Ken Hisuag

Randomly coming across a piece of music from a game I've never heard of has consistently led to some of my most memorable findings. Nonetheless, I was some reluctant to follow up on the piece I found from Melty Blood: Type Lumina, due both to the odd name and my past relatively disappointing experiences with other fighting games (much as I loved specific pieces from Killer Instinct and Guilty Gear, subsequent investigation didn't turn up as much as hoped for). I finally decided to bite the bullet though, and for once I was blown away. Despite the games apparent aesthetic, the music favors a variety of dynamic jazz tunes with creative instrumentation and fair progression, with an overall mood I'd describe as "energetic chill." This doesn't mean the soundtrack is strictly limited to one style though; rock, electronic, and orchestral compositions are scattered through, all maintaining the tone while still being unique. I wasn't able to find much information on the composers for this title, other than the lead composer being someone named Raito; given the cohesiveness of the collection, I wouldn't be surprised to hear he did most of the work himself. This was one of the times I enjoyed a soundtrack so much that I went looking for its distribution. Surprisingly this is one of those situations where the soundtrack never got officially released, and by now it's unlikely to ever be. As an odd consequence, I had a harder time deciding which tracks not to include, given that I wouldn't be able to hear them much going forward without actively looking for them. Hopefully no one minds the larger feature. Next month is another series theme. I'm locked in now, whatever my reservations.

^ I don't usually have anything significant to say about other features, but just this once I want to emphasize how much I appreciated this. Granted I come across quite the variety of things in my searchings, but there's still plenty of soundtracks I'm unlikely to ever encounter normally, specifically with less propagated titles and especially in game genres that I'm less engaged with. I don't imagine I'd ever have heard of Irisu Syndrome on my own, and I really enjoyed it; so thank you!

Counter Point: Is the state of the fandom at any time, past current or future, necessarily concerning? What is the actual impact on you or me if this state of affairs continues or gets "worse?" I've been around a while now, and I've seen many fluctuations in the little "circle" we have here. I don't always appreciate them, but they don't bother me overly much; ultimately, my life is not going to be effected by what's happening here. Touhou is the reason I came here, but it isn't really the reason I'm still here now, and it was never going to be. My "About Me" page is forever invisible (why does this exist I don't understand it's been years), but if y'all could see it you'd see a description of what I believe defined my priorities in regard to my interactions: Bible believer Music enthusiast Amateur meme propagator That's me (although I may not live up to the last one anymore), and whatever happens to Touhou and its fandom isn't going to change that. I get the impression you want something out of the fandom that you don't believe you can get in its current state. What is it?

Ryuichi Kaminogi - The Primal Scene of Japan the Girl Saw Orchestral arrangements are usually focused on consistent atmosphere or building intensity. Rarely do I come across a remix that features internal variance to the degree that this does, much less in such a thematic way. I hope I got the correct artist name; there seems to be other options, so I'm defaulting to the channel name. Kibo - Faith is for the Transient People I deliberated a bit on this one, mainly for contrast with the previous piece. This may lack the intensity I usually look for, but it carries the melody and progression through excellent instrumentation. Also . . . ZUN-artstyle-accurate-3D-rendered-Reimu is too oddly specific to be real and therefore can't hurt you. Meanwhile: Chuck Dietz - Cemetery of Onbashira ~ Grave of Being I was not expecting to settle on a rock remix for this track, but finding such a competent performance that wasn't RichaadEB or YaboiMatoi was to much a novelty to let slide. He's also performing outside, which makes it even more unique.

A few names hold an unofficial honor in indie game music for their work in the emergent times of the industry, back when indie developers were considered more amateur. I got used to seeing Ben Prunty, Austin Wintory, and Laura Shigihara high up on lists of the most important people in the development of indie game music, and I took this as an indication that I ought to seek out their work. My expectations were set by a different stage of the industry, however, and it took me some time to understand what made these soundtracks special apart from other projects. The one that confused me most was Plants vs. Zombies. This is a relatively simple soundtrack, with limited instrumentation, lesser quality VSTs, and little variance in style. On the other hand, the melodies are competently constructed, and the leitmotif usage is excellent. While not [initially] a mobile game, the sound is similar to mobile game projects; few mobile games of similar size would put this much effort into their music, however. I'm left wondering about the significance of this title when it released, and whether it incentivized a greater degree of effort in the wider indie game industry.

