Touhou musics that makes you cry and why

[Shizoka]

Hi people, first time posting here. This is interesting cuz have times that the music is just hitting hard or being beautiful along with the bossfight or stage. I normally cry with OSTs of other games like Persona, and Touhou is included.
The one that always makes me cry or at least fill my eyes with water are Fall of Fall ~ Autumnal Waterfall. The atmosphere of the scenario with the music is perfect. I remember the first time playing this stage and later going to the music player of the game and crying. Brings a calm ambient listening to it and a hope sentiment a little.

​

 

[kanedafanatic]

The Fantastic Legend of Tohno, man.


I know that's not the "official" title of the song but, this sounds much better than The Mystical Tales from Tono. Rolls off the tongue better and sounds better, even if inaccurate.

Outside of that, this song in particular hits me for a reason. Context-wise, it appears the 2nd stage of PCB, before fighting Chen over in Mayohiga. Basically an abandoned village overran by cats and home to the Yakumo family.

I'm not the best narrator to describe tunes, but the way I can describe it's ambience is bittersweet, distant, melancholic and slightly desperate. At least, in it's DirectSound variant (the one I sent).

The song itself is quite fast; 141 BPM. It's fast pace makes the character of the song something akin to fleeting. It's not slow, it's neither something urgent. It's like walking towards somewhere at a fast pace. Plus, it has a similar earworm-like structure to both it's parts: it makes it feel familiar and sweet.

The first half of the song is the part that makes it feels intimate. It's clear with it's piercing, high piano notes. It is simple with the drum channel and the small choir-like Then comes the flute part (first loop 0:43 ~ 0:56), putting distance with the listener with it's long reverb. It prepares the listener to the second part; it acts as the bridge between both parts.

Then comes the second part. It transforms the song into something distant. It's long, the song structure has changed, it's like you're on the verge of coming close to something yet so far of it. It's reminiscing of Mayohiga itself, a lost place. This part of the second half's structure: (first loop, 1:02 ~ 1:10, 1:17 ~ 1:25 and so on), especially hits hard because of how fast it climbs up. It feels desperate, like hoping to find a place of safety and comfort, yet knowing there's nothing in reach. You don't know how long you're going to remain, but you have to keep moving on. Then again, I mention those parts: those parts I noted aren't the only thing I like about The Fantastic Legend of Tohno. Those part are rather the one that gives the power for the song to follow suit.

I think you can tell I'm not a music reviewer nor a narrator. At least, I don't want to throw buzzwords after buzzwords. However, The Fantastic Legend of Tohno strikes that craving for something that's relentless without going in the intense territory of Necrofantasia. The Fantastic Legend of Tohno strikes the melancholy I'm seeking without sacrificing the dynamism you hear in a song like Shanghai Alice of Meiji 17. It strikes both. It is by far one of the few songs that can strike that compromise: something heavy in it's ambience, and something alive and high in it's notes. It's bittersweet.

 

[kanedafanatic]

The Fantastic Legend of Tohno, man.


I know that's not the "official" title of the song but, this sounds much better than The Mystical Tales from Tono. Rolls off the tongue better and sounds better, even if inaccurate.

Outside of that, this song in particular hits me for a reason. Context-wise, it appears the 2nd stage of PCB, before fighting Chen over in Mayohiga. Basically an abandoned village overran by cats and home to the Yakumo family.

I'm not the best narrator to describe tunes, but the way I can describe it's ambience is bittersweet, distant, melancholic and slightly desperate. At least, in it's DirectSound variant (the one I sent).

The song itself is quite fast; 141 BPM. It's fast pace makes the character of the song something akin to fleeting. It's not slow, it's neither something urgent. It's like walking towards somewhere at a fast pace. Plus, it has a similar earworm-like structure to both it's parts: it makes it feel familiar and sweet.

The first half of the song is the part that makes it feels intimate. It's clear with it's piercing, high piano notes. It is simple with the drum channel and the small choir-like Then comes the flute part (first loop 0:43 ~ 0:56), putting distance with the listener with it's long reverb. It prepares the listener to the second part; it acts as the bridge between both parts.

Then comes the second part. It transforms the song into something distant. It's long, the song structure has changed, it's like you're on the verge of coming close to something yet so far of it. It's reminiscing of Mayohiga itself, a lost place. This part of the second half's structure: (first loop, 1:02 ~ 1:10, 1:17 ~ 1:25 and so on), especially hits hard because of how fast it climbs up. It feels desperate, like hoping to find a place of safety and comfort, yet knowing there's nothing in reach. You don't know how long you're going to remain, but you have to keep moving on. Then again, I mention those parts: those parts I noted aren't the only thing I like about The Fantastic Legend of Tohno. Those part are rather the one that gives the power for the song to follow suit.

