Board 8 > Mycro ranks the 278 VGM tracks that were nominated by BOARD EIGHT [rankings] 2

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-hotdogturtle--
10/15/20 1:49:49 PM
#354:


AndywoodCubeGmr posted...
but I'd never even considered there'd be good music in ISS or any N64 sports game.
Check out Excitebike 64.

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Toxtricity
10/16/20 11:43:00 PM
#355:


139rd
Game: Core Awaken ~The Yuka~
Title: Code Error From Inside
Composer: Hugakuya
Nominator: Prody Parrot
https://www.youtube.com/watch?v=Mr9tMT-X5co

INNSANE intense techno with ACID BASS. sounds a lot more like the interesting type of techno than a lot of incarnations of this style imo. it doesn't really feel like it falls into any 'tropes' of this type of music, not predictable what sets of atonal notes it's going to use like a lot of similar atonal electronic stuff is, it's very genuinely random and artificial feeling. Something i'd compare to streets of rage 3 in that regard. the one part that is kinda stereotypical is the rhythmic stabs at 0:55-1:08ish which just make me think of THIS IS SPARTA but i don't mind that because this is sparta = nostalgia for 2007 youtube when i was vapidly into internet memes outside of their intended context and was artificially convinced that i thought a video was so funny because video game character i like says sparta over and over again while breaking a glass vase over and over again and destroying the concept of permanence and time linearity because the glass vase re-appears for him to break again every beaet of the song

really great. parts of this feel like Junichi masuda hahaha, the same sort of kinda sloppy application of VERY C OOL synth sounds to a relentlessly artificial and heavy electronic realm. especially with that SPArta chord stab rhythm, feels like a lot of the erratic almost randomly-chosen-beats-to-highlight sounding stuff a lot of the weirder pokemon battle themes go for.

one of the hyper-resonant sounds sounds like it's polymetric it's insane! doesn't seem to be 'actual polymeter' but there's lots of large portions where the strongest note of that slimy warpy acid synth sound is timed like in groups of 5+5+6 a bunch of times in a row. It feels even crazier than that because the accent is on the fifth 16th note of that pattern, not the first. so it's like (xxxxXxxxxXxxxxXx) and doesn't quite align with a 4/4 loop in some portions (because of how the loop gets cut in half when the chords change faster than once per bar). If you're not paying direct attention to that sound and trying to count it out, this all creates the illusion of 5/16-against-4/4 polymeter (note one of my exact favorite polymeter timesig combos) even though it is note quite that. All of those rhythms are extremely difficult to follow at the pace set by this track but they Are there and feel cool to me~!

there's the random Classical Music part in the middle and at first that bothered me, but in hindsight i think it's kinda neat. A nice break from the electronic chaos to pretty much the entirely opposite realm of both composition and timbre, yet it somehow fits just perfectly? Both polar opposites are DARK and i think that's what helps there. Feels like you've gotten to the CORE of the evil computer machine tron rotating cylinder man and find out he is actually an anime girl that is a demon that is the anime girl version of beethoven and has $8273894058673490 in her mansion

i like chaotic stuff a lot so, this means that most of the chaotic stuff is actually even higher on the list than this one. but THIS is absolutely one of the most relentlessly chaotic songs on the entire list. Arguably even The most. Really glad something this insane was nominated.
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Toxtricity
10/17/20 7:01:38 PM
#356:


138nd
Game: Final Fantasy Crystal Chronicles
Title: Endless Sky
Composer: Kumi Tanioka
Nominator: Zigzagoon
https://www.youtube.com/watch?v=fQnwY8ou5Z0

Zigzagoon's intense enthusiasm for FFCC's music got me to explore much of the rest of the ost (tho i haven't actually listened to every song in full yet iirc, will get to doing that at some point lol) and man it's a goldmine of a sound I love.