Sawawa / Maria - Akutagawa Ryuunosuke's Kappa ~ High Speed Cucumber Given the character, I wanted something techno or otherwise electronic. The original being 3/4 timing may incentivize artists toward more classical-sounding styles (or maybe I was fighting the algorithms), but I eventually found this one, which was exactly what I wanted. nori - Autumnal Waterfall I've searched enough for this piece around Thanksgiving that I didn't expect to find much this time around, but this one pleasantly surprised me. It feels a bit short, but the instrumentation is excellently arranged for the melody; folk really suits this track, doesn't it? Mikkie - Youkai Mountain ~ Mysterious Mountain Expectations were to contrast the previous pieces, and I had to search quite a while to find something satisfactory. I don't personally listen to the original much, but I didn't think it was that unpopular; yet I struggled to find many remixes that weren't from the big circles, and I was determined to use something more obscure. I'm glad I stuck it out.

I don't normally post out-of-schedule here, but given the missed week and future plans, I want to avoid wasting a regular slot on a Fracture Feature, and I'm trying to get these tracks off the to-do list.

Almost forgot (it's been a while, after all); I intended to link this thread for posterity's sake, same way I link some Touhou music threads to Musical Discoveries. I prefer to have things organized and consolidated for ease of reference.

I got sick, and it was bad. Over a week later I still haven't fully recovered, but I should be able to get back to business. Despite knowing that Penny's Big Breakaway was being made by the team behind Sonic Mania, I did not assume Tee Lopes was part of the project until I saw his name on the soundtrack, and I was very excited. He is accompanied by Sean Bialo, whose role seems to have primarily been boss music, but that's purely conjecture on my part based upon the way his pieces sound in comparison. Coinciding with the game's bright and colorful aesthetic, the music is overall light, bouncy, and full of happy energy; even pieces that otherwise differ in tone maintain this spirit in context. Instrumentation varies a bit between zany sounds and more typical electronic rock, but always arranged in strong melodies. The soundtrack is of good length, and I had plenty of options for this feature (I could do a second easily); I've tried to avoid a few end-game tracks that seemed potentially spoiler-inclined, while including some of my personal favorites and favoring the game's primary leitmotif.

For my usual commemoration of Resurrection Day, I've selected the work of John G. Elliot. His style shows a remembrance of the classical style, often utilizing large orchestral arrangements in his songs. His lyrics are adapted directly from Scripture, setting him apart from the majority of CCM artists and further establishing a feel of older times. His album Here I Stand was a staple of my childhood, and has continued to be an encouragement to me till now.

'Nuf said.

Oshio Kuimu - Road of the Mistfortune Deity Touhou 10 is full of great pieces, and it's a joy going through them for these features. This is a methodically paced arrangement, strong in the melody and deliberate in its accompaniment. It's also a bit louder then typical, so maybe adjust your volume before listening. I don't really understand the visuals, but I appreciate the effort put into them. Jerico's Law - Dark Enchantment A remix that puts the "dark" in Dark Side of Fate. This is similarly paced to the previous piece, but has moments of higher energy due to the instrumentation. I know a couple of exceptional arrangements of these pieces, so I'm impressed to have found something comparably unique. Zawapee - Moist Gensokyo Beloved Translation subject to adjustment. Another piece I've heard a lot of great renditions of, but this one stood out for being notably more relaxed while maintaining the tone of the melody.

Finally, I am prepared to feature Undertale Yellow. I'm still haven't fully completed this masterpiece, but I believe I've sufficiently progressed to provide an informed selection of tracks. Most of the music was composed and arranged by team lead MasterSwordRemix and MyNewSoundtrack (very inconvenient titles, but they don't often use their real names so I'm hesitant to favor them myself). A selection of additional tracks were done by NoteBlock and Figburn, with some notable contributions from emBer (other names in the credits had minimal involvement). Stylistically, the music is very faithful to its inspiration; not Undertale only, but also Deltarune, as the release of that game took place mid-development and subsequently influenced the project. Leitmotif usage isn't quite as prevalent, but certainly isn't absent either, especially regarding the "Justice" motif that features in the game over screen. Character motifs are usually introduced early and then expanded upon (although I suspect they were usually composed in reverse order). Energy is balanced well (with one exception that I've noticed so far), and many themes are given variations for changes in setting, which I always appreciate. Normally, when featuring a soundtrack with multiple composers, I try not to only use tracks from one contributor. In this case, however, I'm hard pressed to do so for several reasons. First, some tracks are simply too spoiler associated, however much I may enjoy them. Second, I already featured some tracks back before the game released, and I don't want to reuse them. Finally, the spread is anything but even, and I can't afford to go out of my way to ignore some of the best tracks in the game without severely shortchanging the feature. Maybe I'll come back to this soundtrack at a later date, when I'm less concerned about providing a superior impression. I put this as the third best soundtrack of 2023. Now I wonder if I should have put it higher; ultimately I'm happy with the ranking, but I want it on record how impressed I was with this as I experienced more of it.