I think you can tell I'm not a music reviewer nor a narrator. At least, I don't want to throw buzzwords after buzzwords. However, The Fantastic Legend of Tohno strikes that craving for something that's relentless without going in the intense territory of Necrofantasia. The Fantastic Legend of Tohno strikes the melancholy I'm seeking without sacrificing the dynamism you hear in a song like Shanghai Alice of Meiji 17. It strikes both. It is by far one of the few songs that can strike that compromise: something heavy in it's ambience, and something alive in it's notes. It's bittersweet.

Something I can also add is that, the "transition" part between the first and second half of the song (0:43 ~ 0:56), the flute part, often gets removed in many arrangements. It sucks, because that part in particular is what gives so much power to both parts. The distant flute puts distance so that when you hear the second part, it hits you right in the face. It's such a missed opportunity!

 

[Shizoka]

The Fantastic Legend of Tohno, man.


I know that's not the "official" title of the song but, this sounds much better than The Mystical Tales from Tono. Rolls off the tongue better and sounds better, even if inaccurate.

Outside of that, this song in particular hits me for a reason. Context-wise, it appears the 2nd stage of PCB, before fighting Chen over in Mayohiga. Basically an abandoned village overran by cats and home to the Yakumo family.

I'm not the best narrator to describe tunes, but the way I can describe it's ambience is bittersweet, distant, melancholic and slightly desperate. At least, in it's DirectSound variant (the one I sent).

The song itself is quite fast; 141 BPM. It's fast pace makes the character of the song something akin to fleeting. It's not slow, it's neither something urgent. It's like walking towards somewhere at a fast pace. Plus, it has a similar earworm-like structure to both it's parts: it makes it feel familiar and sweet.

The first half of the song is the part that makes it feels intimate. It's clear with it's piercing, high piano notes. It is simple with the drum channel and the small choir-like Then comes the flute part (first loop 0:43 ~ 0:56), putting distance with the listener with it's long reverb. It prepares the listener to the second part; it acts as the bridge between both parts.

Then comes the second part. It transforms the song into something distant. It's long, the song structure has changed, it's like you're on the verge of coming close to something yet so far of it. It's reminiscing of Mayohiga itself, a lost place. This part of the second half's structure: (first loop, 1:02 ~ 1:10, 1:17 ~ 1:25 and so on), especially hits hard because of how fast it climbs up. It feels desperate, like hoping to find a place of safety and comfort, yet knowing there's nothing in reach. You don't know how long you're going to remain, but you have to keep moving on. Then again, I mention those parts: those parts I noted aren't the only thing I like about The Fantastic Legend of Tohno. Those part are rather the one that gives the power for the song to follow suit.

I think you can tell I'm not a music reviewer nor a narrator. At least, I don't want to throw buzzwords after buzzwords. However, The Fantastic Legend of Tohno strikes that craving for something that's relentless without going in the intense territory of Necrofantasia. The Fantastic Legend of Tohno strikes the melancholy I'm seeking without sacrificing the dynamism you hear in a song like Shanghai Alice of Meiji 17. It strikes both. It is by far one of the few songs that can strike that compromise: something heavy in it's ambience, and something alive and high in it's notes. It's bittersweet.

I wasnt expecting a big comment like this thanks bro! You know how to review asf. Its fucking cool the 1:23 ~ 1:36, adding more elements and reforcing the power of that part.

 

[Shizoka]

Something I can also add is that, the "transition" part between the first and second half of the song (0:43 ~ 0:56), the flute part, often gets removed in many arrangements. It sucks, because that part in particular is what gives so much power to both parts. The distant flute puts distance so that when you hear the second part, it hits you right in the face. It's such a missed opportunity!

Thats sad, this part being removed is like throwing a grenade and exploding at the same instant, not preparing for the explosion.

 

[kanedafanatic]

I wasnt expecting a big comment like this thanks bro! You know how to review asf. Its fucking cool the 1:23 ~ 1:36, adding more elements and reforcing the power of that part.

I guess we got to start somewhere. You're right, the climax of the tune is within that part, didn't cross my mind when I was listening to the song and writing this at the same time.

I do have other examples that while don't me cry (at least not all of them), they give a sentiment or eel that many others don't. Admittedly, my style of music is somewhat "binary"(?):

It is by far one of the few songs that can strike that compromise: something heavy in it's ambience, and something alive and high in it's notes. It's bittersweet.

