Before my wife kicks me off the computer, I wanted to say I enjoyed this thoroughly. It is sonically pleasing, and the ideas keep me interested throughout. This is an example of good layering by keeping it simple. Great piece!
Yes. From the first note/ drone in the beginning, I knew I was in for a ride. You have a cool blend of Philip Glass, Max Richter, and Trent Reznor going on here. The piano at 1:00 is what I assume everything can easily dig which is ironic because it's totally Philip Glass. The irony is how polarizing his music was in the beginning of his career and now his music has been so ingrained in modern music that it is considered safe. Moreover, If you kept it at this minimalistic piano, you probably would have scored more highly, but the fun in trying to merely win the hearts of people is fleeting. It's better to write for your own at the time. Even if you would have done things differently later on. I value the personal expression of one's music even if it's only for a short season in life.
The noise at 3:35 is something I'm fond of. It is meant to be an esoteric view on music, and sometimes having that amid harmony gives so plainly the dichotomy of what we composer's do in this world. I applaud this approach, but that was merely the artistic weight of the review.
As I look at the previous discussions to your mixing in this piece, I think the mixed responses on your mixing is due to how fluid the reasons may be. If you took your instruments and played them in isolation, you will find nothing wrong in terms of the sound in itself. It's not a matter of EQ, compression, reverb, distortion, etc, but rather in how many of the instruments have equal weight in terms of volume. Sure, EQ can be used as a tool to prevent frequencies from conflicting, but the issue is before that where one instrument doesn't just take the lead over the others. If you didn't want to give one instrument the reigns over all the others, you could automate the faders on each instrument highlighting only the most interesting parts each instrument may have. My theory is in the arrangement, though, I think the arrangement by itself could work. For example, the guitar that comes in at 1:59 is meant to give the piece some heaviness, but it's acting a bit shy at the moment. I hear the arpeggiated organ and other instruments panned at the same volume if not more than the guitar. But it is the guitar that draws our attention because it's so sonically different. Yes, but go by that with some conviction my man! The faders should have been automated as if you were soloing an instrument and then passing the torch to another instrument as the piece develops. You could do this suddenly, or slowly adjusting the faders where an instrument comes in and out without a listener consciously realizing this. Moreover, as other instruments comes in, it would distract the listener from noticing that you're slowly automating the volume down on a particular instrument to the point where it is no longer in the mix at all.
Another example is at 1:00 where obviously the piano is doing all the talking. Then at 1:30, the flute wants to say something but is being a little talked over by the piano. At 1:44 more instruments come in as support, and the flute has gained its confidence by playing in a higher register. At that point, the flute has the audience's attention so the piano isn't as important anymore. Too many talking heads will create the illusion of "too much reverb" by the way, and with too many instruments you will lose some people to the point where they might think you're trying too hard. They lose the train-of-thought as anyone would trying to eavesdrop a conversation amid a moving crowd of people. As the one famous Yoda has said, "Do or do not. There is no try." This piece just needs less competing instruments at the lead. That's my opinion, and even if it might help with this piece, you shouldn't apply every principle/guideline to every piece. Every rule is meant to be broken, but do it with conviction.
This one is very surprising! I first thought what a wonderful choir/part-writing you got going on in the beginning, and the electronic elements came in were a nice idea. Something quite different as I didn't expect it, but it makes sense. You have quite an ear for arrangements and a knack of what sounds pleasing. In terms of the structure, again, I find no fault in this as this really is well-rounded. Much respect-- quite impressed with the quality of your singing, structure, production, and composition! I can keep returning to this piece and continue finding something new upon each listen.
You really know how to set the mood and introduce us to your music. Your structure and writing skills are impeccable. It also doesn't hurt that you have a distinct voice... man your melody at 1:40 is so good. After having attempt writing a song, I have that much more appreciation for songwriting. To write something memorable without it losing its simplicity in melodic voicings is quite the challenge. This flows very well and I think that's key in judging for this year's NGADM
lol not more needs to be said besides what has already been said from the individual before me.
The title peaked my interest.
But I think etherealwinds got the right idea in saying that this piece is like a nice haiku.
Do you like haikus?
I'm asking because I do.
Thought I'd let you know ;)
I downloaded this and listened on CD while at work so I can give it several more listens before I said anything. The imagery that keeps coming to mind when listening to it is a panoramic view rolling over several different landscapes. This is a bit like a baroque piece in the sense that the music keeps on going without any pauses in between phrases. I also think it's brilliant that you and etherealwinds swapped audio. This makes me think that Versilian Studios has to create an Etherealwinds library soon. Oh and that melodious violin at 2:10 is quite beautiful and catchy. It an ambitious piece with a lot of variety. You've mentioned how some of my music would fly by without realizing how many minutes have passed, but I say that's what happens exactly with this piece you two created here.
We appreciate you taking the time to not only listen to the piece, but think about it too before you comment!
It's always great to hear that people get their imaginations flowing when listening to one's music. It seems that your imagery fits the theme of the piece quite well, considering the meaning of the name, and our thoughts while making it!
The melody at 2:10 was made by us both ^___^
Although Jordi suggested the idea, we had already thought of it individually, because of the circumstances. Unfortunately, we actualized it so late that SnowTeddy didn't get a good change to record anything.
And Etherealwinds library would indeed be something everyone should want :O!
As for the time flying by, we're really glad that you felt that way listening to this. We were actually literally just talking about you, and your music ;)
Thanks for listening, and for reviewing!
That sax is such a weird choice for a piece like this that it works. I like the strangeness of it. 1:20 is cool, but I wish it was a bit louder in the mix. And as etherealwinds mentioned, I too thought it would accompany a game in a menu/title screen setting. It's fun listening to your collabs!
All credit for the idea of the sax goes to dem0, even if we created the melodies together! I was stunned when he showed me the idea, because of how surprisingly well it worked :D
We certainly went for an experimental style here. A bit of a risk, but either way we're happy we did it!
1:20, even though very active, is supposed to function like a short break from the melodies, focusing more on the rhythmic aspects of the piece. I agree it could be even louder. I'm afraid the piece is already compressed as far as we dare without damaging the sound, and is as loud as possible. So all other parts would have to be lowered in volume for that part to be enhanced. Maybe that would've been worth the trade though, since the listener can always raise the volume on their part?
It's fantastic to hear they're fun to listen to, since we always have fun working together! Thank you for the review ^____________^
Very fitting piece for expressing sadness and a hope, and this relaxes me quite a bit where I can feel at peace. I've mentioned to you in the past that your production work in achieving realism is strong. Combined with this is your superb writing. Your voice leadings enhance the realism to this work. And now I feel like listening to some Mahler right now because of you.
Great production work in terms of the variety and detail in the arrangement. My favorite part of this is the guitar work. That guitar solo at 2:14 is amazing-- reminiscent of the Joker's theme from TDK. And shortly after that, the vocal melody is pretty sweet. Even the timbre of his voice is reminiscent of Neil Young. I'm convinced that if Neil Young would do Heavy Metal, this would be it. Drummer went off the rails with the double bass... nice
Thanks Phono! Will drop by to leave a review on your track too. Always appreciate your feedback!
This doesn't get old-- been listening to this quite a bit while driving across states this weekend. This can almost be a crossover with it's r&b sound. Would've just like to hear some lyrics. That synth lead at 3:30 is just butter!
thanks phonom, congrats on your great score! =D
you can thank ethansight for that synth. he's such a balllerrrrrrrrrrrrrrr
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