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Topic	Mycro ranks the 278 VGM tracks that were nominated by BOARD EIGHT [rankings] 2
Toxtricity 10/22/20 2:35:29 PM #366:	133th Game: Bastion Title: The Bottom Feeders Composer: Darren Korb Nominator: azuarc https://www.youtube.com/watch?v=9ZgY-hYoYto i remember around when this game came out (nearly 10 years ago jeez), there was one particular person in this community who was VERY enthusiastic about this soundtrack and praised it for almost exactly all the reasons i'm about to describe (i actually don't remember who it wa-NEVER MIND i just figured it out it was Liquid Wind; remember thinking their taste was more aligned with mine than others here at the time, so i guess that makes sense!). I think the very detailed praise, speaking in terms that resonated with me, really sold the IDEA of this soundtrack to me. I liked the idea of what this soundtrack would sound like based on just that text description. From everything enthusiastic i remember liquid wind describing (folky music that's really heavily-produced with all sorts of electronic effects, in summary) i expected that when i clicked on the first song i heard i would be blown away. was I? i think from the description i was expecting like ar tonelico and what i got was slightly less my thing so i sort of categorized it as ""thing i kinda like but not enough to save or support or anything"", mildly disappointed that the description didn't live quite up to my tastes. but the IDEA of what this soundtrack is, was, and still is, pretty perfect to me. but bastion is far more to my current tastes than it ever was. exactly what i seek among the most heavily is stuff that sounds and feels like this game's soundtrack at least in terms of its aesthetic. anything that merges natural elements with electronic elements really seamlessly is a big winner to me. but this soundtrack does it in specific ways that've always appealed to me. in this track, really heavy focus on delay echoes, and those echoes aren't just there to create an effect of fullness, they're integral to the composition, establish the rhythms and pulse some of the most of any layer, and create more interesting rhythmic feelings than the actual composition does with the 3 16ths delay timing. as the echoes decay, very slowly, it feels like the sound is warping from one sound to another. it's one of the elements most enforcing that blur between machine and nature. the timbres of the initial attacks on the plucked string evoke the natural world, but the way the echo loops in these 3/16 patterns that take so long to fade to nothingness, and the way the sound morphs as it echoes, that's what drags the natural world into the industrial world with seamlessness drum loops that feel 'metallic' is a big important thing to me, this feels INDUSTRIAL; its clanky sounds that sound like train tracks, the sound of hydraulics, factories CRUSHING macxhines. but turned into something rhythmic. sometimes inclarity on whether the sound i'm hearing is a drum sound altered to sound like a factory machine or it's a factory machine altered to sound like a drum. the effects on every individual note just MAKe this perfect. the perfect sounds for that. other 'industrial' sounds fill the atmosphere like the repetitive growl that fades in over and over. this is so overlayered with like 9 drum loops at once that it really feels like i'm drowning in the machine world]]]]]]]]]]] AND YET LOOK THERES A Shehnai or something like that so now it feels like i'm in the jungle in tghe desert in arabia in india [[[[[[[[[why are double reed instruments so cool this never feels empty to me, other than at the specific moments where the emptiness is key to the entire sound (like highlighting the delay echoes). this reminds me a lot of the invisigun heroes track zigzagoon nominated (except i actually like this song a lot less than that one (because i severely underranked that one...and possibly overranked this one lol)), the main thing making it reminscent of that to me being a plucked string delay echo-ing into infinity. but i think one key difference is that in this case the timings of the 'empty' moments i percieve as a lot more delibarate and importantly timed. They create a stark contrast from the overwhelming density of the other bits and that's important for effect, gives a lot of power to the sound of everything cutting out. the actual notes, the composition of this soundtrack doesn't interest me nearly as much as any other element, i think i got more into that in later darren korb stuff, but the atmosphere this creates would be created no matter what the notes were really. i see it as pretty masterfully produced if i can feel this way about it. since bastion's release, korb has released many many more game soundtracks, and i think with each release i'm more impressed in terms of the Composition than the last release (as i alluded to in my pyre writeup, pyre might actually be my favorite). but bastion still remains maybe my favorite not in terms of composition, but in terms of the very specific sound realm it lives in. The imagery it generates in my head is pretty perfect, even if i might be more emotionally moved or stimulated by the composition in his later stuff; bastion is the ONE that is ""the cool one"" imo in terms of aesethetic. not too long ago GameBop reminded me of an artist he got me into as early as when i first met him in 2008; Minotaur Shock. The recent reminder just last year was part of a conversation of what music in the world might be the single most to my tastes (ie the reason I give for liking most of my very favorite songs, how it's a combination of all the self-contradictary conflicting unrelated elements i look for in music at once somehow. fusion of natural and artificial being a part of that). although this is SIGNIFCANTLY weirder than bastion (and this particular example isn't quite as folk injected as some of their other stuff it's just the one that feels the most right to link) there's definitely a similar realm it lives in in my mind, and it's the realm i want to be in. https://www.youtube.com/watch?v=df6szo-nSpk a more conventionally palatable and probably a more 'actually sounds like this' realm is just the instrumental ar tonelico songs, stuff i'm just as big a fan of: https://www.youtube.com/watch?v=Z5ZmLswpUIQ https://www.youtube.com/watch?v=Vtj7b9IMZLE tbh i could link doz <cite>Toxtricity posted [p:946160864] in Mycro rank... [t:77515167]...