Ken Hisuag

16: Pola - Eternal Hades The past returns to haunt me. While the wording hasn't aged well, the sentiment hasn't changed. This piece accomplishes a thoroughly disturbing atmosphere, as intended. I may respect it, even appreciate it, but I do not enjoy it. Regrets. 3/10 17: ShinRa-Bansho - Fairy Song A welcome shift. ShinRa-Bansho's standard of quality goes before them, as does the varied nature of their arrangements. This is a tamer mood than I usually hear from them, which goes along with the more serene progression utilized. The music depicts an epic journey in all its stages, from the instigation to the setting out, the unmet desires and their associated conflicts, their eventually resolutions and the realization of new horizons. Ironically, I can't make much of the lyrics either in consistency or otherwise. Regardless, a thoroughly enjoyable listen (instrumentation is excellent, too). A good sort of different from ShinRa-Banso. 8.5/10 18: GET IN THE RING - ⑨melodies My favorite circle! Speaking of uncharacteristic styles, I did not expect such a serene song from GET IN THE RING. The masterful medley technique, on the other hand, was eagerly anticipated; this circle is on par with DJ the S for constructing full pieces from outsourced motifs. I was in no way disappointed. The song itself is also worth looking up, imo; it fits the music, and is rather sweet. It's interesting to rate this next to Fairy Song, since the two pieces appeal to me in similar but slightly different ways. I haven't yet heard a GITR song I didn't love. 8.5/10 can y'all tell I'm rushed?

I didn't know Bossa Nova originated in Brazil; now I'm wondering about the origins of other genres. I'm a big fan of Irish folk, but I'm not sure if that fits the criteria of this thread (i.e. can I post Irish if I'm not Irish?), so I'll keep it minimal here.

It's St. Patrick's Day! Annual Irish folk incoming! I considered posting over on Mev's new music thread, but I'm not sure of the technical qualifications, so I've saved one for that and kept the rest here.

There were three specific games in the LoZ series I wanted to prioritize this month. The first two were foundational entries which established iconic motifs for future installments, and I was previously familiar with some of what they contained. The third is Legend of Zelda: The Wind Waker; though not quite as influential in comparison, this soundtrack is nonetheless a highlight of the series. The same spirit of adventure is present, with the advancement of technology enabling a more full sound without losing the charm of its limitations. While leitmotifs were hardly new to the series, they'd begun to take on a fresh aspect at this point; compositions were unique, but included references to past themes to invoke nostalgia and establish an internal consistency. It's difficult for me to tell how prevalent this style was in previous titles post-Ocarina (it was not present in Majora's Mask), but it has certainly been the standard for the series ever since.

Shishimai Brothers - When the Whirlwind Blows No idea what "Tsuji / 辻" translates properly to. I had almost given up on finding a unique arrangement for Winds of Time when I found this track, so it was very much appreciated. saiyoucho - Moonsoul There's a bit of chord alteration in this arrangement; not enough to re-write the piece, but enough to adjust the tone in a way that works exceptionally well with the instrumentation. Gauche - Phantasmagoria I didn't look very long for this one, the irony being too good to pass up. If you know you know; if you don't, the video's description will tell you.

@OkuuFallout The video link didn't stick.

Honestly, this is the ideal approach to an online forum. If you feel obligated to be involved, you can't enjoy it comfortably, nor can you be fully authentic. Better to have the self-assurance that your input is appreciated, but not required (and it is appreciated, btw). I hope this place continues to be an enjoyable and entertaining part of your life, whatever its changes. Shalom!

No LoZ game has quite reached the level of acclaim and esteem of The Ocarina of Time. Still considered among the greatest video games ever made, it has continued to be a foundational influence for the medium as a whole. It's soundtrack is similarly iconic, featuring a wide variety of styles that work surprisingly well with the N64 sound; while the more notable motifs receive frequent reuse, I'd argue there's little significant improvement to be had in the overall presentation. While many of the game's pieces are well known, the soundtrack is surprisingly large (for an older game), and there are still a few rare gems in its tracklist; it's well worth the perusal if one is willing to take the time.

ti - Hakurei Shrine Grounds A not-quite-chiptune arrangement with a surprising degree of personality to it. Fuyuki Seana - atmosphere I'm hoping this doesn't sound too compressed; it's a good arrangement, but the mixing could have been better (to be fair, it's an old track, and the artist seems to have improved since). mixtuti sakuramochi - Youkai-Sealing Finale The filter effect on this keeps me waiting for the drop, but it doesn't. That combined with the ending makes this a most unusually styled remix, but in a way I appreciate the uniqueness.

