Jump to content

Ken Hisuag

Contributor
  • Posts

    667
  • Joined

  • Last visited

  • Days Won

    92

Everything posted by Ken Hisuag

  1. I believe you are correct in saying that my references to the Bible do not serve as sufficient "proof" for my statements. "Proof" is typically a reference to evidences that convince; if you are not convinced, the evidences presented are not proof. The Scripture references serve as justification to my statements; that is, the why of what I believe. What I justify my statements by is determined by my worldview: the bias by which I reason and make decisions. I cannot expect anyone to accept my statements on this basis, anymore than anyone can expect me to accept their statements based upon their worldview. The goal is not acceptance (i.e. "proof"), but merely justification. It would be foolish of me to demand of someone else to use my worldview to justify their beliefs, which are a product of their own worldview. Additionally, it is important that I justify my statements so that those I am communicating to may understand the foundation of what I am asserting, and thus may answer (if they wish to do so) in accordance with it. Morality being objective means that people's subjective beliefs about good and evil can be correct or incorrect, and as such their actions are either wrong or right regardless of what they themselves think; that is a matter of definitions. What is "natural" is not necessarily reflective of what is moral; that is a matter of worldview. If you are interested in doing so, I wouldn't mind hearing about what you believe your worldview to be. I said months ago that I intended to reply to this, and in the meantime I've been quietly observing the existence of said stigma, formulating my considerations on the matter. The response is coming.
  2. Last minute post! Stygian Riverside - Dreamscope The majority of arrangements I found for this piece were zunish remasters; this rock remix stood out. R3 Music Box - Spiritual Heaven ~ Spiritual Heaven There were other options, but the music box seemed to fit this piece especially well. Komeiji Records - Romantic Children This one I feel a bit guilty for; the artist clarifies in the description that this is less of an arrangement and more of a transcription. Nonetheless, there is a unique sound to this piece, and I appreciate it.
  3. If this was agreed upon, I doubt this conversation would be happening in the first place. You can tell for the most part who is discussing from this point of view and who is assuming a degree of objectivity on the subject both by what they say and how they say it; up to this point, it just hasn't been as explicitly clarified. I fundamentally disagree with your statement as a denial of what "morality" means. As you stated it objectively (descriptive of reality, true for everyone), I will state my objection in the same way: morality is objective, transcending cultural standards and personal convictions.1 Our individual/collective understanding of the standard will vary, which is the subjective aspect to the discussion. As such, acknowledgement of the standard does not justify anyone to be excessively judgemental or condemning of other's adherence thereof, as each will have their own shortcomings.2
  4. I've already shared most of my favorite Thanksgiving songs here, so this year I'll share some classical autumn music instead. Doesn't get more classic than that! All are blessed, in little ways and big ways, and it is good to have time to reflect upon it and give thanks; I pray everyone has a happy Thanksgiving!
  5. Special Thanksgiving feature! I usually struggle to find something for this, but this year I found an entire EP of zunish compositions themed around autumn. I'm only posting one of the five tracks, specifically themed for the holiday itself. ProfPrac stated he composed in the style of Touhou 11; I find it odd he didn't go with 10 given the theme, but it works out alright.
  6. In an unusual case of personal inconvenience, the GotY soundtracks are all very large, and with the bustle of the upcoming holiday I haven't had much time to acquaint myself with them. Time grows short, but I will do what I can. Meanwhile, it's about time I got in my yearly Okami feature, as I proceed through another disc in the soundtrack for the third time. It's been over a year since the last one; the music isn't that much different, but as such it's still just as amazing! This time around there was one track that stood out to me as deviated a bit from the primarily "eastern" style that otherwise characterizes the collection, favoring a more "western" progression. Of course, it may be skewed perception on my part, so I won't point out which one it is; mayhap no one else will notice.
  7. zuikakup - Bizarre Romantic Story ~ Mystic Square I was hoping for something unique for this track, and I believe I found it. Though seemingly a bit slow, this arrangement make up for it with atmospheric progression that fits the melody perfectly. Frost Fragment - Dream Express (Bittersweet Piano ver.) While the original piece is relatively fast, I thought the melody would suit a more remorseful tone. This captured exactly what I was looking for. Paradise of Boundaries - Alternative Magic Formation ~ Magic Square (Arrangement - SA Style) Quality option for this one were scarce. A fair deal of what I found was zunish, so I decided to go with the best option from that.
