LogFAQs > #946142235

134st
Game: Pivvot
Title: Berserk
Composer: Whitaker Trebella
Nominator: deogenerate
https://www.youtube.com/watch?v=WNCwhyFmhDM

very ENERGETIC just as deogenerate's taste usually is.

cool crunchuy fm synth hard plastic bass sound starting this off. neat tense-but-chill chords that feel like...reverb on reverse attack fm patches? honestly kinda reminds me of the sounds you get when you have the attack on a guitar sound fade in from quiet to loud instead of immediate attacks that sometimes shows up in more atmospheric bits of rock songs where they turn the volume knob from silence to on fading in every note. i'm guessing the instrument set here is majority FM but just with no barrier to allowed production techniques applied to that FM. gives it the same vibe as fm sound module maniax or the soundshock albums and that's one of my favorite music categories! things with that full-production-but-mostly-fm-timbres aesthetic, and there's not really that many things like that! wsa actually minldly disappointed that the whole soundtrack doesn't really have this sound, seems to be just this song, not nearly as interesting in broad 'fake obviously full-production chiptune' as i am 'fake obviously full-production FM'. but at least this song exists! you definitely picked the right song from this game anyway

at first i don't focus too much on that rapid constant 16ths layer, but there's some bits with really cool groupings of note ascents/descents like. at first it's just normal [4+4+4+4]/16 runs going down (:21-:42), but there's some bits that get a lot more playful with those patterns that I like. (:42-:53) has a bunch of 5+11 bits in how i interpret the jumps in the different parts of that constant 16ths run, and I LOVE rhythms involving groups of 5 16ths, so big fan of the flow of that portion. There's also the bit right after (:53-1:14) which is all [4+4+4+4 | 3+3+3+3+4] in it's 16ths pattern. That :53 section is actually technically not that weird, theres lots of music with those rhythm patterns, but i think the rapid rate of this track makes it a lot more difficult to follow and feel a lot more unusual in alignment.

even mildly unusual ways of grouping constant 16ths patterns has been a long-time trait of my taste in music, as far back as 2007 (as far back as 1995) i'd get ecstatic about a song just because it had something like this.even simple 3+3+3+3+3+1 patterns had the potential to make me explode enthusiastically if they were presented just the right way.

one example that c omes to mind right now is ""Mega Man Zero 4 OST - T26: Crossover Station (Teleporter Base)"" composed by the composer Shinichi Itakura
https://www.youtube.com/watch?v=y5JbL1_Kycc

that constant line going like 6+6+6+6... and just keeps going until it goes over the barline, resetting every few bars, was one of my fav songs instantly back in my early megaman obsession phase i had in 2007. and that was back when my taste was mostly 'edm' and not 'prog', i've just always been attracted to these kinda clockwork-y mathematical ostinato things...even if they're not that complex or whatever. anything with just enough intrigue that can be divided into NUMBERs like that. evokes cool technology computer land inside a computer world. man why didn't anyone nominate any megaman zero series songs...those could've done really well...idk why no one thought to do that........

another example that comes to mind, song i've been obsessed with since the age of being a VEry Young Child, The Magic School Bus Explores the Human Body - Liver composed by the composer Jared Faber:
https://www.youtube.com/watch?v=oM-cDA70LEw

that saw lead on the 3rd channel there, going in 5+5+5+5+5.... endlessly in constant 16ths. 5/16 polymeter before i knew what ""polymeter"" was. it just sounds so COMPUTER. i think that's what i liked about it. i like how these constant 16ths patterns feel 'computery', but the computery-ness is made even stronger when the grouping isn't something evenly splittable into groups of 2/4/8/etc.
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