Higashino Seizon Penguin - Fragments Admittedly I was more impressed with the circle name than the remix itself, but it's still a fine arrangement (I ran out of time this week, found all of these literally within the past half-hour). SUMIty Piano - Touhou Fuujinroku Stage1 Theme This is a really great piece, and I was continually finding arrangements that didn't quite live up to what I wanted for it. So instead of going big, I've gone simple. While I wish the sound quality was better, there's no denying the impressive skill in the performance. Minazuki - Autumn Zwei This track has always suffered from having too little to work with. Most remixes I've heard use explosive high energy to keep things going, and it works, but I still feel bad that such effective motifs are so tightly regulated to these styles.

Posts in the general music thread put me in mind to re-feature Mad Rat Dead. I remember finding this soundtrack back in 2021, and it was the most memorable OST I heard that year. At the time, only one of the names among the collaborating composers was familiar to me, being that of Camellia, who also worked on Dweller's Empty Path. I've since become more acquainted with the work of DYES IWASAKI of TOPHAMHAT-KYO and FAKE TYPE. (why is it all caps?). Other significant contributors were a_hisa, Yo Oyama, and Kazuya Takasu, although I've yet to recognize them elsewhere. There is a strong influence of electro-swing throughout the soundtrack, but several tracks stand out from the rest with contrasting styles mixed in, including folk, orchestral, and other electronic forms. I used some of the best tracks for the first feature, but there's still plenty of high-quality options to work with here.

Every year since 2021 I've posted Irish folk for St. Patrick's Day, and though I may be running low on fresh material, I believe I can make it at least another year.

MTK - sunset stage groovin' I'm not really a fan of funkot, but that hasn't stopped me before. Given the context of the original, the tonal conflict embodied in this arrangement style is almost thematic. IZMIZM - Night Daydream This may initially seem like a direct contrast to the previous piece, but as it progresses I think it starts to resemble the other a bit; more like the other side of the coin, perhaps. Grimoire Technlogy - Fairly Brilliant To complete the trifecta, I've settled on a simple and straightforward arrangement for this track. Overall I'm very pleased with my findings this round.

Sorry I didn't get to this initially, I needed time to watch the video. It's well presented and organized, and uniquely personal, which makes it especially effective in communicating the theme of the film its reviewing. It's difficult for me to engage with it too well, though, as I'm lacking sympathetic perspective. Remember that the purpose of a story is to make its message relatable; a story portrays the understanding of the storyteller, who themself is capable of being right or wrong. I can appreciate the masterful way in which this particular story is told (and believe me I do), while also judging its message independent of its delivery. I do not believe the value of one's life is in either themselves or in their worth to others; rather, I understand each and every person to be a special creation of God, loved by Him, and therefore transcendentally valuable. Now, to the thread subject: I love video essays, as they often serve to explain the appeal something has to others when I either can't or have no interest in experiencing it myself (Internet Historian, Pyrocynical and Bricky are some good examples). Other times they can help deepen my appreciation for something I already enjoyed. Story theory and music theory are major hobbies of mine, and a major area where the two overlap is musicals. Sideways is one of the best in this field when it comes to analysis and commentary, both for his presentation and his original theory work (please check him out: https://www.youtube.com/@Sideways440). But in the interests of linking only one video to this post for sake of emphasis, I'm going to prioritize Joseph Anderson's The Villain of Edith Finch. If you haven't heard of Joseph Anderson, he's known for his professional-level analysis of story and game design. This particular video wasn't the first I saw from him, but undoubtedly had the biggest impact on how I viewed games as a storytelling medium.

It isn't often I can say I know literally nothing about the game from which a feature's music originates, simply because to find the music I must usually learn something about the game itself. In this rare intense, I discovered the soundtrack to Viscerafest through GeoffPlaysGuitar/Geoffrey Day, a heavy metal remix artist who specialized in adapting various pieces to sound like Doom Eternal. By checking his Bandcamp, I found the Viscerafest: Chapter 2 OST, which in turn sent me seeking the Chapter 1 OST by Markie Music/Michael Markie. I was impressed by both, not least because there was a definite distinction between the two while still maintaining a similar style (although there's an inexplicably prevalent oriental influence in the Chapter 2 album that I assume is thematic to the game). For all I know the game is finished, but if it isn't I wonder if they'll get a third person to compose for the next part?