  8. I've seen the Game Awards nominations for "Best Score and Music," and I guess I've got a lot of ground to cover because I haven't heard any of these soundtracks. In the meantime, another unofficial remix album was arranged for Crypt of the Necrodancer. I still love these projects for the stylistic twist each one presents, and I doubt that will ever change.
  9. After so much time, there is still ambiguity surrounding the identification of "odd" music. This is a one-man acappella performance; while this technique isn't too uncommon (noteworthy artist in the genre: Smooth McGroove), I believe it's slightly less common to be able to see all the parts, and certainly less common for it to be presented in such a performance style as this. Many parts correspond with the replication of a specific instrument, indicated both by the sound and the choreography. That it happens to be a remix from one of my favorite films doesn't hurt. (Also, epilepsy warning perhaps?)
  10. Yuuhei Satellite, feat. Shinra-Bansho & Shoujo Fractal - Connecting With You (Full Collaboration ver.) What a big project for such an obscure track! Weirdly enough, while I appreciate both Yuuhei Satellite and Shinra-Bansho, I haven't found their collabs to be all that extraordinary compared to their standard projects. They are unique, though; perhaps this is the natural product of rectifying their respective styles? Personally, I think there's a different explanation, but I'm not willing to go too deep with it. SilentBird - Arcadian Waltz Hi there, Gou! It's very fortunate that this exists, since I wasn't finding much for this piece otherwise. The original is rather chaotic in its energy, so this is a nice switch-up in comparison. AramiTama - Blooming Flower at the End of the World Here's something unique; it reminds me of another piece from some time ago. I describe it as "loud ambience." Does anyone else find it mildly unsettling?
  11. It should be obvious by my non-interaction with this thread that I have no worthwhile input on the subject, but I found this music video and recognized the name, so I thought I'd share it. Side note: I love the Scarlet Talks.
  12. I'd been looking forward to Mago's release for some time, due to the composer being NoteBlock, who is among my favorite artists in VGM. I put off doing a feature for it in expectation of a proper soundtrack release, but I also wanted to get it in before year's end, so I've decided I can put it off no longer. The game itself is a retro platformer, and as such has a [relatively] retro chiptune soundtrack. Other instruments are occasionally utilized, but the majority of music is pure chiptune, arranged in a variety of genres suiting the context. The composer's style is normally extremely energetic and jumpy, but this project is rather well balanced, from active but stable "overworld" themes to the more intense battle themes, plus event-oriented cutscene tracks and occasional mini-game tracks for an extra dash of variety. Overall, this was well worth the wait for me, and I will continue to await an album release.
  13. With the power of bonus hour, courtesy of daylight savings' end, I hope to make it to the end of the first modern era. Touhou 12 ~ Unidentified Fantastic Object There are some very iconic tracks early on in this entry, but they tend to be more reliant on simple, repetitive motifs; there's nothing wrong with this, but in this case I prefer some of the more complex pieces. Interdimensional Voyage of a Ghostly Passenger Ship remains one of the most unique stage themes in the series with its hybrid jazz integrated into ZUN's standard style (on that note, Heian Alien gets honorable mention). Alternatively, Emotional Skyscraper ~ Cosmic Mind is essentially a standard final boss theme; however, I consider this to be the successful capturing of the "elevated" tone that ZUN didn't quite manage in Catastrophe in Bhava-Agra. Byakuren is meant to be perceived as a somewhat elevated character, and this theme communicates the ideal mood for this perception. Touhou 12.3 Hisoutensoku ~ Unthinkable Natural Law In some estimations, the peak of Tasofro's productions (technically in conjunction with 12.5, which this acts as an optional expansion to). Whether that's true or not, it does have some significant musical contributions. I consider Did You See That Shadow? as the definitive menu track for the fighting games (though not my absolute favorite), properly conveying the spirit of the Touhou Project (complete with the Eastern Story motif) while retaining the style unique to the sub-series. More importantly, however, this release features my favorite Akiyama composition, Our Hisoutensoku (Full ver.). To me, this is peak Akiyama, leaning fully into his own styles and ultimately running away with them. It remains one of my favorite pieces in the series. Touhou 12.5 ~ Double Spoiler An easy one; Bell of Avici ~ Infinite Nightmare. Overall, this entry doesn't differ that much compared to its predecessor