Phonometrologist's audio Reviews on Newgrounds

[Hide the Light]

Since you’re headed to Japan, I’ll describe this one as a little haiku. Interesting and pleasant enough to leave an impression of images in my mind as different instruments come and go, but not enough for me to really analyze a universal meaning from it I think.
Though, I think the first 8 notes(2 chords) introduces what is needed to know the theme of this piece. You outline a B-flat major 7 chord in a way that allows the reverb to carry the d minor from within it since the root of the chord is not it's lowest tone. Then you outline the F Major with that lingering B-flat starting the motif of the second line. If those two notes can be telling, “A” and B-flat, semi-tones in melodies often illicit sadness, but because that’s within the context of two major chords, I would say the title of the piece is describing a sense of trying to hide it. Even the two semi-toned notes in the beginning can be heard in two chords when you have the haunting chant at 39-42 seconds. When the chord resolves to that C minor, my soul melts. It’s a feeling I would describe as a nostalgic pain that has been felt universally for centuries as it cannot be explained. Perhaps the sliding tones downward can mimic the cries of a mother losing their child and this has been engrained in our bones from the beginning of time. Whatever it may be, hiding the light seems to be the therapeutic thing to do at first. I can just listen to the opening 4 notes over and over, and appreciate your choice of arranging them. Sure the timbre of that sound helps, but there’s something simplistically beautiful in arranging a sound that states optimism and caution in the beginning of a track that later becomes filled with intrigue, awe, and sadness.

However, I do get a sense of airiness and light toward the end of it, but the title is “Hide the Light.” Well, the silliness of doing such a thing is comparable to harvesting water in our grips in the hopes that no drop will fall. Even if one could shut themselves away from the light outside, and to keep ourselves from volatilizing, this track can remind us that the light will not cease to permeate from within until our final breath.
Well, truly in the spirit of an haiku, one can simply enjoy three little lines upon first reading, or one can meditate on something deeper in between them. Thank you for it.
It would be nice have you two for tea or coffee sometime.

LucidShadowDreamer responds:

Ooh, seeing this got me excited. It's been a while since I got one of the long reviews I used to see (and give) a lot on Newgrounds a few years ago. I appreciate you taking the time to really listen to the piece, and even giving it some analysis!

I wrote this piece mostly in chromatic order (though I did add/change some things here and there later), since I didn't have much time. I actually pre-selected most of the instruments, based on the kind of sound and emotion I wanted to portray, inspired by the art. I was surprised by how easy the actual composing came, when I had the sounds I wanted to use ready! I think I'll try to use a similar strategy for a more ambitious piece at some point, maybe even for the NGADM (assuming I pass the audition round, of course).

Anyway, the point I was getting to, is that the first thing I actually composed and that paved the way for the rest of the piece, were indeed the first 16 notes. I thought of repeating them once right afterwards, but after some playing around, I changed them around a bit in order to go well with the other sounds, such as the chant. I feel like the progression became more natural this way.

Another thing that inspired the piece, was using a fair amount of VSTs I rarely compose with. I have so many that I figured I should probably use them every now and then :p
It is difficult for me not to be drawn to the Joshua Bell Violin though; I don't want to become too reliant on it, even though it's wonderful.

As per usual, you have a very hitting analysis of not only the musical intricacies, but also the more in-depth aspects, such as the emotions and narrative interpretations. It always lights up my (already bright, with the midnight sun and all) days to read the thoughts of a listener, especially yours! I agree that there is a bit more hopefullness and light at the end of the piece; I wanted it to open up a bit. That said, I ended the piece on a pretty closed chord, and maybe it should've been more open. Then again, the shortness of the piece still allows for the "story" to continue after it ends, I feel.

I really enjoyed reading your interpretation, and it's not far from my own ideas when writing the piece either!
I would love to come over for tea. I am sure at some point in my life I'll visit the US (not sure what states though; probably depends on the opportunities, unless it's a vacation).
By the way, have you written any new music anywhere? If so, I'd love to hear it! I'm not very good at checking many other sites where people hang around. I am reachable on discord though.

Thanks again for the review, and I hope you have a good day!