I have had in my notes for quite a long time to say ""compare this song to mannheim steamroller"" so I am going to do that RIGHT now: this song reminds me a lot of mannheim steamroller! one of the earliest bands i got into (been a big fan ever since age 3). I compared another song to them before earlier in this topic, but i think the comparison here is less about composition and more about instrumentation.

https://www.youtube.com/watch?v=N-ZeQEnvn-Y

tbh i don't like to use mannheim steamroller's christmas albums as the way to represent the band because for a lot of people it's the only thing they know, and i consider their non-christmas stuff just as great and underappreciated, but this pick feels like what i'm thinking in my head when i say ""ffcc is like mannheim steamroller""

FFCC's choice to cling tight to often neglected-in-modern-times renaissance-ish era instruments is a huge treat, all the variety of plucked strings and winds, but the most distinct: the crumhorn. The crumhorn is of particular interest to me because I consider my favorite woodwinds to be double-reeds, so oboe, bassoon, english horn, but also technically many far more 'exotic' things to the western ear, like crumhorn and duduk. All of those things are my favorite instruments that aren't some form of synthesizer or tuned percussion. I actually have a personal goal for 2021 as ""learn a double-reed instrument"", since one of my biggest regrets in my life is not learning one when I was younger, when I had a much more direct and convenient opportunity to do so (didn't take the opportunity my band director had encouraged me on and set me up with, because my parents did not 'get' why i was attracted to the sound of these kinds of instruments, and me letting their confusion at my genuine passion for a thing that didn't make sense to them, impact my decisions). This regret has plagued me for over a decade now, and i have decided NO MORE: I am going to learn one of these instruments. which will I choose? I don't know, but Crumhorn is on the list! and whenever I listen to FFCC music i'm just like YEAH THATS IT, THE COOL SOUND.

what's also impressive about this ost in general (though as far as i can tell this doesn't apply to this specific song) is that a lot of it is actually totally fake, in gamecube's midi-like sequence format. a good chunk of songs in this game would be possible to make individual channel visualizers and piano roll note data and all that automatically generated the same way i could do with an SNES song. That's CRAZY because of how real and alive all of it sounds. as far as i can tell this song is totally 100% pre-recorded into just a full wav-like file, though i can't confirm that because the thing that used to exist with all the sequence data ripped for this game stopped existing online and i dont know how to otherwise obtain/convert that at this time

in regards to composition, i'm just as much a fan. there are A LOT of big chord change moments that impact me so much that I FALL OVER because they're just the right amount of drama at exactly the right time.

I LOVE DORIAN MODE, IT IS THE BEST SCALE. it's like all the best parts of major and minor combined into one scale, like all using a single diatonic scale you can get the drama of alternating between major and minor without actually alternating between them. you can focus on the parts of the scale that sound like minor if you want it to sound like minor, and focus on the parts of the scale that sound like major if you want it to sound like major. AND as an added bonus ""it sounds like a jrpg and like you are in a fantasy world that has vague alignments with idealized vision of what medieval/renassiance times are like"" and i like that aesthetic. it's the one diatonic scale that in pretty much no matter what situation it's used in, i will adore it. and the chord changes highlight this scale being what's used too

and there's like a million moments that highlight the Intense feelings that combo major-minor element dorian mode gives. my favorite example: the high flute at 1:18.

1:37 though jeeez that's like an explosion of absolutely perfect emotional timing, what a climax, that jump down to a whole step from G dorian to F dorian is just fucking perfect to me

i would say i underranked this but i'm going to say that for everything left lmao. it's ""top half of ranking"" material absolutely anyway, and that is technically exactly where we are now!~ (hopefully i can get out of the habit of calling every single nomination is underranked soon once the ranking placements ""look"" higher)
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Zigzagoon
10/17/20 7:09:29 PM
#357:


1:10 for me is just pure magic of music.