of 9.5, but somehow I appreciate this soundtrack a little bit more. The arrangements seem darker than usual, and I wonder if this wasn't a way for ZUN to make use of compositions he didn't feel fit well into his mainline titles. That's pure speculation, though. Oriental Sacred Place will be addressed later. Touhou 12.8 ~ Great Fairy Wars I dare say this is one of the most unique games in the series, being a spin-off title that remains individual in its mechanics to this day. Because it's a spin-off entry, I'll stick with a single track for it, but it is technically large enough to warrant better treatment, and I'm sure others would have no problem picking out more tracks once familiar with the full collection. For me, Great Fairy Wars ~ Fairy Wars is the standout piece; considering it's a final boss theme, it's unusually cheerful, but still maintains the necessary intensity for its function, and as such fits the situation perfectly. ZUN's Music Collection Vol. 5.5: Unknown Flower, Mesmerizing Journey Another EP with extremely limited option, although this being a short-notice situational release does somewhat justify it. I'm somewhat obligated to pick Unknown Flower, Mesmerizing Journey as the only original composition of the collection, but I'll also mention this version of Tomorrow Will be Special as a noteworthy arrangement. Touhou 13 ~ Ten Desires I've mentioned my appreciated for this game's stage themes in the past, and I'll further reinforce here that I'm not very fond of the boss themes. Aside from that, it may be worth mentioning a distinction between the standard versions of these tracks and their "spirit" variations, which are the same but with emphasis on the melody or accompaniment. There's also layered edits (dubbed "complete"), and while I don't believe these are official, they are usually my preferred option for listening. Regardless, my favorite tracks are Desire Drive (of course) and Let's Live in a Lonely Cemetery; the soundtrack as a whole excels in atmospheric melodies, and as far as I'm concerned these are the strongest. Honorable mention to Welcome to Youkai Temple, specifically the standard version as the spirit variant doesn't have the same pluckiness. Oriental Sacred Place My frustration with this collection is its heavy reliance on remixes, having only one original track out of eight total. Granted, these are some of the better examples of ZUN's remixing abilities; these tracks tend to differ more from their originals than music collection arrangements normally do (possibly had something to do with the context of composition, but that's too complicated a theory for right now). I still prefer a bit more balance/variety for these releases. While I'm not that fond of the original Magus Night, the subtle differences in this collection's version make it a bit more appealing to me. ZUN's Music Collection Vol. 6: Trojan Green Astroid There's quite a few unusual tracks in this album where I figure ZUN was experimenting with expansions of his customary style. The Barrier of Ame-no-torifune Shrine is practically a trip through space in musical form, and somehow scrapes the outer limits of standard Touhou sound while still remaining recognizable. On the other hand, Trojan Asteroid Jungle is a delightfully jumpy, jazzy, yet mysterious piece, and sets the standard for the music collection style going forward. ZUN's Music Collection Vol. 7: Neo-traditionalism of Japan For all intents and purposes, the second-half/continuation of volume six, featuring many of the same musical characteristics. I've always found these two especially hard to pick favorites from. Nonetheless, my official selections are Green Sanatorium and Winds of Agartha, both very different in energy yet somehow comparable in tone. Honorable mention to Led On by a Cow to Visit Zenkou Temple, the unrecognized experimental predecessor to fellow percussion-focused piece Primordial Beat. Touhou 13.5 ~ Hopeless Masquerade Imo, HM functions as the perfect crossroads between the "first" and "second" modern eras; it features a wide variety of cameos in homage the series' history and serves as a climax to the loosely-connected stories of 10-13, but also introduces a new gameplay system and artstyle for the fighting game series. This happens to be my favorite Akiyama arrangement collection (somewhat fitting, as it was also the last); something about the instrumentation and overall style feels free-er than usual. This Dull World's Unchanging Pessimism ~ Shinkirou Orchestra is my favorite menu theme for these spin-offs, not for any reason connected to its use, but simply because I love its melody and progression. For my second pick, there are several tempting options, but the one track I listen to most from them is the remix of Akutagawa Ryuunosuke's "Kappa" ~ Candid Friend. Honorable mention to Omiwa Legend and its accordion. WHY DO THESE TAKE SO LONG?! Can y'all tell I was rushing through the last several entries? So much for an extra hour of sleep.