Pot Still Records - Japanese・Lofi・Saga This same artist did two more remixes of the same piece, and I have to respect it. Out of the three, this was the one I appreciated best. The strength of lofi lies in its atmosphere and mood rather than its progression; this is a "chill" arrangement, perfect for background listening. aocha - Child of Are The marking of progression checkpoints is a nice touch, but it can be distracting, so I recommend listening without looking at least once. The original piece catches attention with its initial discordance, so I was intrigued by how the motifs sounded in a different setting. NIZI-RINGO - Child of Are (ginkiha house remix) I couldn't initially decide between this and the previous feature, so I decided to do both of them (it also transitions better into the high-energy piece that comes next). This is pleasantly bouncy while also having a smooth oriental folk feel; a happy sound, to be sure. VAGUEDGE - Girlish Aspiration High-energy vocal to balance out the post. Proper remixes of this piece seemed scarce, most simply adapting the original PC-98 sound into modern Zunish. While there's nothing wrong with that, there's also plenty of strength in the motifs for more standard use.

For something more relaxed this week, I'm going with Superliminal, a perspective puzzle game. I'm rather fond of these sorts of experiences (e.g. The Witness and Manifold Garden), and this is probably my favorite take on the genre so far, primarily because there's an actual thematic direction resembling a story. The music is mostly minimalist jazz composed by Matt Christensen, establishing a relatively calm (but not always comforting) mood throughout, even for the more tense moments.

A classical orchestral offering, because I was here and felt like it. I wonder who can guess where I first heard this piece?

minimum electric design - Gutenberg's Scientific Century I have my doubts over the title translation. The arrangement itself has excellent energy; a lot of Music Collection vocal remixes will feature duets as a thematic gimmick, but only a few will sound like it's a part of the arrangement itself. Macco-ya - Winding Spacewalk The problem with finding a G Free remix is that I'm inevitably going to compare it to Final Dream, and subsequently find it lacking. So instead of choosing something expanding upon the original's tone, I've gone with something more experimental. There's a commitment to atmosphere that keeps the piece going, even if it takes awhile to get anywhere particular. Unprepared Orchestra - Magical Astronomy To make up for the lack in the previous remix, I've found a nicely realized orchestral arrangement for this spot. Too many similar pieces have bad mastering, usually featuring poor instrument balancing or amplification problems; so I'm always impressed to find another artist that seems to know what they're doing. CHRONOS RECORD - Legacy of my Grand Father Y'all get four this week; don't question it. Obviously my love for folk is showing, but it helps that this is an appropriately reflective remix in tone, thereby capturing the theme of retrospective ending.

To finish off the month, I bring you the soundtrack to Kirby: Planet Robobot. I don't have any particular reason to feature this game over other entries, but I'm committed to it nonetheless. After the overwhelming volume and variety of Return to Dreamland, this entry seemed refreshingly straightforward, though no less innovative. More mechanical sounding instruments are emphasized in these arrangements as part of the game's theming, possibly contributing to an ever-so-slightly more serious tone overall (it's still Kirby, though). Leitmotif work is also very strong here, this time for actual thematic purposes, which I appreciate very much. Especially noteworthy are the final boss tracks; the modern series has a reputation for dramatic finishes, and the music lives up to this. Relating to this, it's interesting to note the split between Ishikawa and Ando; while the former is responsible for most of the series' iconic longstanding motifs, the latter seems to have composed the leitmotifs for this particular entry, and is also responsible for the more climactic tracks. Maybe this is more common than I'm aware, but I appreciate that both composers seem to be equally skilled and relevant to the musical development.

Groovy Trancer - Spacefaring Magical Astronomy is among ZUN's best work, imo. I picked this arrangement to start out with because it fits the theme of space. It's a tad bit long and lacks sufficient progression to justify it, but there is variance between parts if you wait long enough, and that keeps it interesting. AKANEIROTOWN - Labyrinth of the Starry Skies feat. Sarah_ I've heard so many Greenwich remixes that I wasn't expecting to find anything too interesting. This, however, impressed me; by intentionally contrasting the melody with a discordant vocaloid, the arrangement cultivates a disturbing mood, which both compliments the melody and enhances the impact of the drop later on. Yayayayayaa - The Wheelchair's Future in Space Far less refined a remix than I usually favor, but perfect for showcasing what I consider to be the most defining attribute of the original piece: the major key intro. I was surprised to find most remixes failing to incorporate this aspect into themselves; it sets the tone for the rest of the piece, and provides an uncommon contrast of mood. Being so unique in Touhou music, why not use that?