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Ken Hisuag

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Posts posted by Ken Hisuag

  1. I didn't think I'd be expanding on this topic so soon, but I came across this comment from SkuddeOuo in the description of this video: https://www.youtube.com/watch?v=SBLbblcgYl8

    The song itself isn't too good imo, but the information on translation practice intrigued me. Of course, I don't know how accurate it is, but I can easily think of supportive examples. Specifically, the split preference regarding Cirno's theme, which I've seen translated as both Beloved Tomboyish Girl and Tomboyish Girl in Love. The way SkuddeOuo phrases it, it would seem the final decision is made based on preference, which doesn't make sense to me. Surely a native speaker would have a good sense of which more accurately reflected the meaning of the phrase in a different language? But I may be relying too much on the grammatical structure of English, which I'm told does not easily transfer over to Japanese (and thus visa versa).

    My main concern is, with the examples he gave there isn't much confusion as to meaning, only emphasis. But in the example I've used, there is some confusion of meaning. So, are there other examples of this, and why are they not more easily resolved?

  2. @buskerdog Glad to hear it! I suggest checking out the collaboration circle The 11th Hour as well.

    @Drunken_Flower Not familiar with the game, and the soundfonts are a bit rough, but it's a really good arrangement. There's a combination of themes mixed with some original composition to tie everything together, and it comes out perfectly. I'll have to look more into this.

    I randomly came across this acoustic arrangement of Tomboyish Girl that uses a kalimba!



    While this was an original arrangement, the performer has done quite a few rearrangements of a circle called Sensitive Heart. So I looked them up, and found a variety of uniquely instrumented synth-focused remixes. Good stuff.




  3. I do not want to sound like "That Guy," and hopefully y'all know me well enough to know I don't mean it that way, but . . . I sometimes worry Akiyama doesn't get enough credit for his original compositions. Everybody knows Broken Moon, and there's a decent respect for Oriental Memory of Forgathering Dream and The Ground's Color is Yellow, but after that the general familiarity seems to dwindle. There's still pieces like Shinkirou Orchestra, Bell of the Antipodes, and Our Hisoutensoku (one of my personal favorites in the entire series). I was actually a bit disappointed when I heard 17.5 wouldn't be composed by him (though I do like what I've heard from it thus far).

    Anyway, since I'm here, some of my favorite music made by ZUN:

    Septette for the Dead Princess (somehow perfectly fits any genre)
    Ghostly Band ~ Phantom Ensemble (specifically the Phantasmagoria of Flower View version)
    Whereabouts of the Heart ~ Pure Furies (possibly the peak of ZUN)

    And for the sake of better contextualizing the thread a bit better, some themes from outside of Touhou:

    Girl's Legacy ~ Pandora's Box (SC-88Pro version)
    Velvet Maiden ~ Velvet Battle (.wav version)
    A Drunkard's Lemuria (original, not the "Retro Ver.")

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  4. The music of 30XX sounds like cross between Shovel Knight and Rivals of Aether with a touch of Sonic; high energy tracks with a casual lean, not afraid of blending a variety of instruments, featuring a varied range of styles. The game is currently still in alpha, but already has a reasonably sized OST filled with great tracks. Ideally, the game will get even more music as development continues.




  5. On 2/18/2021 at 2:41 PM, Drunken_Flower said:

    also quick retour to the rock

    Great arrangement of quality metal with the contextual acoustic intro and outro re-enforcing its impact. Wish the instrumental track was on Youtube.

    Ironically, also from that album: https://www.youtube.com/watch?v=JxjiCCnALEw

    Feels like I haven't posted much orchestra for a bit, so now seems as good a time as any.


    First, an oriental folk orchestra remix of Broken Moon which, for once, doesn't sound like it could have been Oriental Memory of Forgathering Dream.

    Second, a standard orchestral arrangement of Sleeping Terror. I appreciate the patient buildup of this one culminating in a wonderfully foreboding epicness.

    Third, a good-ole Melodic Taste take on Necrofantasia that I can't remember bookmarking but must have at some point. Good blend of instrumentation and variation of harmony typical of Melodic Taste.