  14. I begin to wonder if I'll finish the PC-98 era before year's end. I could of course calculate it out now, but there's no impact either way so . . . Meylan - Illusion of a Maid ~ Icemilk Magic A relatively short arrangement that nonetheless manages to make its point. Surprising variety in the instrumentation, specifically contrasting its piano intro and interlude with its chiptune hybrid sections; it contrasts well without breaking the flow. aKoidion - Cute Devil ~ Innocence Not your standard solo instrument cover, this is a detailed arrangement from a skilled accordion player. It's not a simple matter to make a single instrument cover sufficient range to make up for the lack of accompaniment, and while the accordion is one of the few instruments capable of multiple simultaneous layers, I still consider this quite a find. Alstroemeria Records - DAYS / BEAUTIFUL MOMENT Once again, I'm struggling to find remixes of this game's later tracks, aside from circles I'd previously utilized. I'm using this piece for Days because of the extra bit at the end, which I think adds a nice touch considering what the original piece is meant to be. To make up for that, here's a double-arrangement of Icemilk Magic and Cute Devil together: Lowlands Blossom - Dreamy and Illusionary Twin Moons Granted, this is more two separate remixes tacked together, rather than a proper combining of the themes.
  15. I was considering a feature for Hiveswap: Act 2, quite sure I'd featured the prequel at some point in the past. However, it isn't present in my records, and I can't seem to find it in the thread manually, so it may be I haven't actually showcased Hiveswap: Act 1 yet. If I have, then this will be redundant; but in case I haven't, this will ensure it's been taken care of. There's quite a bit of backstory to this game's existence, but I'll leave it to those interested to look into that. My investment, as usually, deals exclusively with the music. This soundtrack was jointly composed by James Roach and Toby Fox, and while it is rather small, it manages to establish a musical identity through its instrumentation and style. Many tracks are characterized by sounds I would describe as "cartoonally alien," but the arrangements themselves seem more focused on setting the mood, which I appreciate. Some pieces are unusually short, but the album release includes some bonus arrangements that expand upon them; I suspect the composers cared quite a bit about the project.
  16. Soro Buta-R - Creation It's actually someone from Liz Triangle, but as part of a collaboration project; as such, many characteristics of Liz Triangle arrangements are present. The atmosphere is strong, solemn and heavy with a sense of significance. There is little musical progression, as the weight and direction of the song are carried in the words, but it still builds upon itself slowly until reaching a climax. Trick Nostalgie - Faint Dream ~ Inanimate Dream I did look for other options, but the only other arrangement that held up to my expectations was from an earlier featured circle, and this is still my favorite remix of one of my favorite Touhou tracks. JynX not only captured the intensity of the original, he enhanced it, and for once the overwhelming business of his style fits right in. C-CLAYS - After Play For a suitable followup, we head over to the heavy electronic genres. I'm not a personally big fan of this kind of music, given its limited progression and reliance on repetition, but it's fun to listen to from time to time.
  17. Relevant comment from a past thread: . . . and as entertainment [serves its] functions in different ways, what is "difficult" will mean something very different according to the situation/context. For example, a "difficult" puzzle game like Baba is You is not directly comparable to a "difficult" run-and-gun platformer like Cuphead; and you may not consider one or either of those "difficult." I've never felt heavily inclined to play the primary Touhou games, not so much out of difficulty concerns (though my experiences with other curtain fires does indicate a lack of skill), but simply for lack of sufficient motivation. This represents my perspective fairly well:
  18. Back at it again. Silent Sinner in Blue This is the other experimental PC-98 EP, and thus the informal companion to Perfect Memento (even following the same tracklist structure of two originals and one remaster). In comparison, these arrangements are a bit more standard, following familiar progression structures. Youkai Space Travel is my recommendation as possibly the closest we'll ever get to a PC-98 music collection. Touhou 10.5 ~ Scarlet Weather Rhapsody This is where Akiyama properly established himself into the legacy of Touhou, although I find he rarely gets the credit he deserves for it. I'll get The Ground's Color is Yellow out of the way now; it is still one of his most infamous compositions, and serves as an excellent example of his style and its strengths. The rest of his collection is something of a study; multiple tracks reuse motifs from each other without any apparent connection otherwise, but other tracks are allowed exclusivity in their arrangements. There's a consistency throughout that may make quickly distinguishing between tracks difficult, but no track is without its unique touches of instrumentation. I pick Drunk as I Like for my secondary, though it's a close call. There's a bit more to the honorable mention this time, too; one might expect attention drawn to ZUN's contributions, but while his style has settled since the last fighting game, I find I prefer Akiyama's arrangements. It might be cheating to consider Crimson in the Black Sea ~ Legendary Fish (Arrange), since it's exclusive to the released OST and not part of the game itself. Nonetheless, I consider it one of the many overlooked contributions of Akiyama, and would thus like to draw attention to it. Alternatively, I'm especially fond of his rendition of Aya's theme. Touhou 11 ~ Subterranean Animism Feels like the gaps between main game entries are getting wider. Touhou 11 is where I first started noticing the stylistic uniqueness of each game, independent of ZUN's personal style. This collection is characterized by darker sounding arrangements, both in instrumentation and