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I have vibes of Suikoden IV's ending slate coming into my mind when I hear this. (cf. Palisade Melody)

The noise that comes in as a background texture actually complements the chords that you put in here. I can imagine someone walking in a cold, dark night. It's raining, or threatening to rain. The wind is howling. There is either the feeling of loss, or... maybe just a general unsettling feeling and you have to get out, the mystery is too hard to solve and the weather is making it too vile to go much faster.

Thoroughly enjoyed listening to this, thanks for sharing. <3

ForgottenDawn responds:

I really like this interpretation, thank you for sharing. :)

Probably one of your best. The melody is beautiful, memorable, singable... The instruments respond to each other very, very well. That piano has a really light, floating feel to it that doesn't encroach on the harp accompaniment. And it also gives me this sense of wonder, as if I'm looking out the window early in the morning. Despite its title, though, I have to say, this song would work regardless of whether it is raining or shining -- it's got the right sort of balance to fit both weathers well.

Favourited.

Bertn1991 responds:

Oh wow, thank you so much :D This may be the nicest thing anyone's ever said to me on this site. Thank you very very much for taking the time to write such a thorough, intelligent and thoughtful review. I enjoyed reading it!

And thanks for favoriting ;-)

Definitely sounds fuller than the last version, and catchier. There's still work to be done on making it sound 'wow', but we'll get to that in due course.

C - Bb - Dm - C is not bad of a progression, good going. Only, try to avoid too much repetition. You did build up the instruments, but if an outside listener were listening in, he'd want a bit more in the way of variety. Peaks and valleys, highs and lows. There's quite a lot to cover, but for what you've managed to cover, you're doing well. : )

Squeegee4554 responds:

Thanks! What do you mean with the C - Bb - Dm - C?

First thing I find in my NG feed on my birthday is this. <3 I can't begin to tell you just how wonderful this is. Well done.

samulis responds:

Happy birthday, Trois! Uh yeah, this was TOTALLY intentional, haha. :D
-Sam

Ugh, where do I begin with this one...

You have the same problem that a lot of us have had when starting out music. You have the tune and the final results in your head, but not the mixing quality nor the ability to choose the correct sounds. And I feel the pain too, because the melody (just taken at face value) is sorta kinda catchy but sorely needs something to back it up.

If you had this idea in mind when you were three, imagine what children's songs would be like. Full of punch. Heavy on the instrument layering (unless this was Teletubbies or Sesame Street). Really good chords and a feel-good atmosphere. I mean, you're feeling my description now, aren't you? -- Trouble with this particular song is that the synths are tinny, the drums are flat, and there's nothing to give it excitement. And it's so empty.

I wouldn't want to give too many tips at once, but at least start with this one: Build up some chords. Make progressions. See how they sound. Experiment again. Keep doing it until you wow yourself, and then do it some more.

If you insist on this being drums and voice, make it sound real -- like, you know, those rap songs, or those medieval rounds which only have drums and voice. If you're not sure where to find voices, there are a number of us on NG who wouldn't mind helping you on this, if you should only ask.

Squeegee4554 responds:

Thanks dude for the advice! How do i ask people to help?
Thanks so much!

I loved the rhythm and bassline. But when the melody kicked in, I felt that there was just too much reverberation (0:20). 0:31 actually sounded a lot better with the rest of the mix.

:46 had a welcome change with the change of chords / change of key, and it really was beautiful. Gave me not only a sense of urgency, but also a bit of an uplift.

The entire thing feels like a cross between something industrial and something that sounds like it came out of James Bond, with a bit of an oriental twist. Quirky, and while I do question a bit of the song, I enjoy it quite a bit.