</cite> <quote>133th Game: Bastion Title: The Bottom Feeders Composer: Darren Korb Nominator: azuarc https://www.youtube.com/watch?v=9ZgY-hYoYto i remember around when this game came out (nearly 10 years ago jeez), there was one particular person in this community who was VERY enthusiastic about this soundtrack and praised it for almost exactly all the reasons i'm about to describe (i actually don't remember who it wa-NEVER MIND i just figured it out it was Liquid Wind; remember thinking their taste was more aligned with mine than others here at the time, so i guess that makes sense!). I think the very detailed praise, speaking in terms that resonated with me, really sold the IDEA of this soundtrack to me. I liked the idea of what this soundtrack would sound like based on just that text description. From everything enthusiastic i remember liquid wind describing (folky music that's really heavily-produced with all sorts of electronic effects, in summary) i expected that when i clicked on the first song i heard i would be blown away. was I? i think from the description i was expecting like ar tonelico and what i got was slightly less my thing so i sort of categorized it as ""thing i kinda like but not enough to save or support or anything"", mildly disappointed that the description didn't live quite up to my tastes. but the IDEA of what this soundtrack is, was, and still is, pretty perfect to me. but bastion is far more to my current tastes than it ever was. exactly what i seek among the most heavily is stuff that sounds and feels like this game's soundtrack at least in terms of its aesthetic. anything that merges natural elements with electronic elements really seamlessly is a big winner to me. but this soundtrack does it in specific ways that've always appealed to me. in this track, really heavy focus on delay echoes, and those echoes aren't just there to create an effect of fullness, they're integral to the composition, establish the rhythms and pulse some of the most of any layer, and create more interesting rhythmic feelings than the actual composition does with the 3 16ths delay timing. as the echoes decay, very slowly, it feels like the sound is warping from one sound to another. it's one of the elements most enforcing that blur between machine and nature. the timbres of the initial attacks on the plucked string evoke the natural world, but the way the echo loops in these 3/16 patterns that take so long to fade to nothingness, and the way the sound morphs as it echoes, that's what drags the natural world into the industrial world with seamlessness drum loops that feel 'metallic' is a big important thing to me, this feels INDUSTRIAL; its clanky sounds that sound like train tracks, the sound of hydraulics, factories CRUSHING macxhines. but turned into something rhythmic. sometimes inclarity on whether the sound i'm hearing is a drum sound altered to sound like a factory machine or it's a factory machine altered to sound like a drum. the effects on every individual note just MAKe this perfect. the perfect sounds for that. other 'industrial' sounds fill the atmosphere like the repetitive growl that fades in over and over. this is so overlayered with like 9 drum loops at once that it really feels like i'm drowning in the machine world]]]]]]]]]]] AND YET LOOK THERES A Shehnai or something like that so now it feels like i'm in the jungle in tghe desert in arabia in india [[[[[[[[[why are double reed instruments so cool this never feels empty to me, other than at the specific moments where the emptiness is key to the entire sound (like highlighting the delay echoes). this reminds me a lot of the invisigun heroes track zigzagoon nominated (except i actually like this song a lot less than that one (because i severely underranked that one...and possibly overranked this one lol)), the main thing making it reminscent of that to me being a plucked string delay echo-ing into infinity. but i think one key difference is that in this case the timings of the 'empty' moments i percieve as a lot more delibarate and importantly timed. They create a stark contrast from the overwhelming density of the other bits and that's important for effect, gives a lot of power to the sound of everything cutting out. the actual notes, the composition of this soundtrack doesn't interest me nearly as much as any other element, i think i got more into that in later darren korb stuff, but the atmosphere this creates would be created no matter what the notes were really. i see it as pretty masterfully produced if i can feel this way about it. since bastion's release, korb has released many many more game soundtracks, and i think with each release i'm more impressed in terms of the Composition than the last release (as i alluded to in my pyre writeup, pyre might actually be my favorite). but bastion still remains maybe my favorite not in terms of composition, but in terms of the very specific sound realm it lives in. The imagery it generates in my head is pretty perfect, even if i might be more emotionally moved or stimulated by the composition in his later stuff; bastion is the ONE that is ""the cool one"" imo in terms of aesethetic. not too long ago GameBop reminded me of an artist he got me into as early as when i first met him in 2008; Minotaur Shock. The recent reminder just last year was part of a conversation of what music in the world might be the single most to my tastes (ie the reason I give for liking most of my very favorite songs, how it's a combination of all the self-contradictary conflicting unrelated elements i look for in music at once somehow. fusion of natural and artificial being a part of that). although this is SIGNIFCANTLY weirder than bastion (and this particular example isn't quite as folk injected as some of their other stuff it's just the one that feels the most right to link) there's definitely a similar realm it lives in in my mind, and it's the realm i want to be in. https://www.youtube.com/watch?v=df6szo-nSpk a more conventionally palatable and probably a more 'actually sounds like this' realm is just the instrumental ar tonelico songs, stuff i'm just as big a fan of: https://www.youtube.com/watch?v=Z5ZmLswpUIQ https://www.youtube.com/watch?v=Vtj7b9IMZLE tbh i could link doz</quote> ... 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