<3

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Toxtricity
10/19/20 1:41:14 AM
#358:


137st
Game: Let It Die
Title: LET IT DIE -LID-
Composer: Rhycol.
Nominator: JONALEON1
https://www.youtube.com/watch?v=N8MFLI6FSjI

this reminds me a lot of music by ""math rock"" bands (particularly japanese math rock) that is not even in odd time and just happens to be by math rock bands (because that is exactly what this is, well sort of. i guess it's not really well described as a math rock band but it seems this band certainly dips into the sound and feel of it quite often, and sometimes categorized alongside them). luckily that's a category I still enjoy! especially these days, this category has grown on me, I'm a lot more tolerant of the rawness, if not distinctly attracted to it. makes me nostalgaic for when i went to a tricot concert a few years ago. apparently Rhycol's actually performed in some of the same festival lineup things as tricot, which i suppose should be unsurprising, as they are quite similar in sound!

in general the timbre ranges from pretty clean to pretty raw, and that spectrum is valued to me. i used to kinda uniformly criticise stuff that wasn't 'clean and sharp' and that's something i regret, since i've grown to like how rawness can sound and i don't relate to my older self that wrote off tons of really interesting indie-ish shit for this reason

tonally, this clings mostly to a fairly neutral zone and doesn't go outside of that zone, no room to talk about 'interesting chord changes' or anything BUT There are a lot of interesting individual chords. they're presented harshly, on distorted guitar and stuff sometimes, so can be hard to tell what they are, but regardless, they FEEL COOL. like in the middle of indie punk-y thing out of nowhere it's jazz fusion for 1 note, those thick chords work as nice powerful stabs of a new colorful, iridescent energy that I dig.

although this doesn't have any actual odd time in it, there's lots of fun syncopation, some looping ostinati have fun erratic rhythm patterns and then they get layered on top of drums or other things with even more erratic rhythm patterns. yet it always seems to resolve itself into something more familiar and conventional-- which is totally cool, makes it more of a journey between extremes. I think from the very simple guitar rhythm at the start i wouldn't imagine that this turns into the more frantic stuff that sometimes occurs, but it does, and naturally so. I dont really percieve the transition from 'simple' to 'complex' even tho it absolutely transitions between those two things, and that's a sign of a neat flow for sure.

ALL DONE. MY GRACIOUS MASTERPIECEe

my favorite song that kinda hits the same category as this one, but a lot more Actually Math Rock, and also with vocals:
https://www.youtube.com/watch?v=d6rxGmvQPLU

one time i convinced my brother that this tricot song was unused rogue stage music in sonic adventure 2 and i'm still impressed by the fact that he actually believed me on that.

definitely keen on looking more into rhycol since i absolutely do enjoy the sound of their music, in a way it's a shame that let it die will probably not be a source for that since i think that is the only song they did for it
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Haste_2
10/19/20 4:34:01 PM
#359:


Oh, hey, The Darkness Crawling is on the list! Even though the link no longer works, that means Mycro's gonna have to upload it, meaning I'm finally going to be able to listen to it again! >_> (assuming the music isn't lost forever)

Oh noes, I just noticed I got competition with NES music! Which will win out between Gravity Man and Cursed Towers?!

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Mr Lasastryke
10/19/20 4:38:15 PM
#360:


Haste_2 posted...
Oh noes, I just noticed I got competition with NES music! Which will win out between Gravity Man and Cursed Towers?!

i wonder if there's more NES tunes that haven't shown up yet.

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Haste_2
10/19/20 4:40:30 PM
#361:


I only skimmed the list, so maybe there are other games on there that I didn't know were 8-bit.

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Toxtricity
10/20/20 3:28:04 PM
#362:


136rd
Game: WildStar
Title: The Cold Science of Supremacy
Composer: Jeff Kurtenacker
Nominator: Zigzagoon
https://www.youtube.com/watch?v=BHAzBaUCcWo

one of the types of music i go out of my way to look for, and struggle to find as i seek, is really really minimal ""evil lab"" atmosphere music that works for me as well as this does. this NAILS that and tbh i listen to it enough at this point in time that it's an 8 now (definitely underranked and i mean it in this case this time, it grew on me for sure. i knew ""i like this type of song and i like this song a lot but idk if i like this specific song enough to save it to a playlist"" but now i am like ""this is one of THE examples of this type of song that i really like! and i listen to it a lot!""), but yeah.