Because of the way in which I got into VGM, many of the more iconic soundtracks remain unfamiliar to me beyond their most famous tracks. In an attempt to remedy this, I hope to occasionally dedicate a month of features to a specific series, giving me the incentive to check out the more infamous titles. I've already done this with Super Mario; this month, I'd like to familiarize myself further with The Legend of Zelda. To start off, I've chosen A Link to the Past as being one of the more iconic entries. By my understanding, several series-staple motifs were introduced in this game, and it continues to be referenced as among the best in the series. Personally, I tend to struggle with the SNES sound; sometimes it works (Chrono Trigger comes to mind), but sometimes it sounds like the composers wanted an orchestra and weren't willing to adjust. This isn't quite that bad, but I suspect it could have been better. Fortunately, there are many strong melodies to make the soundtrack a memorable experience anyway.

Considering my major hobbies revolve around listening to [a lot of] music, the subject of choosing headphones is an important one to me. Nonetheless, I'm a relatively simple person when it comes to such commodities; I only ask that it "sounds alright" and "doesn't break." Overtime I've become more picky, but not enough so [yet] to research much into the technical aspects. That may change very soon; depends on my finances, and the ever-declining stability of the world. My current headphones are an over-ear wireless set that I only got because I'd been gifted a gift card to a place I avoided shopping at and wanted headphones that had something sturdier than thin plastic in their frame (these are the headphones). My previous pair had cracked, and I was hoping for something that would resist cracking. These has a nice leather-like covering on them, and I hoped that would mean something. To be fair, they held up longer than any of my previous headphones, and even now the covering holds them together in spite of internal damage (which has not effected the audio quality, btw). For whenever I get my next set (assuming I get the chance), I'd like something similarly double-stabilized; I don't expect it to prevent damage, but it may at least mitigate long term effects. Otherwise, I've considered choosing something with noise-cancelling; there's a lot of activity around me on a regular basis, and if it works (I have no prior experience with it) it could be convenient. I tried getting a pair of wireless earbuds (band can't break if there isn't one, eh?), but the sound quality was such a downgrade from what I was used to that I had to return them. I'll have to look into that DankPods channel; I may learn something helpful to my inquires.

I feel the need to clarify a potentially misleadingly vague word in my recent statements, that being "experiential." By this I was referring to experiences only relevant second-hand to the subject, not experiences directly with the subject itself; my intent was to contrast this with first-hand understanding of the subject, implying these as proper "evidences." My point was that a majority of the aversion toward modern Japanese artwork is based on experiences associated to it, but not directly with it. Ironically, few of those with negative opinions based on associated experiences will have actually experienced the subject directly. Again, this is not yet a critique of the conclusion; I'm merely pointing out the inconsistency in the common justification thereof.

13: EastNewSound - cardiac sound Familiar material. Even though I've not heard this arrangement before, the style and structure are the same as plenty of other pieces I have heard. Similar to the case of Beautiful Diver at the beginning of the tournament, I'm finding it difficult to recognize something unique to this piece, something that differentiates it from other similar pieces in a way that allows me to identify with it. I don't normally struggle with this, and I have a suspicion I would have an easier time if I was more familiar with the technical aspects of this form of composition, the way I am with some other genres. Perhaps someone who already appreciates the genre for something unique to it is able to appreciate those elements in individual pieces? I'm not sure, and regardless I feel guilty for being unable to relate more strongly to the arrangement. There have been too many features in past tournaments that I didn't understand at the time, and came to appreciate more later; I'd rather express appreciation now when it's relevant, but I can't find anything to focus on (I'm not even sure I can identify the source motifs). For now, the piece is just "alright;" no more, no less. 7/10 14: MA.S ATTACK - Akutagawa Ryuunosuke's "Kappa" "Last time, on Touhou Ambience . . ." Where the previous MA.S ATTACK remix was edging the line of "ambient music," I'd say this falls more on the other side. While there may be tonal elements present, the track is lacking anything that could be properly called a "melody;" there is no progression, and no specific emotion instilled. There is strong atmosphere, and this is what carries the "piece" through its duration. As such, I would hesitate to call this a remix, or even music at all, in favor of terms more closely descriptive of the production; "soundscape" comes to mind. That being said, I rather enjoyed it. It may have been association with the artwork, but there was an impression of underwater exploration, as of an old shipwreck or cave; sounds are muted as though filtered through the water, and movement is slow but smooth. There's something soothing in these sorts of sounds; I've experienced similar things with a collection of "Hollow Knight ambiences" on Youtube (which also happen to sound very similar). So despite not considering this "music," I still appreciate it. True ambience, but . . . 7.3/10 15: Noah - Capital City of Flowers in the Sky Flamenco rock!? Well, not really, but the comparison is there. This is exactly the hybrid style I love so much, capturing the intensity of symphonic metal while contrasting it with the serene quality of more traditional instruments. Granted, the hybrid part is more of a buildup into the quantitatively larger symphonic section, but it's strong enough to stand out, and strengthens the progression of the piece perfectly. Speaking of which, the progression of this arrangement is amazing! Each section builds upon the previous, increasing the stakes of the piece all the way to the end without any drops, keeping the same high energy throughout. I couldn't ask for more. Spectacular! 10/10

