by Jinsai; 09-25-2020 at 02:25 AM.

  9. #99
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    so, for New Disconnect...

    DIPLOMACY

    so nice to meet you
    so glad you were never caught
    hiding out from the animals
    you were lost but now you're not

    I could make that up to you
    If it's the last thing that I do

    You were lost at sea, making enemies
    No matter what you need
    I'll help you figure it out
    And if you're losing sleep
    Tell me about your dreams
    I'll tell you what they mean
    I'll help you figure it out

    And if it's just outside your reach
    It's gonna keep you guessing
    And you could ask for everything
    Cuz I can make things happen

    and I could make that up for you
    It's just as boring as the truth

    Cuz if it's just outside your reach
    It's gonna keep you guessing
    You could ask for everything
    Cuz I can make things happen
    And if you're not sure what that means
    It could be what you're missing
    You could ask for anything
    I can make things happen

    GROUND DESCENDING

    And it comes down to this
    Retrofitted in your fist
    Same old place
    new sheet of paint
    and it's the same but fake

    they'll hold a camera to my throat

    And it's like destiny
    Coming in from the cold
    Why was I so off?
    This could be our great escape

    I won't let you breathe too much
    I don't need too much
    In the aftermath of us
    Let you breathe too much
    I don't need too much
    in the aftermath of us

    Make the same mistake
    Make no mistake

    Why was I sold off?
    This could be our great escape

    I won't let you breathe too much
    I don't need too much
    In the aftermath of us

    You'll make the same mistake

    JUNE FUTURE

    The shrine to elegant failure is a drop in the ocean
    Gather all good intentions for the june of the future
    Ambivalence runs thin, to think it must be love
    Guarantees undone

    We're a symptom of a system that failed as the oxygen runs out
    I've been running a race with both my eyes closed

    I've been counting on useless information
    Giving up is easy if you try
    So I don't try

    We're a symptom of a system that failed as the oxygen runs out
    I've been running a race with both my eyes closed

    CAN YOU HEAR ME NOW

    ...actually, I can't stand the way these lyrics look in print. LOL


    SANTA CRUZ

    I drove down from Santa Cruz in the dark of heavy rain
    Timing out my cigarettes to not quite make a chain
    When the guy who called that night to lock the library doors
    You were on the balcony wrapped in ancient clothes

    I won't stay up all night

    Either way you look at it, either way you lose
    I hate to be the bearer of such complicated news
    either way you look at it, really what's the use
    to wonder if that tourniquet could double as a noose
    for now

    I think too much
    so I stay up till I shut down all the time
    Think too much
    I stay up or I shut down all the talk

    YES ALL OF THE TIME

    Always thought you'd save us all
    From choices culled from "or and either"
    But did you really have a choice
    When all you wanted was neither

    Stars stand out only in the moments that they fall

    But isn't it right to be upside down?
    Building a house while the plans mean nothing
    To be like the ones who say "yes" all of the time
    To be like the ones to impress all of the time
    Be like the ones whose regrets aren't heavy
    They have replaced all the ones they're missing

    Isn't it right to feel upside down?
    Building a house while the plans mean nothing
    To be like the ones who say "yes" all of the time
    To be like the ones to impress all of the time
    To be like the ones whose regrets aren't heavy
    They have replaced all the ones they're missing

    NEW DISCONNECT

    You're a sympathetic victim sticking it to the system
    Nobody can call your bluff or say you didn't try
    I'm a reasonable hitman
    Running out of options
    I need a better reason or someone's gonna die

    It's you and me
    and the big machine that doesn't know our names
    Take a side
    So can I

    It's you and me and the big machine
    it doesn't know our names
    take a side
    so can I
    that isn't how things change
    and I won't be held responsible
    I won't be to blame

    For you and all your messed up kids
    Asleep on the grid
    Sleep on the grid
    Last edited by Jinsai; 09-25-2020 at 02:27 AM.

  10. #100
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    Thanks again for the lyrics, dude. The vocals aren't masked too much in decent headphones, there's just those certain lines that have me listening deeper and deeper, more focused.

    Like it was "sold off" in Ground Descending. And it's "up all night", I thought it might be "out all night".

    How many peeps worked on the project? I know the 24/05 performance video has three of you in it.
    Last edited by poinoup; 09-28-2020 at 12:52 PM.

  11. #101
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    Quote Originally Posted by poinoup View Post
    ]Like it was "sold off" in Ground Descending. And it's "up all night", I thought it might be "out all night".
    How many peeps worked on the project? I know the 24/05 performance video has three of you in it.
    With the Siren Section stuff, it's mainly just the two of us. Originally the band Jinsai was four of us, with a friend playing trumpet and some synths/piano and another on bass... he still jumped in to add some trumpet to "can you hear me now" and "yes all of the time," but he lives out of state now so we don't get many opportunities to work together. . There was a little bit of bass guitar on the album, but it's mostly electronic on the Siren Section songs.