lots of insanely cool sounds here, that portamento warpy pitch bend at like :31 is perfect. the whole thing really starts to open up with more variety of timbre colors around :46, reversed high metallic sounds and intensified low synth bass highlight the first real chord changes that show up. Good timing of the sounds highlighting the NOTES. the number of 'cool sounds' in this song is endless. i have to go out of my way to boost the volume to maximum to hear some of them and listen carefully, but this is a virtue as it means i never really run out of things to listen to. Despite how minimal it is, it's absolutely not ""empty"", there may not be that many layers of compositional content to pay attention to at once, but it makes up for that for the sheer number of ways the composition is represented through so so sooo many different cool sounds at the same time. and i like pretty much every one of these sounds! The glassy fm-like synth bells, all the electronic zaps and piano, sine wave-y beeps, echoy everything. too many good sounds to list!

tthe chord changes in this song are really interesting, pretty much every time there is one it requires entirely different used scales and i like that : ) but most importantly it feels like it's always a shocking enough distance away from the previous chord to be SPOOKY. this actually reminds me a lot of perfect dark, what i was going to say is 'this reminds me of grant kirkhope except dark electronic instead of cartoony' but uhhh, that is basically what perfect dark is haha. the same types of cartoonishly jarring chord changes, but a bit more unpredictable in this case.

at :49, by my interpretation It jumps from Eb minor to C minor to Ab minor, like modulating downward between those three entire keys, all within the span of a few seconds, and resolves or retensifies itself with variety of other chords throughout. and like, i mean i could just list every moment there's a chord change in the song and it'd be something i think is cool and interesting. and i suppose that's important since there's little actual melody or anything else to latch on to, this song is all about its quirky chord changes, and they certainly succeed in being interesting. at least to me!

the chord change right at 1:26 is one of my favorites, it's not quite what i expect but it still works, maybe better than what i was guessing it was going to do, and evokes Mystery and Drama. and the series of chords after that are successfully freaky and tense. [exploring ruined remains of advanced-but-now-lost civilization] music. ""if ever there were a theme that conveyed exploring a mysterious,
advanced civilization's remnants, this is it"" is a comment on the video so i assume that's accurate. acutally you know this kinda is like if songs like worldenddominator or even the -45 stuff in umineko were less intense. maybe that comparison doesn't make any sense but it's what i'm thinking of now

this song is like if someone was making creepy castle haunted house music that was REALLY GOOD but decided to make it all a subtly presented ambient synth thing. that is another thing I really love about this song. it doesn't draw attention to itself. It can serve as background music that evokes its intended atmosphere well to me and i can focus on other things while listening, but if i choose to pay attention, i'm certainly rewarded with endless tiny details to react to and definitely can more powerfully feel how cool all these chord changes are. stuff that strikes that exact balance is tricky to find for me, but it's something i am always looking for. this track is one of the best at hitting it in this entire ranking tbh. not a lot of people think to nominated more understated stuff because i'm so known for looking for overt weirdness or complexity; but what i really like the most is subtle cases like this. Dark Detailed Dungeon music. it's why i'm such a big fan of pmd dungeon themes too, this hits the same vibe as most of those. man someone should have nominated pokemon mystery dungeon series music for this topic idk why no one thought to do that........
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xp1337
10/20/20 3:29:56 PM
#363:


Cold Science of Supremacy was among my favorite VGMC discoveries... idk first vgmc it was nominated? Was that this year's? I feel like it wasn't, but maybe it was who knows I sure don't!

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Toxtricity
10/20/20 3:35:29 PM
#364:


135nd
Game: Parallax
Title: Title
Composer: Martin Galway
Nominator: rwlh
https://www.youtube.com/watch?v=A8LEA23R-Nc

oh hey someone did an oscilloscope view of this song so i don't need to make one. GOOD. because this song NEEDS one because of what this song even like, is. highly recommend watching this, especially for the stuff toward the last few minutes of the video:
https://www.youtube.com/watch?v=9JScqpJ3XWw

this has like all the makings of being literal LAST PLACE for me...but it's not?! it starts off really ""happy"" and condescendingly mechanical and simple. I basically hate it at first glance, thought this was going to be my automatic last place no question. but it becomes far too interesting for me to have that reaction as it goes. Because actually quite shortly in, the simplicity becomes hypnotic. At :40 there's that disgustingly (compliment, in this case) organic chord that feels like you are looking at the inside of the stomach of an alien parasite. that's the first sign that something is 'odd' about this song