Alright, I've put this off long enough. The first thing to do is examine the question to ensure proper comprehension (of course). "Why the general hate for anime/modern Japanese pop art & culture?" "Hate" is a strong word, denoting a strongly negative emotion of intense spite and disgust toward something. It isn't usually used that way anymore, at least here in America (I can't speak for any other cultures, but my experience here is of people who think very little about the words they use beyond what might get them in trouble, and sometimes not even that). Nonetheless, it's worth clarifying a distinction between an active malice toward modern Japanese art (henceforth MJA, referring to anime and manga), and a more passive distaste or aversion toward it. I understand hatred to be a passionate emotion, actively driven to express itself toward its target (not necessarily all at once); comparatively, I find most examples of negative expression toward MJA are reactionary, i.e. in response to a specific situation. Most people are content to avoid interacting or acknowledging MJA, and encouraging others to do the same; they may be vehement in their expression, but not usually fanatical enough for me to consider it "hatred." I will proceed with this understanding in mind, thus altering the question as follows: "Why the general aversion for modern Japanese art?" The major presupposition of the inquiry is that there is a general aversion to MJA ("general" being a widespread normalization). While I don't disagree with this presupposition, it's good practice to be critical of all presuppositions, thereby preemptively encountering potential objections. This was the main reason I didn't respond to this topic for so long; I wanted to observe negative stigma of MJA in action, and attempt to gauge how common it really was. The loudest/most visible aspect of a situation tends to be more extreme, and thus not necessarily an accurate representation thereof (as we've discussed previously); I wanted to avoid assuming the stigma without in some way experiencing or otherwise reaffirming it. As expressed in the above paragraph, the results of my observations was to conclude a lack of intensive negativity as opposed to a more passive (though often convicted) aversion. Interestingly, this stigma usually lacks conscious justification; those who express aversion to MJA do not often provide explanation for it, even when prompted to do so. This leads me to presume an experiential, rather than evidential, explanation, meaning that the stigma is likely born of association rather than essential nature. This would line up well with the general consensus of this thread: there is a general aversion to modern Japanese art because it is associated with other potentially distasteful things (the thread has specifically focused on sexual content, though consideration has been given to a few other subjects). This may be sufficient answer to the question, but leaves open speculation concerning the justifiably of the association; I intent to address this as well.

Kinukawa Tamaki - Mystic Dream My insistence on transcribing artist names into something I can read is not always practical (nor always reasonable), but it helps me remember artists I otherwise would have forgotten. GUNFIRE - PEACEFUL ROMANCER Not quite what I expected to choose for this piece, but the slightly hybridized style of eurobeat from an unfamiliar circle name caught my attention. Just as well; while there were plenty of other options, most of the best ones were from circles I've already used (some more than once). Madeleine - Soul's Resting Place I know I've used this artist before, but it's been quite a while, and I liked the idea of having an oriental folk remix for this track; it fits quite nicely, and contrasts the other two features as well.

I never expected to bring this soundtrack up again (and to be fair it's been quite a while), but a recent arrangement album reminded me of the previously released orchestral soundtrack for Rabi-Ribi. I still regret being aware of this game in the first place, yet it's music has remained one of those "hidden gems" of a soundtrack for me over the years, to the extent that I could (and perhaps eventually will) easily do another feature for it. But for now, I will instead feature some of the orchestral remixes done for an anniversary celebration a while back. The transitioning of instrumentation is surprisingly creative, and while I'm occasionally undecided concerning the viability of certain tracks, it's overall quite the accomplishment. They did not arrange the entire soundtrack, and some of the choices made in that regard confuse me (Rabi Rabi Park was already mostly orchestral?), but they covered most of the important ones anyhow.

nnrihito - Shinto Shrine 1 I'm assuming the uploader is the artist, since there's no indication of alternate source. This and the next piece were difficult to find, especially considering their unassuming titles. Song names got generally more interesting post-PC-98, so I'm hoping this won't be a problem for much longer. namapanko - End The artist also arranged Shinto Shrine, but I considered this arrangement to be more interesting. The "stuttering" at the beginning is intentional; I initially thought my headphones were glitching out, but I respect the creative effect. Demetori - Eternal Paradise ~ Heart of the Sunrise The timing of this track's release could not have been better. It's a very unusual style for Demetori (at least the Demetori I'm familiar with), but it's executed with the same degree of quality one would expect. I think it pairs well with the Shinto Shrine remix, too; both have the energy of an ending theme, but with the contrasting moods complimented by the differing instrumentation.