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    On 2/15/2021 at 10:19 AM, Drunken_Flower said:

    and my rock stuff

    I really like that Crest piece; I'm surprised I don't come across more swing rock, whatever genre that may be considered part of. I'm still not up for sceam-vocals, though.

    Your Valentine's Day comment made me think of a piece I found the day before. There's been a "new" channel reposting a bunch of stuff from an older account (at least I think that's what happened), so I've been getting a bunch of their posts in the daily feed. This particular arrangement seems fitting, if a bit more upbeat than normal.




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  7.   Festival Blaze was one of the first GET IN THE RING arrangements I found (this exact video, actually), and it did a good job at catching my attention and keeping me on the lookout for more; maybe it's just me, but imaginative Broken Moon arrangements seem difficult to come by. I posted Over the Rainbow here back around Christmas time as a piano-focused arrangement; it certainly stands out from the circle's typical projects, and showcases the diversity of skillset they have.

    Rebirth, on the other hand, is a new one to me. Another thing I love about this circle is their approach to medleys, in that they blend the varying motifs into a single seamless work. This is the kind of medley I prefer (as opposed to having individual motifs transitioning into each other one at a time).


    This is probably my second favorite remix from GET IN THE RING; I almost submitted for RT4 it instead of LWCO.

    This is actually two different medleys, but the one leads into the other:



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  8. The latest in internet gaming trends seems to be Friday Night Funkin. I can't say I find the game very appealing, but there's definitely an element of charm to it. The compositions are intentionally simplistic, but stand out for the Shopkeeper-esque song battles they're respectively structured around. My biggest complaint would be the lackluster endings; most tracks have little to no wind-down, all but cutting off from the "action." While this makes sense in the context of the game, imo it results in some wasted potential for these songs as stand-alone pieces.




  9. 11 hours ago, Drunken_Flower said:

    i passionately despise RP, sorry


    I don't have Discord; while I like the idea of the Miracle Meet, I can't think of a way I would be able to coordinate myself with it. I have no art skills to speak of, but I do have some experience in creative writing, so that would be a possibility. Not the #-words stuff, though; I've yet to understand how that's even supposed to work.

    Forgive me for being unfamiliar with some terminology, but what does "Doujin" refer to in this context?

    11 hours ago, Drunken_Flower said:

    we don't have enough activity in general.
    with forums being left in time with IRC existence.
    combined with all the missing old forum history does not help.
    also if you been scavenging in every corner of Touhou community, you know how is our reputation.

    lemme count active members
    me, Jssf, Busker, Garison, Ken
    Dana(Amamiya) wouldn't come if aint (vaguely) sent a message on his discord.

    Renko, Maribel, Sumireko
    idk what they up to

    Maden just fixing stuff
    goddam Site Editors aint do nothin

    some discord actives
    oi @Kurzov be alive more

    and some passerby

    Not to forget Nitorium and Rorogogo. or popcorn for that matter but . . .

    I don't know what our reputation is, but I think I can probably guess. To be fair, some of the higher-ups have dipped a bit into the forums now and again (recent example being Dana's Share Music You Like), but a lot depends on the sub-interests we all have and how comfortable we each are with interaction and committed involvement. I made my account here almost a year before I actually got involved with any activities, and it took something I had an interest in already to secure that involvement. There's a few names I've occasionally seen pop back up unexpectedly, and it may just be a matter of putting out ideas until something catches on.

    On that note, @frankdrawsnear has been around recently, so some art-themed activities may be a good idea.

  10. 17 hours ago, Drunken_Flower said:

    ngl but im unreasonably afraid listening to that one video

    You are right to be afraid, and I respect your restraint.

    Time for that GET IN THE RING I've been holding back on! I wouldn't say these are my favorites (they might be up there), but I think they're a good representation of the circle's work.




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  11. Okay, this time for good.

    On 2/3/2021 at 6:04 PM, jssf1992 said:

    I don't really choose based on the actual pieces.  Sorry to disappoint.

    No worries! Not all mysteries have to have exciting reveals; besides, even if you didn't orchestrate it as such, you have to admit that the presentation was ideal for this tournament.

    On 2/4/2021 at 3:19 PM, Garison DeCrick said:

    You know what’s in realistic cities? Realistic humans, with realistic noses!

