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About Jimmy

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  1. Some of you may already know of this, but it's the joint musical venture between my brother and I to create an EP of four (formerly five) new songs written by us. Our genre is kind of hard to describe, but it's distinctly pop-rocky. The songs were originally written in MIDI, and then rendered and mixed with digital instruments in Propellerhead Reason. As a result, the songs will still sound "MIDI-ish", there's no doubt about that, but they should hopefully sound like proper instrumentation at the same time.

    Please consider buying the EP and spreading the word! We worked really, really, really hard on this and we're finally happy with the result.

    Here's a lyric video to the first track off the EP which we had done:

    There's a video of us performing live back in October 2012 here.

    As a bonus, you can find the MIDIs here:
    1. Control
    2. In My Box
    3. Breakthrough
    4. Judgement Day (formerly called "2012")

    #. Sleep (no longer a track on the EP)

    Credit goes to Thomas van der Velden for the awesome album artwork. Thanks to esselfortium, Seele00TextOnly, Icytux and PRIMEVAL for invaluable feedback throughout the composition and mixing processes.

    CDBaby Bio:

    Rainbow Season are an electronic music duo originally from Surrey, England, now living in Perth, Western Australia, consisting of brothers James Paddock (writing, composition, backing vocals and mixing) and Ben Paddock (additional writing, lead vocals).

    Their style is perhaps unsual, merging the facets of rock, particularly of the alternative and progressive varieties, into upbeat electronic pop numbers. They perform with a range of vocal styles, from quiet to harsh. Their music aims to provoke thought on touchy or controversial subjects such as self-aggrandizement, social introversy, self-humiliation in the pursuit of internet fame, and the prediction of doomsday.

    Composition-wise, the songs aim to have a wide spread of sounds, mainly electronic, but not discounting acoustic - as well as complex arrangements, keeping the songs varied with strong instrumental solos, frequent (but non-jarring) key changes, and instrumentation change-ups to allow for maximum dynamic and timbral variation. Most importantly, however, the songs are written with pop-like catchiness and memorability in mind, with the songs being highly melody-driven, the instrumental sections having as much musical diversity as possible, and the sung sections having infectious vocal hooks and powerful rhythms to make sure the songs can be sung along to, and also danced to.

    James and Ben Paddock grew up in Addlestone, Surrey, England, before moving to Norfolk for their higher education and finally to Wanneroo, Western Australia, to pursue their interests and careers. Both are virtually completely self-taught in everything they've put together on this album, aside from James who has recently started vocal tuition, and for future Rainbow Season pursuits will be taking a more upfront approach to performing and recording his vocals.

    With the release of their debut self-titled EP, they sincerely hope you'll enjoy their take on what music is really all about.

    1. Show previous comments  7 more
    2. 40oz


      After listening to Cars again, I can see where your inspiration came from. I think our opinions may be jaded because the video you had us watch had the lyrics in the video and were pretty loud and clear, I'd suspect that you ducked out the music to make the lyrics more in your face, but in Cars, it sounds more like the lyrics are secondary to the music, like most pop music.

      Rap and R&B tend to use song lyrics as the primary focus, with the instrumentals just in the background to keep the thing moving along. I'm not suggesting you change your genre, but the thought of digitizing the vocals like darknation said crossed my mind too. You can keep the words and all but you might wanna keep it a little more calm and a less in-your-face.

      I hope I was specific enough, I hate when people critique my work in all generalizations. You definitely have something going on but I'd be hard pressed to say I'm in love with it. (coming from a guy who listens exclusively to death metal and it's subgenres)

    3. darknation


      Jimmy said:

      May I ask what would make the lyrics better? The writing process behind them was pretty long and hard thought-out, so if it's the way they're phrased or arranged, or whether it's the rhyming scheme or the imagery (or lack thereof), then I'd like some constructive criticism on that - as a lover of the English language.

      strange that you'd mention Gary Numan as an influence; the way he wrote lyrics / approached themes was either genius or full retarded. Apparently he used to take short stories he wrote when he was younger and mash them into music. You can pretty much read any metaphor you like into them, and this in turn keeps the lyrics from deconstruction. The listener is simply not given enough information to come to a conclusion one way or another.

      When writing pop-ish music, I'd say you'd want to be as vague about the subject matter as possible whilst still incorporating arresting mental imagery; a rape machine, you say? How uncanny. But what does it all mean?

      Oh yeah, American Pie. Good song, but fuck knows what drugs that cunt was smoking at the time.

      Numan is also a fairly weak vocalist. So was Ian Curtis (Joy Division, personal favorite), for that matter, but they both get away with it because their songs are good at firing up the imagination. I guess it's the old adage of, 'show the audience, don't tell the audience'.

      I'm also with 40oz in that I am pretty much a metal head, so any advice I can give about writing poetry / lyrics comes from that particular, uh, preference. But something like

      You think you know it all
      But if you think you know me
      Then you're quite the fool

      strikes me as on overly long and unclever way to say anything. Shit, it's practically written in words of a single syllable. Condense what you want to say, fit some ambiguity and imagery in there. Render it, sing it like you fucking mean it. Use bigger words, get some meat in there. Think in metaphor: someone who knows nothing, whose head is empty, some fucking gaping human void, utter vacuum, some life sucking space-whore, a vicious cock-chewing vampire, a black hole, a life eater, dead space bitch, whatever. Tell your story interestingly but leave gaps, let the listener enter the spaces between and inhabit the song or story in his or her head.

      I could, of course, be entirely wrong. And there is nothing worse than someone who has never written something standing over your shoulder telling you that, 'yeah, well, if I wrote an album it would be better than yours' despite the fact that they have never and will never come close to doing so. Take what you will from it.

    4. Cupboard


      You should try to emulate Dream Theater's melody, not their vocal style, IMHO.