What I note most about this piece is that it's experimental nature was born out of musical curiosity at its purest form: sound, letting alone the accident-induced creativity. As for the results, a eclectic euphony. The sheer amount of interplay between the SFX/noises/textures has an attractive effect. In part, I ascribe this effect to the steady bass rhythm. It's a powerful reminder of this piece's musicality and ties them together well; however,that being said, the rhythm occasionally becomes a bit too overwhelmed by the melodies and accompaniment. This peccadillo is more pronounced before it switches to post 3:30, after which it becomes relatively stable.
But I must confess that I find experimental pieces like these difficult to analyze because of their complexity. Needless to say, "melodies and automation clips, as well as effects within the mixer and within NI Massive," with which I am unfamiliar (in addition to industrial music and ragga). My thoughts may not hold much weight, but I am compelled to give them because of how pleasant Perfection is Imperfection is to me.
Side Note: I would comment on the "cogs" you mention, but I have no idea of what this term reference. If I had to guess, it would be the high pitched trills played in descending eight-notes. That, or the mid-range, metal "stabs" played in halves. In either case, they both hold natural positions. That is to say, had either of them been removed, this piece would have a noticeable atmosphere shift. Though, I suppose the same could be said about the other noises.
Yes! Yes! Those high pitched trills and mids! All cog-like. Thanks for attempting to tackle a really complex experimental track. I really appreciate your definition. It was fun to watch you discover as the sound develops!
I can't even rationally fathom what "hell" I just listened to, but it just oozes so much conscious effort that I am forced to conclude in wisdom of the given description: Noise. I like it, too.
I'll frankly state that this is a fine execution of the desert/oriental style. The instrumentation is greatly reminiscent of the desert setting, as well as your composition, being temporally relaxed, atmospheric, and most importantly, dynamic and changing like most professional video game music I've heard. It's because of the array of techniques and achievements that I'll say this isn't necessarily a "simple" piece. I'd say its quite complex to the extent of its variety and interactions between melody and rhythm. In that regard, I particularly enjoy your use of (forgive any false identification) sitar and the tom-tom(?). Respectively, they're complimentary and accentuating; they give this piece it's thematic life.
In essence, this piece is fitting for an RPG.
"Where the Bones of Ancient Kings Reside" ~ I do agree that this title, by far, sounds more better than "[Adj.][Noun]." I suppose it is because the title deviates from this paradigm that it is weird, but weirdness is good. Although, I can't say it is as thematically sound, since, judging from your examples, you aimed for a desert/oriental style. 'Ancient Kings' is ambiguous, but this is, after all, meant for a video game, which is meant to provide context. Nevertheless, the title is favorable.
This piece's structure is ripe for being made into a loop.
It's impressive that this is "one of [your]first tries at an oriental style." I wouldn't have thought that had you not stated this in your description. Indeed, you got the style down well.
Is this oriental? I say this inquisitively. When I think oriental, I think of China/Japan Asian Music. I hear this and I intuitively think Arabian/Egyptian aka North African. I am surprised to know that this is oriental (shows how little I know. Heck, I can't even trust my own intuition in this case now.)
Now that is quite the extensive review. I thank you for that. :)
To be honest, I do believe this song to be one of my better works. But since I've been composing music for merely two years, with my first compositions sounding horrible, it is refreshing to hear that my recent work is being appreciated and liked.
The reason why I think it is still simple is because I took that oriental musical scale I found online (shame on me for using tutorials XD) and built my melody with that. And the rest was added accordingly. It's either that or I'm just too humble to admit that my song is in actuality better that I think. And since I always compose songs with the thought of them being used in a video game, I try to make them loop flawlessly. You will find that for most, if not, all of my songs.
Also, this is the first time ever that someone has reviewed the title of one of my songs. Since I want them to be more sophisticated than just a plain, as you said, "[Adj.] [Noun]" I'm happy you did that. Maybe some context on how I aim to name my songs: if you look up any game in the "Tales of" series and look at their soundtracks you will find titles like "The Seductive Water Sound's Whisper" which are, to an extent, kind of poetic. And this kind of poetic style I want to achieve.
As for your confusion with the term "oriental": it's is used differently in different languages. In German, my native language, "oriental" refers to the cultural realm surrounding the mediterranean sea, minus Europe, so everything from Morocco over Egypt all the way over to Turkey and the Middle East.
Again, thank you very much for the extensive review. It is helpful and motivating. More so than most of the reviews I have received thus far. :)
As it stands, this piece exemplifies syncopation (if I don't use that term too loosely). I don't listen to many (if any at all) compositions that use this technique, but I am confident in my judgement that it works well how you use it. In a way, your background texture seemingly allows it because of its own indefiniteness, and in addition, the piano, strings, and pad almost appear to be ambient, making the drum rhythm musically isolated from the rest of the instruments. I say that this is the piece's biggest strength, since it makes the syncopation interesting and purposeful.
My only concern lies in the transitions between phrases. The most noteworthy, I sense, is the sudden removal of the percussion when the song loops. It contrasts how it was built up (the reverse cymbal and bass slide) and makes for an awkward transition. It's not anything music breaking; it can be overlooked, though little refinements could go a long way.
As noted: FL 11 Demo. That is to say, good job with dealing with the limitations. I've experienced those first hand, and they certainly can be antagonizing.
Overall, I could see this in some psychedelic, or rather, surreal media because of how experimental and atmospheric this piece is.
