what we can learn from Sluice

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CyanJaguar

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I did the "what we can learn from mixmkr" because I was and am still amazed by his mixing ability.

I am doing the "what we can learn from sluice" because he has an uncanny ability to write wildcards.

Sluice, you are a genius and it will be crying shame if the world never gets to purchase tickets to your concert- or at least hear you on MTV.

I am sure that there are lots of things to learn from Sluice's music, but this is what I have been able to pick out.


What makes Sluice such a good wildcard writer?
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1. Liberal use of HARMONY. Harmony adds a lot of depth to a piece and people need to use it more.

2. Very different harmonies. Traditionally, vocalists use either a third below (my favorite) or a third above, or a slight variaton of those. Sluice uses ALL kinds of harmonies and switches them up creatively. I have heard him use octaves, fifths, sixths, I think I might even heard a fourth there.

3. Crescendo and accent. This is straight from the classical archives. Many stars dont even know this, or I think they dont because they never use it. Sluice sometimes put a sharp accent on a word or phrase or line and that takes it to new heights. He also makes sure to accent the instruments in the same spot as well.
On the crescendo side, he can go from soft to screaming and back to whispering. Its genius.

4. Groove. Sluice must be the king of groove, from staccato rhythms to missing beats to stuttered beats and all kinds of groove.

5. Exploration. I think sluice must sit down and decide to take every new song in a different direction. His songs sound alike, but always there is something totally new where it just sounds like he decided to play around and see what would happen.

6. Great lyrics. I love the way he uses repitition
examples:

"I know you mean well, well enough to leave well enough alone."
"She folds herself in on herself"

7. HOOK. Sluice will not release a piece if it does not have a wildcard hook. I hear some writers write a great song with great lyrics but no hook. Sorry, you have to have a hook. HE always has a hook.



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That's all for now. I am still studying the music and will continue studying it till I can incorporate all his elements in my own music.

Oh, by the way, his website is:

http://www.nowhereradio.com/artists/album.php?aid=1469&alid=-1
 
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8. Arrangements - complex changes that don't sound contrived. Lots of instruments and different sounds that work very well together.
 
9. Satisfies his women so they stay subservient to him.
 
Yeah, he's not afraid to inhale. Pull my finger and try that again.
 
Not afraid to go where new ideas take him. Thrives on it, in fact.

Hears arrangement possibilities that pass most people by.

Likes giving oral sex as much as receiving it. (Well, that's what I heard, anyway...)
 
13. is blushing like a fucking cherry.

CJ this is sort of an embarrasing thread, but I really appreciate that you dig the stuff. I particularly like the "classical" reference, and the crescendos. I don't think I've read that comparison from anyone before. I haven't really actively pursued classical music much since high school, but I've always loved the way mozart's music would sneak up on me like a quiet little wave and over-take me. The second movement in the 40th, for example. Those sorts of movement in music tell the story emotionally. Lyrics sometimes get in the way to me. But I try to write about the feeling, and not so much what is going on. And then I mix them up to hopefully work together. Which is why I think people think I'm on crack. It doesn't always follow a logical progression until taken in as a whole. Ahhh, there I go trying to logically talk about music. It's fun trying I guess :)



You guys are funny!


I didn't inhale.


Did I?
 
I did not mean to embarrass you sluice.

When you do get a contract or whatnot and they want to play you on MTV,

I suggest that you choose FOLD and HATE PILL as your singles.

The rest will be history. Just Imagine what happened to Nickleback. That's how big you'll blow up.
 
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