Before Tunic, I was most familiar with Lifeformed through the Dustforce OST. The soundtrack is made up of relatively short, simple tracks with chill tones and encouraging melodies, showcasing the artist's propensity for serene airy synth. This is my preferred sound for background music while doing a task, as it's active enough to be effective but light enough to not distract.

Valentine's Day is my personally second most important holiday of the year, right behind Resurrection Day. Originally in honor of Saint Valentine, a Roman bishop and martyr known for his commitment to performing marriage ceremonies in the face of opposition, the day has more or less become meaningless in popular culture. A holiday, a holy-day, a day set apart for remembrance, is only useful so long as there is something worth celebrating. It is a day of emphasis, for there is no authenticity in celebrating something that does not apply at other times (if you only give thanks on Thanksgiving, you aren't really thankful). For me, this day is an opportunity to reflect on love--what it is, where it comes from, and the ways I am blessed with it in my life. I'm short on time, or I would leave the text of 1 John 4:7-11 as reference. I've yet to have the beginnings of a romantic relationship; I esteem the concept too much to risk being flippant. What I do have is six younger siblings and two loving parents; I am very close with my family, and so I use this holiday for the purpose of celebrating that familial love that I've been blessed with. Not everyone is blessed in this way; some are blessed with friendship, others may be limited to memories of past expressions of love that are no longer present. But even in worst case scenario when someone hasn't personally experienced love, there yet exists the ultimate love of God from which all other forms of love proceed, which is applicable to everyone. So while my celebration may not be as large or spectacular as that for Christmas (traditions die hard), internally I consider this to be the more important concept, and take joy in the opportunity to reflect upon it with other people.

kimino-museum - Alice in Wonderland I normally prefer low-energy arrangements of this piece, but this track reminded me of Lycoris Sound, and I didn't want to pass that up. The shift in tone/instrumentation halfway through is a little awkward, but both halves are equally well constructed and progression is kept consistent. maritumix - General Offensive maritumix is one of the few consistently active artists who has a significant PC-98 catalog, but he's also one of my favorite Touhou arrangers, so I've avoided utilizing his work in favor of having him available for later features. Now we're nearly through the first era, and the time has finally come. Grimoire of Alice is a powerful piece, and I prefer it arranged to compliment and enhance that tone. I'm only doing two features this week instead of three, and I freely admit the reasoning to be petty. There's six tracks left to cover from Mystic Square, and I'd like to split them evenly between the next two posts rather than include something else in the latter. Plus, I like leaving these two pieces to themselves.

I finally got around to Dark Souls, and was surprised to discover how little music there is outside of boss fights. In a way, this contextualizes my previous experience with Soulsborne soundtracks, not necessarily as an indicator but as an expectation setter. Regardless, I found this soundtrack much more approachable. The majority of music in this game is dark, though in a variety of tones. The game's theme of decay and corruption is woven into the music, with additional mood worked in according to the intended characterization. This can be a more standard progression structure for more noble characters, or a more sinister progression for more horrific ones. More important to me, however, is the discernible melodies; each piece has a motif and develops it. I had expected a more ambient-heavy soundtrack, and what I got was much more to my liking. That being said, I should be more careful with the expectations I come with for these features, as they can strongly impact my final perceptions.