after, little details pop in, like the echo. The echo timing becomes rhythms that displaces the loops from themselves and that creates some of my favorite effects. most of the time these delay echoes aren't 'delay echoes', they're just a fragment of the track repeated and offset by a certain amount, as the echo's the same volume as the initial hit, and that is REALLY COOL(hi steve reich). for only 3 channels, this really doesn't feel that empty. no matter how much the sequence of notes sounds like kindergarten glockenspiel music that would piss me off in other contexts, this makes me go ""whoaa!"" about things it's doing even with that sequence. i almost think the contrast of what happens in this song relative to that starting point is extremely important?!

and it just keeps getting compositionally darker. this set of notes that felt like a cute pink fairy have become an evil [invert color of background and all surrounding objects] fairy that is distorting reality, slowly.

it gets more conventional again around the 3:00 mark, if there was a song that in itself was just the stuff you hear at that portion the whole time, i'd probably rank it last. even if i like how it's 'dark' by this point. but then ...what's this wonky detuning at 3:46?! like...what?! why?! and it eventually goes back into sync and focus...very gradually....very slowly.

listening to this song requires a lot of patience. luckily I have quite a lot of patience. minimalism is one of my favorite types of music after all! I have overused the combination of words ""Steve Reich"" far too many times to describe music i like, and his stuff is even more repetitive and mechanical by design. what i like about it isn't necessarily how it's repetitive, though it's a method that works to create atmospheres that are hypnotic (or just the subtle intricacy that forms even with that minimal/repetitive exterior), and this is certainly all those things. I'm also just very fond of gradual change, slow morphing from one thing to another
https://www.youtube.com/watch?v=YgX85tZf1ts

all that praise but i still probably wouldn't rank this above 200th place if it weren't for...having the guts to have an entire portion of the song from 9:18-end just be...what it is. WHAT. HOW?! how is this a real video game song?! What even is this game?! how does this make any sense as ""title theme"". That section is 2-3 full minutes of nothing but almost 'unlistenable' harsh noise that i didn't even know the c64 was capable of producing. but it does not feel even close to that long either because it's so COOL. just like before with that detuned bit at 3:46, this 9:18-end section has moments of returning to harmoniousness, but the returns to actually sounding like notes rather than painful saw blades into my brain (compliment: if unclear) are gradual. its like a full minute of harsh pain sounds between every bit within this section where you can percieve actual notes being played. AND THATS SO COOL

this song is extremely difficult to listen to. like even I of all people find the ""harsh"" part almost too painful to bear, but I would not like this song even close to this much if it wasn't there. I think it's the absolute last thing I'd expect this song to have from the way it starts. yet the transition to it as an idea is so gradual. you start with kinda happy sequence of notes, those notes get recontexualized as sinister evil notes. distortions throughout the track poke through occasionally, varying degrees of intensity of those distortions. and those distortions also get more common and intense as it goes on. but 9:18 to the end it's the climax of intensity the whole thing was preparing me for.

it could've just ended right there with a short glitchy fall, but it kept pulling me through and wouldn't end. and it's not a mundane end even though it's just it feels like i'm getting sucked through a tear in the FAbric of REALITY O_O it physically hurts to hear that sound. like my entire body winces as if i just observed a violent death of myself from a future that is 20 seconds from now and i am bracing for the expected pain of it coming. I don't feel any actual physical pain sourced from a physical object, but my body reacts as if i just got stabbed. it's the same feeling i've gotten from when i HAVE gotten stabbed. but the most impactful single-second bits of that feeling stretched out, endlessly for 2+ minutes. the fact that audio can even do this to me is like....really...really impressive. I've never experienced anything like this when listening to a song before. beyond what it makes me physically feel. what it makes me IMAGINE, being Deleted from reality. what does that look like? what does the worst possible physical sensation slowed down and stretched out for hours feel like? what does watching reality DIE %$$^)_W^O look like? what does the end of time ""sound"" like