progression structure (and even motifs, to an extent). You can usually source a track from this game by the sound alone, even if you can't recall it completely. This is technically true of previous titles, but this entry accomplished it in a most noteworthy way nonetheless. Awakening of the Earth Spirits is my favorite menu theme of the series, not so much because it accomplishes anything special with the leitmotif, but more due to the atmosphere captured in the track. Second choice is more difficult (as per usual of late), tied between Green Eyed Jealousy and Satori Maiden ~ 3rd Eye. While the former was an early favorite, the later grew on me over time, so take that as you will. As a side note, Hartmann's Youkai Girl is overrated; not by any means bad, more my personal U.N. Owen was Her?. Grimoire of Marisa is an especially egregious example of ZUN's EP practices; it has only two tracks, one original and one remaster. If one is at all a fan of the Seihou soundtracks, there is a good chance the original was perfectly satisfactory, in which Magician's Melancholy is the default pick. I do like this track, but its presence in this list seems somewhat hollow under the circumstances; I would personally have preferred ZUN to have included both tracks in a music collection (they would have been a perfect addition to Volume 5.5, if only its release was closer). I am again out of time, and I'm still stuck in the first modern era.
  19. Busy weekend caused me to miss my Musical Discoveries post, but instead of posting late I've decided to postpone to next week and prioritize continuing this; I keep putting it off because of how long it takes, but at this point it's getting past the point of acceptability. I could probably fill a thread of its own with original Zunish compositions, a good portion of which would be from fangames (but instead I occasionally feature them in the MD thread). I won't do entries like yours just yet, but I may consider doing so later on. Now, for the first modern era! Actually, where does this era start for the music collections? Should I have included music collections four and five in the classic era? Well, too late now. ZUN's Music Collection Vol. 4: Retrospective 53 Minutes Easy picks, and fitting openers as well. Hiroshige No.36 ~ Neo Super-Express and Blue Sea of 53 Minutes are hard to beat, both for their superior atmosphere and complimentary usage of ambient sound effects. They also do a good job at showcases the distinct sound that music collection originals tend to have; Neo Super-Express would need some tweaking to pass as a stage theme, but Blue Sea would require a complete overhaul (which has been done, but the point stands). ZUN's Music Collection Vol. 5: Magical Astronomy By far my favorite music collection volume, featuring a healthily limited quantity of remixes (that are nonetheless noteworthy among their kind) and several originals of legendary arrangement. G-Free is one of those tracks vying for the mysterious #11 spot in my ranking, capturing all the intensity of a boss theme while also carrying the spacey style that characterizes this album. Beyond that, it's almost impossible to pick a track out from the collection. Obviously Greenwich in the Sky gets plenty of love, but Satellite Cafe Terrace and Welcome to the Moon Tour deserve at least as much attention. So for this one I'll cheat and leave it open; if pressed, I'll favour the latter two for second spot and honorable mention, respectively. Perfect Memento in Strict Sense This is another tiny three-track EP, but where the previous example was somewhat forgettable, this one is worth giving some time to. It is one of two entries where ZUN experimented with his old PC-98 sounds, unrestrained by the confines of their native hardware. All three are noteworthy arrangements; especially relevant is Child of Are, the official theme of written-work-exclusive character Akyuu (keep in mind that this was released around the same time as the Untouched Scores series was coming out). The collection is characterized by an almost off-key sounding harmonization structure, feeling conflicted but somehow cohesive. I think my personal favorite is Japanese Saga, but hopefully all three will receive proper appreciation. Technically Eastern and Little Nature Deity would be next, but I'm skipping it for reasons that will be stated shortly. Touhou 10 ~ Mountain of Faith Earlier I referred to this soundtrack as having "overall strength" in comparison to other entries. By this I meant that there is a standard of quality motifs and progression structures that persists throughout the soundtrack; as a complete collection, I would consider it my favorite in the series. Everything said about Music Collection 5 applies here; Gensokyo Beloved is easily my favorite track (for reasons given elsewhere), but beyond that becomes a difficult choice. For now, I shall go with Faith is for the Transient People, and add Fall of Fall ~ Autumn Waterfall as honorable mention. Strange and Bright Nature Deity The music for this series of written works was spread across three separate releases, all of which could accurately be called EPs. Given that they all follow the same story, and are even named the same with successive numbering, I am considering them as a single collection. Additionally, the tracks from Eastern and Little Nature Deity were re-released as part of this series with little change, so I am grouping that into the collection as well. I ought to admit to being less familiar with these tracks than usual; in fact, you may consider the Three Faries my "blind-spot" for Touhou music. I can safely say that Sunny Rutile Flection is my favorite of the three character themes (as well as one of the strangest names for a track I know of in a series full of odd titles), and I can easily recommend the rest of the collection based upon my vague memory of them, but it may be unfair of me to pick a secondary favorite. The one other track that stands out to me is the collection's rendition of The Refrain of the Lovely Great War; it predated the game it would later be remixed for, and I personally prefer this older version by a great deal. That isn't very much ground covered, but it's been an hour and I'm out of time. Have patience; Lord willing, I shall return!