[Jenny of Oldstones ~ Podrick's Song (GoT)]

Your voice is perfect for this. Your mix on your stacked vocals are spot on as well.
This makes me want to hear how you would interpret historical pieces from the 13th-15th century.
Take this piece for example: https://www.youtube.com/watch?v=OqwtJiS-eBk

etherealwinds responds:

Thanks so much Phono! This is a really lovely piece, and I definitely enjoy music from this realm in time. The harmonies and instrumentation are gorgeous! Nice to hear (read?) from you. I need to record some music in a church someday.

[The Beginning of a New Light]

I like how reserved you keep the build up for the piece up until the last third of the piece. Great form, and your mix in this piece is spot on. Very enjoyable.

Deemo-R responds:

You're too kind! I personally think form is one of my greatest weaknesses in composing, so it really means a lot that you feel that way! Thanks so much for the kind words!

[For What the Sparkler Sparkles]

I enjoyed this one immensely upon the first listen. I just came back to it today. Just wanted to say that I appreciate this composition from you for being more reserved than your free form writings. Quite soothing.

LucidShadowDreamer responds:

I wanted to come up with a new left-hand pattern that's simple, beautiful, and that hasn't been done (at least this clearly) before. It turned out to be surprisingly difficult for my fingers to remember the pattern at first, probably since it's fairly unique.

I would also describe this piece as love song of sorts.
I was directly inspired by a Final Fantasy VII track called "Interrupted by Fireworks". I don't know exactly what it is, but there's a kind of addictive bittersweetness to that track which always results in a direct blow to my emotions. Thank you for listening!

[You're the Same]

Congrats on the score. I have some catching up to do but I might as well start from the beginning and take my time. My first impression is that your production and mixing has finally gotten close to the prowess of your composition technique. But I care more about the writing itself.
Because your writing often involves progressing through harmonies without cadences that gives us pause to really reflect upon what was said before you already have established the next phrase, I shall focus on the relationship between the piano and violin. In the beginning, the violin in its high register is trying to allure the piano out of itself. The short, repetitive, descending two note motif in the piano hesitantly does end up heeding to the violins call to move from it's state of emptiness. The piano speaks and the violin sings along beautifully. I particularly like the passing tones the violin slides into from time to time.
This composition really is about the support of a friend. The stubborn friend needing the help of another to get them going. And the other friend needing the other to carry them through to the end once they do get moving. I can't help but think of this dynamic when the imagery I get is an ocean. The violin is the sail and the piano is the waves. The piano plays the secondary role, and although the violin will keep us moving, it is the weight of the piano that keeps us afloat.

LucidShadowDreamer responds:

Hey there, it's nice to see you around again! I hope you're doing well :)
We should catch up a bit, at some point.

I was quite surprised by the score myself, for some reason. I didn't know how a piece like this would do in a competition, but apparently it did quite well.
I'm really glad to hear I'm slowly catching up with my mixing. My approach definitely could've been better if I had studied more actively. That said, I've thought that if I learn to mix in small steps, my production will fit my personal style better. Let's hope that's true, and not just an excuse!!

I really loved reading through this review. Your perspective on music is unique, while at the same time, it's striking in its accuracy. Now that I think of it, you improvised with just two notes as the base, at some point earlier this year. I think I did something similar here organically, but it's not impossible that your improv in some way inspired that idea.

As for the violin's expression, such as the slides, I just love how flexible the VST is. It's just so fun to write with, not to speak of simply improvising with a keyboard.

Your interpretation of the piece is pretty spot on! I think your analogy is brilliant and catchy; now I'll have difficulties listening to this without seeing the same imagery (I don't mind though)!

Thank you for the review, and of course, for listening ^____^

[Affinity]

This speaks to the core of what it means to be human. A spiritual entropy described by two dissonant drones. Without giving it a full listen at first, I keep repeating the first minute over and over so I can try to understand why It speaks to me personally. In the most basic terms, you're experimenting with the tension and resolve with frequencies through primitive methods. By wayward movements, dissonance becomes restful at times. The simplicity in the beginning where the secondary stringed instrument comes in at 23 seconds creates melodies in my head that aren't actually there. This is what is causing me to pause and repeat so I can contemplate what is happening. If you kept the instrumentation the same that you had up to the 1:15 min mark going for the rest of the track, it would have been complete as is. The ambiguity in the beginning of this track was enough for me to really hear what you wanted to say. The rest of it was symbolic of the profuse stumbling we make in our attempt to cover the gaps that we are not comfortable with. Moreover, we awkwardly smear gloss on our flaws hoping others wont notice them.