    Never change, Garison. 🤣

    On 2/4/2021 at 3:19 PM, Garison DeCrick said:

    Or how Ken Hisuag did the “Haha” reaction to it, I’m guessing now just to add more chaotic madness to the guessing process lol.

    I just thought your post was funny . . . uh I mean HAHAH! YOU HAD FALLEN FOR MY TRAP!

    On 2/5/2021 at 1:00 AM, Drunken_Flower said:

    so it gonna be a while....

    That's fine, I appreciate you checking.

    On 2/9/2021 at 10:05 AM, buskerdog said:

    Remix Tournament in 2021: "Hello and thank you for attending my TED talk.

    Now why ya gotta call us out like that? 😏 Honestly, I think it's just us getting more comfortable with the tournament event, and thus being willing to express more detailed explanations of our subjective experiences. This is ideal for me, since it can often change my perspective of a piece entirely, and sometimes even music as a whole.

    Alrighty, that should do it. I'll see y'all around, and in the meantime I'll be enjoying the renaissance of Dana's music thread!

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  12. I don't know anything about Tengami. I just happened across its soundtrack, noticed David Wise, and was impressed by the oriental style. That's selling it a bit short, though; the compositions are very well arranged. I can't be sure that it's the David Wise, but it wouldn't surprise me.




  13. 🥳

    I'm really surprised that worked! DF's reviews of The Way Home and Time Passes in the Field had me heavily doubting them as his picks, despite my initial assumptions. It eventually came down to The Way Home, and between Busker's and DF's respective reviews I went with the most believable option. This was definitely harder than last tournament.

    On 2/5/2021 at 1:00 AM, Drunken_Flower said:

    to make it easy for y'all, i usually pick music for casual listening
    wherever you go whatever you do it kinda fits, not too intense nor bland

    I feel like I already "knew" this, but the clear statement will certainly help in future.

    I've given a brief explanation of my submission strategy previously, but for what it's worth: I separate out discoveries that impress me in some unique aspect, or that I'm looking to present here in a special way. Bad Apple from this tournament and Lunatic Princess from RT3 are arrangements that appealed to me for the unusual approaches they took in adapting their source themes, while previous tournament entries Daughter of Touhou Spring and Idola Deus were musical styles I wasn't familiar with at the time. I take this approach because I want to hear what others have to say about them, and as such I'm not usually too worried about ratings as much as I am concerned with the experiences had.

    On 2/5/2021 at 5:15 AM, buskerdog said:

    Remix Tournament 4, AKA everyone realises how arbitrary our ranking system is lol.

    And that's kind of the point, right? If we took our ratings too seriously, this wouldn't be as fun. They're important to quantify the experiences, but it's the reasoning behind them that make it worth doing. For me, it's a forced exercise in evaluating my approach to music as a whole. I'd heard Little Little Wish before, but I was forced to consider it seriously this time around because of it's presence in the tournament; subsequently, I came to appreciate it much more than I would have otherwise.

    With that out of the way, I can get into the fun stuff.

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  14. I'm alive!

    Okay, first thing's first.

    On 2/3/2021 at 6:04 PM, jssf1992 said:

    I've noticed we've had a lot of things in the 5-7 range, which is kind of sad to see.

    My default rating is seven; anything more is above average, between five and six is okay-but-with-conditions, and anything less is reserved for pieces I didn't enjoy. I want to reserve my tens for things I'm really impressed with, otherwise they lose their impact. That being said, come end of a tournament I tend to look back and regard my ratings as overly cautious, especially in the first round. In my opinion, a good tournament should be in the "5-7 range;" anything lower would be unexpected for this group, and anything higher should reflect an exceptionally good tournament. I personally think RT4 went quite well.

    On that note, I'm not sure ratings are always the most decisive factor in determining the success of a tournament either. With the conclusion of RT4, I'm reflecting on which entries are likely to be the most memorable for me. I rated Dawn of Asuka unusually high, but I haven't thought much about it since the second round; alternatively, I've listened to No More, Anymore? quite a bit more than Kung-Fu Master No.9 since RT2 despite not being as receptive to it initially. So with that in mind, these are my top three most personally memorable entries for this tournament:


    1: Time Will Tell

    2: Little Little Wish

    3: Path Through the Bamboo Forest

    With all that out of the way, we can finally get to the anticipated stuff. With how late I am on this, I might as well get my guesses out before confirming my picks.