I wish i liked the actual composition of this song more note-wise, I LOVE its structure, and i even love it's simplicity in a way; and the fact that that ending made me feel the things it made me feel. unbelievable. it's even more powerful to me on this listen than it has ever been in the past. one thing I'd like to point out, rwlh has tried to come up with a description of my taste simplified as
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Toxtricity
10/22/20 1:22:44 AM
#365:


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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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
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rwlh
10/22/20 3:41:56 PM
#367:


Parallax! Of all my nominations, I was most excited to share that one with you. I had no idea what you'd think of it, but I had a hunch you would at least like it a little bit. Occasionally I refer to songs as "experiences," usually longer pieces that vary and shift over the runtime, and I think it's safe to call Parallax an experience. I'm thrilled you had such a unique reaction to it too, like it was something you'd never encountered before.

Re: the ending, I've seen theories about how it's meant to indicate a spaceship breaching the atmosphere (the game is about astronauts).

Great writeup, really great to hear such detailed thoughts.
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Mr Lasastryke
10/22/20 7:20:45 PM
#368:


i used to associate liquid wind with his opinion that credits from link to the past - one of my favorite VGM tracks - is garbage. in retrospect he generally had pretty decent music taste, though!

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azuarc
10/22/20 10:07:25 PM
#369:


Glad you liked Bottom Feeders. When I read a review like that, it's staggering to think there's 132 songs ahead of it. That sounds like a song that should finish higher than barely in the top half. I guess that just speaks to all the nominations people gave you.

I agree that Bastion is the most interesting of Korb's four games when it comes to sound. I haven't listened a ton to Pyre -- it's probably the soundtrack I know the least about -- but I've played a good bit of Hades this year. (Like lying down, Transistor never struck me.) But yes, it has been ten years. I saw something in my feed for a 10th anniversary for Supergiant games.

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Video Game Music Contest 14 champion: Idola Phantasy Star Saga - Endeavour
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azuarc
10/22/20 10:09:18 PM
#370:


Mr Lasastryke posted...
i used to associate liquid wind with his opinion that credits from link to the past - one of my favorite VGM tracks - is garbage. in retrospect he generally had pretty decent music taste, though!

I remember Liquid Wind as the guy who yelled at me repeatedly when I was fairly new to the board and decided to run Best OST 1. To be fair, I did have a few noticeable missteps hosting for the first time, but the vehemence and bile he cast upon me was unwarranted.

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Toxtricity
10/23/20 9:15:53 PM
#371:


132th
Game: Ys Seven
Title: An Assault
Composer: Falcom Sound Team jdk (Masanori Osaki)
Nominator: Janus5k
https://www.youtube.com/watch?v=GWOyNx9G_3I

RIDLEY IN 13/16 TIME. odd time : ) and some pretty interesting odd time at that, 13/16, grouped 3+3+3+2+2, but with the accent on the second beat of those groups of 3. [xXx][xXx][xXx][Xx][Xx] is a pretty unusual accent pattern! on top of already being an [prime number]/16 superfast timesig. but it also still sounds fairly natural and bouncy? at least it doesn't sound super mechanical the way ""[prime number]/16 superfast timesig"" can often sound. those groups of 3 help it feel bouncy and natural-ish, but if you focus on the accent pattern, it also feels very wonky on top of that!

accent patterns where the second 16th note is accented have a REALLY cool feeling to me, one Well Known song I've been a big fan of for a long time because of the feeling its similar accent pattern gives it is the Champion Battle theme from pokemon red/blue/yellow, especially the anime's rendition of it:
https://www.youtube.com/watch?v=UmxaBv89NfE

rby champion battle is like, really simple, mechanical 4/4 on paper, but it's decision to accent that second 16th note beat in every bar (like you hear in that super cool synth orch hit chord sound a lot throughout :16-:43) REALLY shakes the feeling up. I think because it can cause a brain offset so you hear that accent as beat 1? and knock your perception of the barlines off by a 16th note? sometimes feeling the song as if beat 1 starts exactly one 16th later than it does. it's like a really simple, but unusual way of being syncopated i guess. this song would probably be really boring and plain without that single minor detail, but it's enough to make it actually one of my favorite pokemon battle themes (particularly this anime version)

anyways this starting section of this ys7 track gives me an equivalent feeling to that, except even more weird because it's in 13/16 intead of 4/4.