While bittersweet is the word I use to describe for this example, a lot of the songs that get to me often are very contrastful and colorful by nature. A song like Rural Makai City Esoteria has a very present, bombastic sound stage compared to The Fantastic Legend of Tohno. Reminds me of G-funk, for some reason(?) It's imposing, distinct. it overpowers everything, it's contagious and it's rhythmic (squared, you could say? I dunno) Plus, like a lot of ZUN's tunes, they're earworms:

In my case with MoF: A God That Misses People ~ Romantic Fall. While definitely not one the first few songs where ZUN integrated his signature ZUNpet, this is during a time where (subjectively), it's usage actually meant something distinct. Very clear signature, warm notes (the Roland SD-90 Edirol coming in clutch with it's signature samples), Autumn in a song, before everything dies in Winter. An another that follows the definition of bittersweet:


Outside of that, I'll admit I'm someone who doesn't really pay attention to the Touhou's third generation (TH14~today) but, Thunderclouds of Magical Power is something that goes fully in the mood. Heavy atmosphere (akin to a thundercloud), notes that reach high and pierces through, mesmerizing chorus and all the kit:

 

[kanedafanatic]

While bittersweet is the word I use to describe for this example, a lot of the songs that get to me often are very contrastful and colorful by nature. A song like Rural Makai City Esoteria has a very present, bombastic sound stage compared to The Fantastic Legend of Tohno. Reminds me of G-funk, for some reason(?)

While the G-funk association was kinda random, I can confirm Rural Makai City Esoteria has some funk inspiration in there. Happens to be I fw funk, so I ain't complaining.

Plus, Jazz Fusion (T-SQUARE, NANIWA EXPRESS, CASIOPEA, Masayoshi Takanaka, Mahavishnu Orchestra and so on) has some roots based in funk. Pretty cool.

 

[YuyuFumo]

The Sea Where One's Home Planet Reflects easily takes my vote for the most depressed Touhou track. If Pure Furies ~ Whereabouts of the Heart is a representation of Junko's unbridled rage at the death of her son, than Sea Where One's Home Planet Reflects is the crushing sense of sorrow and grief that falls before it. That said, it's not the LoLK version of the track that gets the tears flowing, but one where it's played by a lone acoustic guitar. It's such a raw sound that gives this great sense of loss and emptiness, almost as if Junko is watching her son's soul leave his body whilst cradled in her arms.



The other remix that's done the same is a musical box arrangement of Native Faith. The base track was my 'theme' for when I visited Lake Suwa this past spring, where I spent an entire day making pilgrimages to the Suwa Taisha Shrines before finally arriving at the Moriya Shrine during sunset. It was a beautiful moment right then, and this music box version of Suwako's theme feels like my way of looking back. Sad that it was but a fleeting moment, but joyful that I'm fortunate enough to have experienced it.

 

[kanedafanatic]

I guess we got to start somewhere. You're right, the climax of the tune is within that part, didn't cross my mind when I was listening to the song and writing this at the same time.

I do have other examples that while don't me cry (at least not all of them), they give a sentiment or eel that many others don't. Admittedly, my style of music is somewhat "binary"(?):

While bittersweet is the word I use to describe for this example, a lot of the songs that get to me often are very contrastful and colorful by nature. A song like Rural Makai City Esoteria has a very present, bombastic sound stage compared to The Fantastic Legend of Tohno. Reminds me of G-funk, for some reason(?) It's imposing, distinct. it overpowers everything, it's contagious and it's rhythmic (squared, you could say? I dunno) Plus, like a lot of ZUN's tunes, they're earworms:

In my case with MoF: A God That Misses People ~ Romantic Fall. While definitely not one the first few songs where ZUN integrated his signature ZUNpet, this is during a time where (subjectively), it's usage actually meant something distinct. Very clear signature, warm notes (the Roland SD-90 Edirol coming in clutch with it's signature samples), Autumn in a song, before everything dies in Winter. An another that follows the definition of bittersweet:


Outside of that, I'll admit I'm someone who doesn't really pay attention to the Touhou's third generation (TH14~today) but, Thunderclouds of Magical Power is something that goes fully in the mood. Heavy atmosphere (akin to a thundercloud), notes that reach high and pierces through, mesmerizing chorus and all the kit:

fuck, I just realized that the song I gave for the MoF example was the wrong:

there you go

 

[Shizoka]

The base track was my 'theme' for when I visited Lake Suwa this past spring, where I spent an entire day making pilgrimages to the Suwa Taisha Shrines before finally arriving at the Moriya Shrine during sunset.

Really cool, congrats for being able to experience this

 

[tori_birb]