    It's best to get the obvious ones out of the way first, so as to narrow down possibilities. Normally I'd start with Amamiya Dana, because he doesn't rate his own submissions. But this time he sneakily rated one of them, thus making things much more interesting. Instead, I'll have to start with Jssf. Usually he's the hardest, since I have no information to go on. Since he revealed his picks in the tally post, however, it makes sense to start there (I feel like I'm cheating, though . . .):

    U.N. Owen Was Her? [Choir]
    Gensokyo, Where the Flowers of Feelings Bloom
    Time Will Tell

    I'd like to think I would have figured this out by process of elimination, but I obviously can't know for sure. There were multiple entries that I immediately attributed to someone based on the style or genre, only for that person's review to put that assumption in question. U.N. Owen was Garison's requested choir, while the Eurobeat of Time Will Tell seemed to implicate Busker, but in both cases the suspects' "testimonies" seemed to "clear" them. Something I didn't notice at first was the upload dates on the videos in question; I know the meme is that you're familiar with older works, but it may be a usable strategy in future. Regardless, your submissions definitely held up amongst the rest; I'm not about to do the calculations myself, but Time Will Tell deserved to be among the higher ratings.

    Dana Iclucia
    World of Fantasy ~ Psystyle Remix
    Little Little Wish

    For the third pick, I finally get to try out my deduction skills. I assume something with a high intensity beat and a decently high rating. Also it can't be from a round that one of your other picks was in, per Jssf's clarification. Given all this, I'm going to go with Flash Storm.

    For the record, I remember Little Little Wish from Musical Discoveries; it was posted directly after Karminations, which was the song that got me into Stack as an artist rather than a song-by-song basis (and is still one of my favorites, btw). I'm actually really glad you submitted it here, though; I was not in a position to appreciate it fully the first time, and it being in a tournament forced me to consider the piece more thoroughly. I probably should have rated it higher than I did . . . Know that I've added it to my personal collection.

    Now things get very difficult very quickly.

    Garison DeCrick
    Concealed Four Seasons ~ Piano
    June, Hydrangea, Test of Courage
    Reincarnation ~ Symphonic Metal

    I have to go with the assumption that you're intentionally encrypting your reviews, because I know for a fact you posted that Reincarnation remix in the Halloween tournament. There are no specific reasons why I'm attributing the other two to you, except that I find it difficult to see either DF or Busker submitting them based on their reviews.

    Full disclosure, I think I rated Concealed Four Seasons too high. Listening to it again, I'm more sure now then I was initially that the arranger recorded multiple individual remixes and overlaid them in editing. Other than that, these submission did a good job of mixing things up a bit.

    Path Through The Bamboo Forest
    Wouldn't you know, Jssf confirms the one submission I was already confident on. Past this I have absolutely no idea what's yours versus what's DF's. The best I can do is use the review style of this one confirmed submission for comparison.
    The Dawn of Asuka, and the Beginning of the Legend (Brass Band Ver.)
    Flight of the Bamboo Cutter ~ Lunatic Princess ~ Orchestra

    If I'm right, then it would seem you were leaning in on the orchestral representation, and I'm not about to complain about that. I was pretty confident from the first listening of Path Through the Bamboo Forest that it would win, with Time Will Tell being the only contender in my mind (btw, first non-vocal arrangement to win!).

    So Bright
    The Way Home We Walked On Together
    Time Passes in the Field, Walk Slowly Through the Night

    Similar to Garison, I'm pretty sure you're covering your tracks very thoroughly. That being said, you usually have wider genre experience than the rest of us, and I'd initially assumed you for both So Bright and Time Passes in the Field on respective first listens. Your reviews keep throwing me off, so this is the best I can do. I really appreciated these picks, though less for the pieces themselves and more for the discovery they promised. I've already been listening to more MN-logic24 (expect that in Musical Discoveries eventually).