    In Ground Descending, we toggled between "sold off" and "so off." I think we sang it both ways ultimately on the final cut. I'd have to go back to the multitrack mix and solo check... I probably was over thinking it. The other lyric definitely is "up all night." It's funny to think back on it and go through it all again. I'm actually really enjoying this trip down memory lane, and it's weird because we never really played the songs from New Disconnect live, so we didn't really practice them after recording the album. We played some short concept version of the song New Disconnect, but I think that's it. Hopefully one day we'll do that... I think it'd be a great project to try to play the album live in sequence.
    Last edited by Jinsai; 09-25-2020 at 02:25 AM.

  12. #102
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    I was totally digging the trumpet on "Yes...", not only did the acoustic catch me off guard, that joining in was mmm mmm good. It would be a great to this live in sequence, too. I find both this and Parallel Policy's flow excellently.

    I'm grabbing "all we want..." next week. There will probably be some more memories coming up. And another thesis essay on the songs. I'm trying to push a few of the songs on people, especially "Ground Descending". If they want something "damn catchy", I'll givem that.

  13. #103
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    OK, let's do this:

    Throwaway - Intro tease into that riff that immediately grabs you. I like the slight harmonic vocals fighting for attention through the fuzz. Once again, you guys are tremendous at the loud/quiet dynamic.

    Mobil Spa Gift Basket - Distorted synths remind me of Fuck Buttons. Didn't expect the heavy distorted vocals, but effects on the voice are always fun. More guitar on this album than New Disconnect it appears. Layering is stellar as well, there's a lot going on during the verses behind the vocals. "It feels right to be alone" immediately reminds me of "It felt so good to have a home" from "Requite". I'm not sure if that's intentional or not, but that's where my brain went. Damn fun track.

    Climbing Fences -"June Future"-like chillness. Is "Electogaze" a thing? The chorus is a perfect example if so. Vocals are more out front, as compared to them feeling like another instrument in the mix, helping the track stand out.

    Focus - Isn't it amazing how some simple piano adds so much to a song? Another one where the synths give me a Fuck Buttons feel. Then the contrast of the mellow vocals on top. These's those brief high synth notes in the mix that are just wonderful. There's that easy loud/soft transition again. Guitar solo over the synth breakdown, nice. That could easily be improvised over to keep you on your toes. The last 2 minutes or so has that "final track on the album" feel, the one to tie it up nicely, and we're only four songs in. The cassette tape outro is another favorite of mine. I've tried to work it into my amateur attemps at making music in FL.

    Pull Over - A moment to catch your breath after 7 minutes, but it still has that uncomfortable vibe to it to keep you listening.

    Fullstop - Here we go. Big time later era Mortiis from this one. Two minutes of audio anarchy to prep you for Magnetic Boxes. Heavy vocals and glitching layers. It helps to have Tom Baker mastering these layers, eh?

    Magnetic Boxes - I remember this one from the YouTube channel, and still dig it. It doesn't feel like 2:15 has passed when the vocals kick in, shows the flow of the track. Vocals and guitar mix together perfectly in the choruses. I've noticed this album has a bit more verse/chorus/verse/chorus/bridge/chorus structure than New Disconnect. ND has more of a freeflow feel throughout. This track breezes by for being 6:20, and bringing in those brief lighter synth notes around 0:57 back into the outro, just slightly in the mix, is another nice little nuance.

    Tied to the Shore - You two also know when to drop a minor glitchy part. Chorus is poppy, but in a good way. If something is catchy, I'll tell ya, regardless on genre. You said the vocals were mixed lower on purpose agian here, correct? This is one of the best examples on the album for them placed in there at just the right levels. Even the loud-ish to slower section has some distortion and that heavy drum loop.

    Bad Advice - This is where a lot of bands fail. The penultimate track needs to be this insane ass crazy heavy motherfucker, or a mellow interlude to prepare you for that final track. Two minutes of relaxing piano and laid back vocals.

    Whiteout - It's time. The "epic", even though "Focus" and "Magnetic Boxes" could also fill that role. Just enough going on behind the vocals and piano, which sounds great on better headphones. When it hits the next level around 1:40, hells yeah. "Don't wear out your welcome/from so far away", there's another strong lyric. The dichotomy of a lot of these tracks with distortion/fuzz/glitchiness vs mellow vocals/relaxing piano is really on display. The outro of this is another one of those little things that I always loved about ending tracks, the dropping out of all other instruments and sounds so just a lone piano/keyboard remains.

    Whew, once again.

    (Apologies if you're not a fan of Fuck Buttons or Mortiis. There's a lot of Mortiis' "The Smell of Rain" and "The Grudge" I can hear similarities to, and "Rain" is one of my favorite albums of all time)

  14. #104
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    ^^^ man i wish someone was this into my music haha

    glad to know there are folks like you @poinoup who love independent music enough to talk to its creator about it so enthusiastically.

  15. #105
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    When I get some time, I will gladly check yours out!

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