Bertn1991 responds:

Thank you, Troisnyx. That was an excellent and thoughtful review. I appreciate the honest feedback, and I'm happy you enjoyed my song. Have a nice day :^)

I didn't know what to make of that intro, but once the main melody comes in, it feels a bit more industrial. I guess. ^_^'

I don't know if I'm a fan of all the instruments taking the same melody line. I guess it has its uses -- but without Phyerh's game, I can't really tell the context. I guess I sorta kinda picture a mass of drones, all uniformly programmed, and the scale of production increasing dramatically with each instrument being added into the mix.

1:32 invites a change from the ostinato melody.

The drums at 2:05, just before the ending, remind me of Mylene Farmer's 'C'est dans l'air'. It had that sort of pulse that I heard at the beginning of that song, too.

Not quite sure what to make of it -- I think this is one of these tracks that really needs context for me, and without context, I just don't know what to make of it.

MysteriousPresence responds:

Thanks a lot for the review ! :3
Yes I think I'm a context musician, I'm mostly a cinematic composer (and director) after all ! ^^
You're totally right anymay, that would maybe make more sense in Phyerh's game !
This is funny though because the intro and the outro are my personal favorite parts of the music ! I guess this is a matter of taste ! :3
So I listened to C'Est Dans L'Air and that was... Hum... Weird ! X)
Thanks again for the review ! =D

You have amazing chords, and nice breakdowns that make me feel like I'm in a club despite otherwise sitting in front of my PC in a relatively quiet room. 2:10, for instance, has these really nice pads and this warm atmosphere to it, which is the meat of what I love in this piece. And they complement the harsher (leads?) so well, too. There is a really nice sense of buildup, from the relatively calm intro to the main theme to the breakdown. And speaking of breakdown, it was a nice breakdown, which justified the 'hard' in hard trance.

3:52 sounds like a cross between a nice light show and a speed stage in a video game, something which I thoroughly enjoy.

It was fun listening to this piece. I don't often listen to hard trance but you have a solid grasp on tonality and you know how to hook listeners in. I had to turn the volume down, but otherwise, wonderful work.

The dissonance you create with these voices remind me not of a traditional chant per se, but what I would imagine could be heard in Dante's iteration of Purgatory. It's haunting, and it evokes to me the many souls still waiting for sweet release into Heaven. And then when the pads come in, it reminds me of those cold, freezing atmospheres that I'd heard in Tekken 4 and stuff. I used to love these ambiences; you brought them back to me once more.

No complaints about mixing; as far as music is concerned, you have given me a piece which strikes me as unforgettable. And not only that; I can come up with imagery so profound. (As a personal side note, you have also inspired me to pray for the release of souls in Purgatory. Thank you.)

Insta-favourite.

ForgottenDawn responds:

YES. Tekken 4, one of my childhood games, thanks for bringing it back. :D
Huge influence on my music too. I remember the Prologue music being particularly haunting, with those screeches getting under my skin and that dirty, distorted atmosphere. It really sounded like I was fighting for my life. That kind of atmosphere wouldn't come back in later installments, unfortunately.

When I've shared this piece to some friends of mine, they've had this similar vision of somebody seeking atonement. The various interpretations I'm gathering from all of you is really interesting and precious. Gets my gears running in my head.

Thanks for your review! :)

I get what you're trying to do here, an SNES flute. It doesn't change the original... unless you had switched up the arrangement, used natural flutes, and made this a jazz quartet-sort of piece (which, let's be honest, you know it can!), which would have made this cover shine. It's really, REALLY lacking its oomph.

As a note for tracking flutes, I don't know if video game composers would drag flutes anymore. Starting out, this is how we do it, but now we've learnt that there have to be breaks to account for the breaths that wind instrument players take. It's almost vocal, in a way, knowing where to put the cigarette paper thin rest before continuing on with the melody. A bit more practice with that would make it sound natural. You can do it.

4/10.

IPA: /tʁwɑ.niks/ || Singer-songwriter, multi-instrumentalist, visual artist, writer. Drummer with The Just Numbers.
Speaks in various tones of meeps.

Annette Singh @Troisnyx

28, Female

N/A

Lancashire, UK

Joined on 6/26/11

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