LogFAQs > #955194998

Title Theme
XaaaCi.
Sunjammer Midnight Special

-(sometimes i feel incredibly socially isolated because of my sense of humor: it is actually painfully specific. as much as i lean into the goofy things i say or do or enjoy, i find it difficult to laugh at most things that have intent to be funny. it also used to be incredibly rare to find the brand of things that actually speaks to me: absurdism/surreal humor, presented in non-cliche ways, or at least the ways i personally read as such. I had my home in the ytp community pretty deep for about 10 years and the more esoteric directions of that realm fed this side of me for a while. but one of the first popular-ish things I ever saw that properly defines what i can connect with on this topic: Dilbert 2 (and dilbert 3. which has a beautiful cover of robocop gb title theme in the background of it). These days i'm more into PilotRedSun especially his newer stuff, but nothing quite fulfills the niche as well as those two creators. There's a reason for it i think, it doesn't call attention to its intent. It's obviously "intentionally bad", obviously funny, but it's not like "this is the joke: right here, here it is" spelled out to me. It's just a surreal world with entirely different rules that i can get immersed in, but rules that are SO absurd that it's impossible for me to avoid laughing. (i was talking with kao about, in a way this lines up with my taste in music, preferring unexpected traits, and indirect expression of emotion or intent. things that don't make sense, but somehow "work" to evoke their emotion in the end)
~~~~~
I'm thankful that in recent times this category of humor's become more prominent. I'm admittedly a bit irked that some reduce the idea of this sort of thing down to "memes" (especially because memes as a concept of being about repetition of the same ideas, get in the way of "unexpected nonsense"), but i am thankful that these days i can just talk to certain people in entirely nonsequitors, nonsensical image edits that abuse compression artifacts for no reason. and around the right people, this will click with them, they will think "sweet bro and hella jeff" "dilbert 3" "pilotredsun", instead of looking at me like i am a crazy man from another planet. Dilbert 2's popularity was one of the first things to make me feel like there was a place for me and that i was no longer alone, at a time when it was once incredibly hard to find things as fucked up and nonsensical as it. thank you chef boyardee
~~~~~
needless to say, it's hard for me to separate how important this track is to me from cboyardee's cover of it in dilbert 3...i REALLY really like cboyardee's arrangement, it highlights the bittersweet emotional element of the chord loop, makes the melody feel a lot more alive (and the etherealness of the dilbert version contrasts the crude art of gritty bloody office landscape that makes the world of dilbert 3, which is perfect for amplifying the surrealness of the video). I hear these things in the Game Boy version, but it's very hard for me to feel the same emotional intensity from it. dunn's version is a lot clunkier, the chord arpeggios mechanical rather than soft and floaty chord pads like the dilbert3 version. It's probably not quite the right direction to have gone from the angle of loving the dilbert 3 version first, rather than loving the gb version on its own first. I still enjoy it, absolutely love the chord progression and melody, but it's kinda like the ff9 song from yesterday, i love the composition but find the arrangement too mechanical. i would much prefer to listen to a cover, and only get into this if i can imagine what a cover sounds like of the tune. good thing i know just where to find a cover of this song that i unquestionably love)-

-[oh yeah it's the cool synth wave song; i don't find this particularly memorable (even though i say all the time that that doesn't matter) but i like the mood of the composition and texture of the timbres. one thing i'm noticing is that simpler harmonies feel thicker than they are and i almost feel like that's by association, that that's what music that sounds like this should have...so then i put things that aren't there in]-

-{i didn't expect to be voting robocop title until i thought about it yesterday, but in hindsight i shouldn't be surprised. beyond the personal emotional attachment i have to the track, i really do adore its chordal/melodic content. even if this isn't my favorite version, that aspect is still there, and i can still hear it. it's great. difficult match}-

-----

-(i feel like when i first heard yoshitaka hirota shadow hearts songs in vgmc i was like "this is bad because i dotn't like vocals and the metallic sounds are too harsh" but now i think that i was just being stupid and i LOVE shad9ow hearts music and my favorite songs are either the harsh yoshitaka hirota ones or the even harsher ryo fukuda ones....it's crazy this composer worked on sonic shuffle...!
~~~~~
1:32-1:45 is probably one of my absolute favoorite moments of any section of any song int he contest by far and part of it is because i find it so hard to even tolerate listening to. and like, i spent like a decade of my life watching the loudest possible ear splitting volume glitch videos every day and shit. I LIKE harsh, and this song is too harsh for me. i can't handle it, it hurts, it feels like someone is scratching parts of my body off, it legit is hard to stand. and i LOVE it. I love every moment of this fucking song, especially the parts i hate the most. Immediately after 1:45 there's some legit really cool layered industrial percussion intersecting with each other in CRAZY @_@ ways that i find very fun too. this song is so DARK, i always say i like things that feel dark. 4:00 is fucking insane metric modulation to shift tempos to the new tempos (actually it's probably not really and i probably just interpreted the tempo as being different as what it was because i am so silly) and reminds me of the later bits of "Time Paradox" from super monkey ball banana splitz which makes sense because apparently Yoshitaka Hirota wrote music for that game and probably that specific song in hindsight. the fadeout of the insane distorted drums at 6:40 to the end is one of my favorite parts
~~~~~
i think the mildly more important aspect of this track for me is the very specific aesthetic; its EXACTLY THE ZONE I WANT. and i do feel this way about the darker hymnos in general, the vocals give it just enough exotic world music character, but when electronic elements dominate the track and REALITY BREAKS and everything is in the glitched up darkness zone of floating fragments of the earth in the void of tv static consuming all items it's just so good. just enough rock, just enough prog, just enough spicy harmony, just enough actually /beautiful/ moments. It's so difficult to find music that hits these perfect balances for me, and although i've dug deep enough to know where to look for these examples, i still see the rare finds that touch every corner in one way or another as a beautiful treasure)-

[continued...]
---

time