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Never mind to me that the mix was muddy or that it was done in 10 hours; it is a gesture of love, and that is why I favourited it. Also, you gave that EWQL choir a bit and a bridle and tamed it decently, from what I can hear.

JessieYun responds:

Hey Troisnyx,
Thanks a lot for the comment! I guess I'll have to take a look if really sounds muddy again. And yeah, I had quite a hard time teaching my choir Korean, hahaha. Thanks for the fav!

You start your piece quite slow and soft, which reminds me of my favourite prelude from Chopin (number 25, iirc).

One thing I've noticed here is the four chords structure with melodies darting all over the place — I'd probably suggest these be toned down to the background, it risks getting atonal otherwise. Ending is also a bit abrupt, ya? Bit of decay there might help.

But otherwise, I like the feel it gives. It's chill, it's melancholic, it's pensive. I can see it being expanded into all sorts of things, or being left as is; I think what you have, with a bit of work, is versatile enough to adapt or leave in any which way you desire, which I quite like.

I first began by listening to this without headphones, and then with. Mixing is quite alright.

That lead that comes in along with the vocal line "things I'd do" feels a bit grating to me, like it's competing for attention. In fact, that vocal line itself does also grate on me after a while — over-repetition tends to do this to me.

There are elements of this that sound like a well done cinematic track (the bass, for instance, is on point). The bit when the drums have been toned down immediately after the intro and it builds up, that's another thing that brings cinematic to mind. And again, at about 1:59 (though it sounds more like a prechorus because of how strong the vocal line is, so it's not quite there). I kinda wish I heard more of that, TBH.

You have a good sense of buildup, tension and release, and I think it goes some way to counter the effects of the vocal and the lead. Bringing the drums back in on beat 2 of the bar instead of 1, for example; while I know I've heard this done elsewhere, it's still something that helps switch things up a bit.

I think the thing with me is that I'd open my ears a lot more to something that doesn't sound that it's been tried and tested so much. There's been plenty of house on BBC Radio 1 for me to listen to, for example, that after a while, I start filtering out things that are forgettable, and I frantically try to grasp memorable melody fragments and feelings, something that'll stay with me forever after having experienced the track. Here, it's hard for me to find any. I've listened to this track three times, and I'm struggling to recall much of what I've heard. I'd listen to it, I'd dance to it perhaps, but it feels very forgettable to me.

Oof at the title ;_;

It does give me the feeling of being starved of oxygen, or struggling to get some -- but whether it happens in space, is another matter -- I can also see it happening underwater or in some microgravity lab which, due to a disaster, is starved of oxygen.

I like the sense of buildup, and those countermelodies you introduce round the minute mark -- I love how subtle but powerful they are. The sparse instrumentation certainly lends itself to images of very stark surroundings. It's short and sweet. Well done!

AlbeGian responds:

Thank you troisnyx I'm really glad you liked it!!

The piece feels quite surprisingly upbeat and cheerful, almost an antithesis to the artwork -- but perhaps, the artwork with its utilitarian buildings might belie a certain "forced" cheerfulness that's meant to be observed by people living there, I can't quite say.

There is so much with this piece that is on point, musically, even though it isn't my cup of tea per se. I love how you layered those instruments. I love the bounciness of the song, and of the lead synth. I love how saccharine it feels. And most of all, I love that you seamlessly blended so many musical devices together -- regular chords, pentatonic scales, all while keeping it within a trippy sort of feel. That is musical technical mastery to me. Well done.

Hyenaedon responds:

Thanks for the great review! I knew the relation between the song and the art was going to be kind of strange from the beginning, but like you said the song pretty much depicts a false sense of hope I suppose. I really went for the almost melancholy feel of the art.

I really tried to give it my all musically here, so i’m glad you noticed those things! Again, thanks for the thoughtful review ;)

Wah-wah effect is a bit disconcerting, but the actual playing itself is nice and soulful. Piano with a decent amount of reverb would work better for the foreground; in my mind, if the wah-wah should still be kept in, it should be more of a background element so that it doesn't distract from the main melody.

I'm a pianist as well, so it kinda wrenches me inside to not be able to hear it clearly.

Soundly done, you two. Thoroughly enjoyed this thing. I think this one has been the most jam-packed with content and personable, relatable moments thus far, befitting one of the greatest contributors to NG of all time.

Dear WillKMR, as of Monday, Soundskills is an official Makerspace. I've seen the new roster of things to do and it is an actual thing~

By the way, thanks for having me. I enjoyed the interview, and especially how candid you kept things. I look forward to hearing from you and the other artists you interview!

GroundsPatrol responds:

Yay for Soundskills!

Troisnyx, it was an absolute delight having you on. Cheers!

I really enjoyed your playing. ^_^ I kinda like this jazz, the kind whose ragtime roots are really perceptible.

willKMR responds:

Aw thank you!

Initial synths could do with a bit more jitter / reverb for that eerie feel, but you certainly communicated early on what you wanted, and got me on board.

I often find that simple chord progressions work well when they're built up on, and you're doing it quite well here. It can draw on a bit too much to me after a while, so yeah... I'm kinda not sure if that progression has overstayed its welcome a bit.

0:54 sounds a bit like Stranger Things' intro. That arp. Then the strings kick in, and it sounds like a horror cartoon. Not sure about that kick though... Drums feel like they lack a bit of punch when they come in.

The piece from 2:04 onwards reminds me A LOT of Phyrnna's stuff, especially from the earlier Epic Battle Fantasy games; it brings to mind various battle themes she's written in the past, and I don't doubt she'd approve of this heartily.

The cinematic thing at around 3:00 could do with a bit more buildup, something subtle in my mind, but it's negligible at this point.

4:12 was sublime, and so was the breakdown at 4:19. I kinda wish I heard more of the intro / ending instrumentation, in conjunction with the heavy cinematic orchestration -- there'd be quite the chill down one's spine, I imagine. I also agree with Jockeying76 about strengthening the bass notes of any other instrument you have there; that (contrabass? tuba?) and the bass drum complement each other and to have one toned down is to basically leave the other hanging.

Outside of all these things, it seems well produced. The balance is about right, I think. I found it pretty decent. Keep at it!

IPA: /tʁwɑ.niks/ || Singer-songwriter, multi-instrumentalist, visual artist, writer. Once described as having the heart of a poet and the soul of a drummer.

Annette Singh @Troisnyx

28, Female

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Lancashire, UK

Joined on 6/26/11

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