    I look forward to reading everyone's reveals and seeing how wrong I was about the last three. Speaking of which, here are my reveals:


    There was a Piano in Scarlet Devil Mansion?
    I've already picked out my submissions for next tournament, and all of them already exist on Youtube; y'all shouldn't have to put up with this next time.
    There's not much more for me to say beyond what was in my review. I feel a bit bad for promising Garison a piano submission and then managing to find a style he didn't like. I've got a plan for next time, though . . . Hopefully enough to redeem myself.

    Bad Apple
    Rush Garcia is one of my favorite orchestral arrangers in the VGM sphere, not just for his style but for his skill. This is an especially imaginative arrangement, taking a theme that's been done almost to death and doing something completely unexpected with it. I anticipated a skeptical reception for it, but it seems most of you liked it. I'll keep that in mind for future tournaments.

    I found GET IN THE RING shortly after RT3, and it is officially my favorite doujin circle ever. I've become especially fond of their fun rock arrangements. Expect quite a bit of their work to pop up in Musical Discoveries now that I'm finally free to share it.

    That took a lot longer than I thought it would, and I'm glad I didn't try to do this yesterday. Now I'll have to come back tomorrow to see what everyone else said. 😴

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  15. I've had difficulty getting into the Metroid series music; the series is reasonable expansive, and I'm not sure where to start. But in the meantime, I've got Axiom Verge, which I'm told is comparable.

    This is another deceptively simple soundtrack. The compositions are far less complicated then most modern games, but still manage to be creative in creating the game's atmosphere.




  16. It's Groundhog's Day today!

    . . .

    Yeah, I don't really care either. But while I don't know any specifically Valentine's Day related songs, I do know a Groundhog's Day song! So here y'all go!


    Bonus song from the same TV special, because I forgot how much fun it was:



  17. 16: Flash Storm
    Metal, right? I'm trying to get a better grasp at the difference.

    Sound Holic always delivers arrangements of highs: high quality, high intensity, and high energy. This remix is all of those, and deserves the praise for it. However, I'm struggling to find something uniquely memorable about it. To me, it sounds like a metal remix of At the End of Spring. It's a good remix and a great performance, but there's nothing specific to say about it aside from the slight elements of Tiny, Tiny, Clever Commander mixed in, which aren't even that prevalent.

    It's still a 7/10, but I'm probably not going to remember this one.
    There wasn't anything noteworthy about the lyrics either, btw.

    17: Bad Apple
    . . . without the exclamation marks.

    I've a feeling this one's going to be rather divisive. Stating the obvious, it's really easy to miss the Bad Apple!! motifs completely; the arranger even admitted this was just a few note adjustments away from being an entirely original piece. As such, it's hard to decide how to estimate it.

    As one who loves orchestra in its purest form, I love this piece. It's very baroque, which isn't used much anymore, due to the complexities of arrangement. The progression is almost invisible, which is usually the mark of a film score where the music follows predetermined emotional "events." Yet it never stagnates, and neither overstays its welcome despite being five and a half minutes.

    The Bad Apple!! references add an intriguing element to the piece. On first listen, they can serve as islands of clarity in what may otherwise be a confusing ocean of unfamiliar music. I fear that, for some listeners, their existence may hamper appreciation for the full piece, since the tendency will be to focus on the familiar melodies. But others will gradually (or perhaps even quickly) appreciate the smooth integration of the motifs into a more emotionally diverse construct.

    Regardless, this is certainly a unique experience for Touhou. 8/10.

    18: Flight of the Bamboo Cutter ~ Lunatic Princess
    "Of," not "in."

    This arrangement is almost perfect! The instrumentation is a good blend of full orchestra and traditional folk, which creates a fitting representation of Kaguya in her most elegant strength. I've always preferred Lunatic Princess over Immortal Smoke simply for its complexity, and I find it very satisfying to finally hear a proper orchestral remix of the theme.

    My one gripe is two fold, and is concerned with the ending. At 2:20, the drumbeat is delivered with an air of finality, and puts to rest the energy of the piece. At 2:22, the energy is picked up again, building up to the second stage of the arrangement. But there is no second stage; this section builds up to nothing. Granted, it's careful not to promise more than it delivers, but it still feels unnecessary to the rest of the piece. Of course, without this extra the remaining piece would feel too short, since it had very little build up of its own. I personally would have looped it at 2:21/2:22 back to 0:08/0:09, or have used the post-2:22 section for an intro to a second stage of the piece, or something along those lines.