Wow, I have no idea what to say. Thank you very much for giving it a listen and giving me amazing advice on it. I appreciate it very much and I'll be taking everything you've wrote into extreme consideration ! !
I am incapable of judging 'emotion'; however, I can say that it has an interesting implementation of pitch piano. In addition to the drums and and saws waves (?), it creates the work while establishing a minimalistic theme throughout the piece.
This is where a concern comes. Post-introduction, the harmony of the piano and the saw waves (?) sound grating because the former is too dynamic. It is especially so when the refrain occurs again, when it becomes almost physically uncomfortable to listen to.
In a sense, though, that is also the strength of this piece. It does not rely on intricate musical phrases and instruments. You use of volume and pitch effectively to progress the piece in a rigid fashion, which is a great testament to how contrast can be used to create a false sense of fluidity.
This is a solid piece, and it has much potential given its minimalistic composition, but would do better with refinements with the introduction and maintenance of the saw waves (?).
The atmosphere in this work is well-established; I was able to listen to and appreciate all of the subtle intricacies behind your composition and instrumentation, which was particularity enjoyable because of your conscious effort maintain a balanced tone throughout. To be honest, it was hard to me to fathom what I listened to in that respect. Your use of percussion and bass in your motifs renders the tone ambiguous, but this what unifies the entire work.
I do not know the original song, so I cannot compare it with this, but I can say that your composition is well-put with an great choice of instruments. I particularly like the balance between resting and tensions --- the highs to the lows ---- and the smooth transitions. How you realized those components is pleasant to the ear.
Also, the attempt at mastering is apparent; this sounds like you favored the mid-range and treble over the bass, but the mixing, though, could complement that favor a bit more. At times there is noticeable competition for sound clarity between the lead synths and the pads. The latter tended to drown out the former, especially when this song reaches its climax. It does not, however, do so enough to render the melody indistinguishable or 'muddy', which is good, because it has a powerful tone and voice.
In spite of that, I enjoyed this piece nonetheless, and I respect your taking an initiative toward mastering. Nice work!
Thank you so much! Yeah I really need to keep practicing with mastering and mixing and all that good stuff. When I say I've learned the basics of mastering, I mean the BASICS of the basics haha. I've got a lot to learn there.
Thanks for the comment and I'm glad you liked it!
The original song is Falling by Tiesto btw.
Considering what is stated in this description, this piece is largely successful.
It is not fair to say that 'everything' sounds like it was from radio. Rather, that quality is best given to the percussion because of their lacking bass. Usually, such sounds would cause a piece to lack depth, but the rest of the instruments fill in the empty areas, while providing an atmosphere. The 'radioed' percussion, consequently, does help in this case because much of tone and melody is in the synths. They mostly seem to provide the rhythm, upon which these two components build to make the composition.
How you structured it is admittedly repetitive, but that is not necessarily a degrading quality, especially in this. There are enough distinctions to sustain interest. The main loop --- the one that starts after the introductory phrase --- is spacy and relaxed, so there is not a lot of physical stress and much potential for adding anticipation and transitioning, which was done well throughout the song. The 'whistle' demonstrates that, with its appropriate introduction, variation, and voice. It really does sound like a moper "trying to whistle themselves a nicer tune" under a dull mindset greatly evidenced by this piece's instrumentation and note sequencing.
The one thing that could be considered a marring element is the fundamental use of a single-bar repetition. Adding a similar loop in addition to the main could reinforce the already strong tone. This was done somewhat in the beginning but then vanished. Maybe some some modest use of SFX could render the same effect.
In spite of that, this piece can make for BGM. I like it and nice work!
Thank you, I appreciate the advice. If I had the full version of FL Studio, I'd go back and put it to use. However, I will keep that all in mind for future pieces. Again, thanks. :)
I can definitely hear similarities in structure of this victory loop and those of established RPGS.
Being a loop, this does a fair job at maintaining a consistent mood and transition between bars post-introduction. The introduction is suspect, though. How the eighth notes flow into the conclusive segment of the fanfare can be heard as a rapid change in tension and/or voice, giving the introduction a forced feel. But yet I do not sense it as noncontributing, because the introduction does wholly set the pace and theme.
Simple, short and concise, this piece is executed favorably.
Thank you for your detailed review! I am glad I got the vibe down for the RPG's
I was hoping to extend the last section so it repeated once more also, but I think after listening it seems okay, after all the user of the game would have probably skipped past the track within the first few seconds of a battle ending. I get what you mean about the sudden change, I was trying to go for a battle win, followed by a loot/xp screen similar to final fantasy's fanfare.
I am pleased you enjoyed it! :)
I sense subconscious story to be told through this composition.
This piece has an effective structure. The ambiance the strings provide in the introduction produces an immersive quality, a light atmosphere that the harp compliments well. The rising anticipation after that smoothly transitions to a quite arousing section. The progressive pacing builds upon the mood of the introduction and creates a powerful impression of what the sight of battle would be like. Those sustained deep brasses and percussion, with the melodious lead, really brought that aspect to fruition, being at once characteristic and a indicator of tone.
Though, there is something about the overall sound quality that seems to be outstanding. It sounds harmonious and well-mixed, but I think much of the accompanying instruments can be a little more brighter (more treble?). Post-introduction, the instruments tended to sound as if they were limited in expression --- holding back a lion from barging out from its cage --- when compared to sounds in the introduction. But for what it is, the mixing/mastery of the piece is suitable and boasts skill.
This is an overall splendid piece. It evolved into something pleasant. Nice work.
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