  20. GNOG. What is GNOG? This is one of those games where no one is entirely sure what the theme is, but will nonetheless likely enjoy the experience. By my analysis, GNOG is a music-assembly game; by interacting with a robot, you eventually compile its song, and then it sings to you. I don't know what the intended takeaway is, but I appreciated the way the layers of each track are added on gradually, allowing the listener to distinguish them and better comprehend the track's cohesiveness.
  21. Those posts were before your arrival, specifically in April of 2021. There was an April Fool's stunt focused around repurposing the site as a Len'en fan forum, complete with a short-lived remix tournament; in the aftermath, I figured it was an ideal time to feature the series. As of right now, it's on the tenth page of the Musical Discoveries thread, in case you're interested.
  22. When I recall Boneworks, I remember a sizable collection of exemplary synthwave covering a variety of moods; when I covered it earlier this year, I was flabbergasted that my attention hadn't been brought to it before, and I continue to consider it an underappreciated soundtrack. Last month, I heard about the associated release Bonelab. When it comes to sequels and followups, my expectations for the music are, by default, something at least equal in quality to the predecessors'. More rare, but also more desirable, is a musical successor that expands and builds upon the standard of the original. Bonelab continues to contribute synthwave compositions spanning a range of moods, more so than it's predecessor. But more noteworthy is the attempt to integrate other genres into that soundtrack, not merely presented on their own, but hybridized with synthwave to unify them into the collection. The whole OST seems rather experimental; even the more straightforward synthwave pieces come with an unusual twist more often than not. Overall, I consider Bonelab's soundtrack to be a worthy successor to that of Boneworks, and potentially a superior one.
  23. Been following Len'en for a while, now; Book of the Cafe is quietly maintaining a status to rival that of Silksong (except my only interest is the accompanying music). Sometime last year I dedicated a month in Musical Discoveries to the soundtracks; highlights include In This World ~ Monochrome eye (theme of the aforementioned Tsubakura, kinda), Eternal Dance Engine ~ Shall We Dance!!, and my personal favorite, A Name Cast off from the Edge.
  24. Yep! A Drunkard's Lemuria was composed by ZUN for the Uwabami Breakers game; I forget the details, but I think the developers were friends of his (similar to the Seihou situation). rythmique - Silently Crossing the Asterism I would have thought Casket of Stars was overshadowed by Magus Night, but contrary to that presupposition I found a lot of really great arrangements, to the point that it was a struggle to pick one for the feature. I went with this one primarily for the vocal performance's synergy with the arrangement, a delightfully airy blending that retains an unusual degree of range. hatsunetsumiko's - Lotus Love Again, I tend to think of Yuuka's other associated themes before this one, but it clearly gets the love it deserves. Those who remember RT4 will know what I was thinking of listening to this piece; after all, it's the same artist, just a different vocalist. In comparison, I appreciated the contrast between the vocal performance and the piece itself; the guy in the back is still creepy, but I can forgive it for the sake of the rest, and I wouldn't mind hearing more like this. Saitama Saishuu Heiki & Aether - Sleeping Terror ~ Sleeping Terror There were plenty of option for this, but with the previous two being relatively low-energy, I desired a more intense arrangement to balance the post out. One of the defining features of Sleeping Terror is its signature intro, and this piece successfully captures its intense contrast without losing its energy on its entrance into the main body of the piece.
×
×
  • Create New...

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.