[Walkaway]

Similar situation to LSD as this is the first thing I'm listening to today while I'm with my daughter, and I was just thinking that you really do have a certain language. As I read the description, it makes sense to me why I feel your music describes a futuristic, urban setting. It's a similar mindset to Vangelis's work in Bladerunner as he describes a dark, technological future. It's the machine-like rhythm you have throughout while that vibrato singing overlaps it that reminds me most to to the previous generation's approach to describe this future in music. If the question back then was "Do Androids dream of electric sheep?" that ultimately birthed a piece of music called "Rachel's Song," then the next generation music that your music fits so well in would propose a similar question and that is whether "Does Rachel dream of her electric children?"

zybor responds:

:O You are back!!!!! How's the family doing? Must be awesome to be a busy daddy! :)

About the dark and technological future we are approaching, it's quite unsettling. Transhumanism interests and influences most of my work. But overtime I come to realizing that we would never be able come to that utopian future. Our resources are finite, climate change getting worse, droughts and famines ruin millions worldwide. How could I sit idle and fantasize about future when people in America drown in super hurricanes like Sandy and Harvey? How could I talk about flying car or laser gun, where my birth country battling the largest drought in SE Asian history? Did you know that the Syrian war was not being fought over bullshit like democracy? It was caused by the severe drought in the country back in 2008-2009 that murdered thousands, which led to the uprising of Arab Springs? Same for Yemen war that right now millions are dying from famine where the world literally stood by idling because of the proxy war caused by Saudis and NATO.

My music might spoke for a technological future, but they also speak for the future that the people of this world heading toward. It contains pain and sorrow that I wanted to outcry and raise awareness about the problems we could already be facing, and to find compassion. Most passerby who listened to my stuff would not notice much beside "oh these sound design are cool yo" but long time listeners and friends like you and LSD will find the intended meanings or themes of my work almost instantly from the first listen. The structureless and almost seemingly random arrangements, are the symbols of chaos. Because there is no such thing is order. I don't want to live my life and believe in order and justice, where my whole life is revolving around chaos and sorrow. Neither our world were it seemingly peaceful. No such thing is that. To quote Werner Herzog:

Civilization is like a thin layer of ice upon a deep ocean of chaos and darkness.

I hope for the bright future for all of my friends and their love ones. Anybody on this planet deserves a beautiful life. And I believe in that future. But that future can only be in existence, without capitalism and states.

[God Jul Jeanette!]

I'm still catching up to what you've been up to lately, but I heard this awhile ago and I had to come back to it. It's such a tasteful haiku of a piece. And I'm impressed. Impressed by the choice of notes to express a sweet sentiment within such a short amount of time. Your production has improved so much over the years as well. Your arrangements are really enjoyable, and I can hear how much you're growing.

LucidShadowDreamer responds:

My Christmas was merry indeed, I hope yours was too!

I'm quite pleased with this little piece myself. I just tried thinking about what kinds of chords and melodies would communicate an Xmas feel in such a short time, and I happened to come up with this. I'm really glad to hear my production has improved! I've noticed it too, ofc. I could've watched a lot of tutorials and the like, but I've preferred to learn slowly, over the years. I figured I'd develop more of a personal style and sound that way :D
I still have a ways to go, though :3

Thank you for coming back for more, and for reviewing ^____^

[Insomnolence]

This sounds like something I would like to do... We should meet up and work on the same project while sitting at desks next to each other...too bad you're across oceans. This is a nice loop with really pleasing sound design. The stretched out instruments in the background really puts me in a dream state. The chord resolution at 1:32 is satisfying. I think you're getting quite inspired....or at least I am.

LucidShadowDreamer responds:

In retrospect, it definitely sounds like something you might do! Funny thing is, this time my inspirations lied elsewhere. I do believe we could come up with some wonderful ideas and sounds together, especially in real-time. I will be less busy than I have been, the coming half year. If luck has it, perhaps we'll get an opportunity to collaborate on something.
Thank you for listening, and for leaving your thoughts! :)

[MvP]

Great sound! I was instantly hooked on the fade-in. Glad to hear something new from you.

Mattashi responds:

Thank you Phono! I haven't been on Newgrounds for a while I gotta check out what everyone has released lately :)