10: K2 SOUNDS - Rest in Dark Night Unexpected Marisa rave! Oriental Dark Flight is that one theme of Marisa that I always forget about; it's stunted progression structure gives it a darker tone, but makes its melody less memorable. As if in mockery of this perception of mine, this arrangement holds to the general idea of that progression structure and adjusts it slightly to achieve a much more impactful result. I'm hard pressed to settle on the specific strategies in use, beyond its creative instrumentation and transitions. Regardless, the result is a quite enjoyable piece with surprisingly balanced energy, considering its medium tempo. I found this piece "fun;" it neither invokes strong reaction nor fails to hold attention. I might wish it was slightly longer, but I can't reasonably tell where it would go from here (interlude, but no climax), so it's probably best as is. I feel like I should have more to say . . . Doesn't build too much, but should stick with me nonetheless. 8/10 11: Virus Key - Dance of the Ice Spirits Old orchestra in the distance. To address the elephant in the room: This arrangement is really quiet! It's sufficiently balanced to avoid being annoying, but it's still a bit distracting. There was a remaster done in 2019 that's a bit better, but I'm unsure of what other changes might be present, so I'll stick to the original for now. Many waltz remixes transpose the melody to 3/4 time, apply the standard accompaniment, and adjust as needed. This process is perfectly serviceable, but this arrangement goes a step further by committing itself to the classical style, and even including elements of baroque in the third quarter. The original motif is presented as a foundation upon which the piece proceeds to build, crafting new variations as it meanders pleasantly along. Eventually the variations travel so far as to almost sound like their own motifs, at which point the piece switches to the source's second motif, adjusted to be almost unrecognizable, and repeats the process. The return to the first motif is in the baroque style of flowing contrast in improv, creating an interlude for the final buildup of variations into the piece's climax. This arrangement lacks progression in the modern sense, in that it does not continuously lead from its beginning to its end with an emotional idea. Instead, its progression is purely in musical exploration; each new direction is a consequent of the preceding parts, and it continues traveling until there's nowhere else worth going. For better or worst, this style of music is exceedingly rare today (or at least I don't encounter it). An almost forgotten musical style in exemplary form; I only wish the volume was more reasonable. 10/10 12: O-Life Japan - Dawn Sky of the Myouren Temple Cinematic proper. Given the free way in which this arrangement utilizes its motifs, one might assume a similar style to the previous entry. However, where the classical waltz was built on its motifs, this piece develops its emotion with its motifs. Note how long it takes for the recognizable melody to be introduced, and consider the intention behind the arrangement's progression. The introduction is a slow, quiet buildup without a definite direction to go in, adding to itself without becoming anything specific; this is the rising dawn, before anyone is up or doing anything. Then everything cuts, and the main motif is introduced; now there is direction, and the buildup begins anew. The piece becomes more active without becoming energetic; this is the early morning, as people prepare for the days goals. The term of "cinematic orchestra" is used most often nowadays to denote intensively climactic music (a readily available example would be CarrotWine's work), but this is only one application of the concept. Technically, film composing is an art of crafting musical scores in cohesion with accompanying visuals and the emotions that the film makers desire to invoke by them. In arrangements like this one, we get to see this art applied in a more free-form context. A refreshing study and a beautiful journey in music. 9/10

I took an unannounced month hiatus; between house re-org and work events, I needed the extra time. M8 - Sad Doll ~ Waltz of Misery I'm using the specific arranger's alias rather than the circle name because I can't find a proper translation (something like "Statue Sculptor"). For the piece itself: I always appreciate a piano arrangement that goes farther than the all-too-common melody transcription, even if it's just a creative accompaniment. Transposing it into a waltz, especially a more discordant track such as this, is a wonderful bonus. Conagusuri - Phantom I wonder sometimes if my preferences in music are too evident in what I choose to feature; not because there's anything wrong with that, but because I try to find unique sounding tracks. I would consider this to be among my more unique discoveries. Arts&Sounds:Utopia - Legendary Illusion ~ Infinite Being I've always struggled with this piece; I can hear a great deal of potential in its motifs, but the progression always seems to be lacking. Thus far, the best remix I've heard is the Pocket Wars version from the first remix tournament; for this feature, I wanted to find something else if possible. This one has a great buildup into the main piece, and the interlude goes a long ways to improving the overall progression. I still think it could stand a bit more "punch," though (also not a fan of the fade-out ending as a general rule).

Recent tournament round had a strongly ambient piece, and I was reminded of The Longing. Its music was understandably low energy to compliment the theme of waiting, but had enough nuance to avoid becoming monotonous; some pieces may even become nostalgic over repeat listens. There's also a surprising variety (considering the game's size). The game itself is one of my favorites, so it's about time I featured it some way or other.

I've put off featuring Gris for some time, not because of the music itself, but for its heavily dynamic nature; listened to out of context, it lacks much of the impact its meant to have. Similar considerations refrained my featuring Journey for a while, with the unique factor being that I haven't played Journey, and thus could not myself be aware of its contextual impact. Since I have pushed forward with that feature, I might as well do so with this as well. Tracks like Perseverance, Descent, and Unagi (to say nothing of Gris, Pt. 2) simply do not have the same presentation in their more straightforward form, so I have tried to favor tracks that both listen well and still give an idea of what the soundtrack has to offer.