i still enjoy it even after the odd time bit goes away, it transitions out of the 13/16 with a single 15/16 bar and goes into 12/16 (or 6/8, 12/8, 3/4, however you want to count it, i'm weird and really find '12/16' the easiest to read/understand with 3+3+3+3 at this tempo for some reason) for the rest. it turns into N(ORMAL FAOLCOM music eventually, and that's fine, it's cool how it transitions into that out of the much more chaotic start. particularly like the brass melody at :51. it is very DRAMATIC hero epic song music and i like that : )

one other element i really appreciate is all the tiny blips of mallet percussion throughout the atmosphere of the whole song. marimbas are one of my favorite instruments! and they make this feel very jungle-y and aDVENTUROUS, even if they're pretty quiet in the mix. I have not listened to ys7 in full, but my favorite song i know of from that game has quite a lot of marimba focus as well, wonder if that's just a general widely used instrument on the soundtrack?
https://www.youtube.com/watch?v=MqnlkoPNpgk

i feel like if i just heard these two songs, primitive deep leaves and 'an assault', i would assume that i would be a BIG FALCOM MUSIC FAN and that i'd love ys7's ost as a whole. (and maybe i would, but from the other tracks i've heard i'm pretty sure neither are really representative of this soundtrack). It's crazy how honestly diverse falcom music is and how one's impression of what falcom music is can even be completely different between two people. a friend of mine is really really into falcom music and it surprised me at first, didn't seem like it fit with what i knew of their taste at all, until i realized they were talking almost entirely about 80s-90s Ryo Yonemitsu arranged stuff

also worth noting:
janus just went from [36th place] (with an average ranking of 254.5 between his song to go out 255th & 254th) to..........[27th place] (avg ranking of ~213.67) !!!! sorry it took so long between you seeing your picks ranked super low and seeing a 3nd one actually show up.
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Toxtricity
10/23/20 9:45:46 PM
#372:


azuarc posted...
I remember Liquid Wind as the guy who yelled at me repeatedly when I was fairly new to the board and decided to run Best OST 1. To be fair, I did have a few noticeable missteps hosting for the first time, but the vehemence and bile he cast upon me was unwarranted.

i apologize if me bringing up liquid wind in your writeup re-catalyzed any bad memories then. i mostly brought him up because him being so enthusiastic about bastion's ost is a really fond early memory of the game/soundtrack, and I like to call attention to when/where a piece of media (especially game music) entered my mind as an introduction to my consciousness. and honestly its one of the memories of that period of board 8 that sticks with me the most fondly, since "being introduced to new soundtracks from vgmc/bost/etc" is so much of what I love about this community and value it for.

i don't want to perpetuate any negative gossip about anyone from the past, but i will say i can understand why he would be someone that someone feels intimidated or hurt by. he had a pretty intense/confrontational personality that unnerved me at times, but i also know that i come across that way to others here with my own behavior sometimes so, i'm maybe a bit more sympathetic to that than it may seem like i'd be.

I remember disagreeing with him a lot, even if i just said in my writeup that [i remember his taste aligning more with mine than others from back then]: this is still true even though i remember disagreeing with him "a lot". but because he was SO intense, strong feelings and vehement about anything he felt, those disagreements stuck out a lot as strong clashes that were strikingly memorable too. like lasa says he remembers him trashing one of lasa's favorites, i remember him trashing many of my favorite things as well BUT...

...in the end, i think of him very fondly for the contributions he brought to the board. especially since he was at times the only one other than me nerding out about random tiny theory/production details, which made me feel less alone; and i thought his taste dived into some pretty neat and interesting areas that are quite to my tastes. So all that really struck a net positive note with me as far as my memory of him goes. i commonly think about how i miss a lot of what he contributed to this community. wondering what he's doing now.

sorry to hear that your interactions with him left less fond memories than they left for me.
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