    Still, it's by far the best arrangement I've heard of one of my favorite themes. 9/10.

  18. After the acoustic guitar discoveries, I've tried making a regular habit out of checking for newly uploaded Touhou remixes. I was pleasantly surprised to find this PC-98 arrangement of a Kaisendo Group theme; Wanwan's works don't normally get considered for remixing purposes (unfairly, in my opinion), so I'd consider this a rare find indeed.




  19. 13: Time Passes in the Field, Walk Slowly Through the Night
    Now here's a study!

    This arrangement sounds deceptively simple, as it doesn't draw attention to its more creative aspects. First thing I noticed was the slight dissonance between the notes sung and the music played. There's a fine line between the bad singer and the musical master, but I was fairly certain that this was intentional; it sounded precise and exact, as though in opposition to the "incorrect" accompaniment the chords were following. Sure enough, the reprise after the interlude is harmonized, with the effect of a planned progression successfully executed. The second major decision in the arrangement is the change from the original's 4:4 time to a near-swing 3:4 time. This allows the piece to mosey along at a leisurely pace without losing energy. But it's so subtle that I almost didn't notice. In respect to instrumentation, Jssf referred to this as "rock." Yet while most rock arrangements rely primarily on the electric guitar, this piece distracts from its presence for the most part, favoring the piano and pipe-organ/synthesizer(?). It's finally given more attention in the interlude, but even then it seems detached from the rest of the song.

    I strongly suspect this song to be the type which had a lot of thought put in to how its lyrics and music re-enforced each other. Unfortunately, I can't find the lyrics for this one; if anyone knows what they are, I'd be very grateful.

    Definitely a unique experience, and I look forward to looking further into this artist's work. 8/10.

    14: Little Little Wish
    Spacelectro, take two.

    This is the kind of hard EDM I can get behind. Firstly because of the melodic presence, but also because of the incorporation of the style to the lyrics. The song depicts a person (specifically Shinmyoumaru or Koishi) who desires something she does not have; the music starts with an anticipatory intro, which seems to build up to an action but unexpectedly drops to calm piano. This drop is remorseful; we are at the end of the story, after she sought out the means to accomplish her desire. The music jumps to full intensity as she admits her failure, the impossibility of fully accomplishing what she wants, and the destructive results of her determination to accomplish it anyway. The rest of the song follows this idea.

    In case anyone's curious (epilepsy warning?):

    Granted that most of this is simply my perspective interpretation of the song, but that's kinda assumed anyway. 7/10.

    15: LWCO
    kagerou sus

    I LOVE THIS PIECE! High energy, good instrumentation, excellent vocal performance, and even just a fun, catchy song. I find this rather ironic; I'm not normally a fan of rap, and Lonesome Werewolf is possibly my least favorite track in the entire Touhou series. Then again, my gripes with Touhou 14's first half was mainly presentation and instrumentation, and this arrangement certainly addresses both those issues. Perhaps I'll appreciate the original more in future.

    Taken on their own, the lyrics depict a rather gruesome situation, the dark nature of which seems at odds to the excited bounce of the music. For all that, the piece maintains a sense of urgency, belying the subject of the song. I interpret this as the dichotomy between the game's concept and reality. Of course, this is from the perspective of someone familiar with Mafia/Werewolf, and I can't be sure that's what the song is actually referring to. But the association fits perfectly, and my appreciation for what was already a great song on its own is only amplified by that familiarity.

    I wonder how long it will take for me to learn how to sing this? 10/10.

    @Drunken_Flower 100% with you on fade-outs, and I actually thought this was your submission just from the song alone. Scrapping that idea now; I said it before, but post-tournament guessing is going to be a lot of chaotic fun.
    @Garison DeCrick I thought the same thing about that picture! I guess if it ain't broke . . .

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  20. The three-year anniversary of Celeste happened, and in commemoration the team formerly known as MattMakesGames released a sequel to the Pico-8 classic version. While there was technically only one track composed for it, the piece holds its own as a follow-up to both the original classic and the main game.




  21. Spontaneous appreciation for Louie Zong. There's something very "music for music's sake" about his style, and even though his compositions are a bit on the short side, they're always full of charm. He's also fairly diverse in the genres he covers.




  22. 10: Reincarnation
    Imma do a Garison-styleTM play-by-play on this one.

    0:00-0:42 - The intro is a beautifully epic built-up, laying a foundation for the piece that promises a complex musical journey, typical of O-Life Japan.
    0:42-1:25 - The "second intro," the actual beginning of the piece being built on that foundation. Jssf alluded to metal, so I foresee where this is leading to and can appreciate it as such. If there's a musical term/technique for hype building, this would be a good example. A minute-and-a-half into the track I'm fully engaged and anticipating the climax.
    1:25-1:37 - Restraining the guitar to both hold on to and continue the build-up, creating a transition into the main body of the piece. My anticipation is immense.
    1:37-1:47 - Sudden dip into piano feels like a stumble backward which prematurely shatters the tension. Seems stylistic, but to make it work the previous section would have needed to be longer and this section shorter; that is, stronger tension over a smaller gap, to simulate being on the edge of the transition. As is, leaves me feeling confused.
    1:47-1:58 - Main section feels unsatisfying after the broken build-up. The metal still feels restrained, despite the increased percussion attempting to infuse more energy into the piece.
    1:58-2:04 - Sudden transition in piece brings unexpected realization in listener: I've been tricked. Previous section was actually more build-up, and now I have to start the piece over again.

    0:00-1:58 - Much better. Now that I'm not expecting the climax to follow after the initial introduction of the metal, the order of events makes more sense. But now half the song is gone, and I'm a bit concerned about whether the artist can make good on all the tension he's created. The 1:47-1:58 section might have too much energy for what it's for.
    2:04-3:05 - Excellent! The piece has finally reached its actual primary section, and is proceeding with high energy. Very satisfying.
    3:06-3:18ish - Standard drop in energy to simulate the climactic feeling of the finisher. Except . . .
    3:18-3:36 - This part confuses me so much. The transition from the previous section is insufficient, and the style clashes with the rest of the piece. If there had been choir elements throughout, then they would have been present in the previous section, allowing for a perfect transition from the symphonic metal into the solo choir to create the interlude. Instead it comes out of nowhere, and even ends on a resolution, as if the piece is over already.
    3:36-4:05 - An otherwise perfectly satisfying finish goes underappreciated because I'm still trying to figure out what the choir was for.

    Overall, it's a really good arrangement with some powerful potential. But I get the impression the artist wasn't happy with it, and kept making little changes and additions in his attempts to perfect it. I'm left rather confused, and slightly disappointed. 7/10.

    11: The Way Home We Walked Together

    The arrangement is beautiful, but the vocals are definitely the highlight for me. Even if you don't know the lyrics, the voice communicated the intended emotion of the song on its own. Honestly, I can't get over how versatile her voice is; I've not heard a song of this sort from her before, and it's so different from what I normally hear.

    If I try to extend this any more, I'm just going to keep talking about Stack, so I'll cut it here. 7/10.

    12: World of Fantasy (Remix) [Psystyle]
    Why'd I commit to this cold-open bit?

    The implementation of Maiden's Capriccio into this style is bizarrely handled here. I've been dipping more into the hard EDM genres of late, getting used to the style and learning to appreciate and enjoy its strengths. This particular arrangement seems undecided on what it wants to be. The vocals and their instrumental compliment seems to be at odds with the hard beat interludes, though I can't tell how much of this is the music versus the vocals. From this track alone, the regular "DON'T STOP THE RAVE!" is both annoying to me personally and distracting from the rest of the song. I'm also having trouble following the song's progression; it feels like the same idea repeated roughly four times with slight variance and different angles of transition.

    Ironically, I found the original World of Fantasy to have a bit better structure. Rather then trying to force two differing aspects on top of each other, there's a third transnational style which bridges the gap. I still have questions, such as what the lyrics are, how well they contribute to the song as a whole, and who invited don't-stop-the-rave-guy. But overall, I rather enjoyed it.

    So for psystyle remix, it's 5/10. But I'm definitely more open to this style now then I was last tournament, provided there's something for the "organized noise" to be structured around.

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