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Good to get confirmation you two were able to have a fun time for me, haha. 😛 Thanks for all the clips and details too. It seems like the relatively slower stuff is easier for most crowds to get into, considering who played. Not a problem if the music is still in the FINRG/Romancer tradition, I guess. I’m not even sure I’d appreciate any of it nearly as much live anyway, but I’ll cut this digression off here. I hope Iron Squid was a strong enough finale to make up for the beginning, as much as Megatherium‘s grown on me…and there was a surprise appearance from Rx too?!
I believe Alek played the faster remix of Score in an online set recently. Shouldn’t be too hard to find a decent portion of it.
Also, at the same time this event happened, I hear Shimo was in the middle of playing live! The setlist was as eclectic as we’d expect, but with Self Extortion and Quicksand as immediate standouts. Bet there’s a good story to be told there. 🙂
Interestingly, I was planning to post a similar thread myself, but instead about video game arrangements and why they’re so unlikely to be the producers’ own transcriptions. This is definitely more accessible though and gets a similar message across. I only know of one example as I never got that deeply into other electronic music, which would be:
(Pay special attention around 3:00! Or skip to it.)
Actually, there’s one more, but it might not count. The build out of the breakdown at least suggests some influence, though:
- This reply was modified 3 months, 3 weeks ago by Sherkel.
Lab-4, Alek, Proteus, AND Carbon Based?! Some possible Tyranoid/Strongstream too. Such an incredible lineup for an event that I…absolutely can’t make it to, unfortunately. 😛
Amazing that all of them are still playing live this long down the line, though. (It at least offsets the bitter taste of others not making it that far…)
Good to see you back, anyway, and somehow getting this community to actually speak up again. Hope it’s as great a time as it’s looking to be, or better!March 27, 2019 at 9:41 am in reply to: Paokala – Neutron Highway and !Cube – Bullet Sequence (Byproduct Remix) #3884
Haha, I appreciate the shoutout and the “educated guess”! Oddly, though, I’m leaning more toward Alek’s original this time. Odder again, looking back to Distant Worlds, I think I’d take it over both, plus more…seems I can’t even predict my own taste. I should probably just go through all five of these albums.
Why didn’t I think to look a bit further, huh? Thanks for the additional info! I still wonder if anyone here knows more about the “Tankobu Heso Taro” character, but if it was a stream-of-consciousness deal then maybe he wasn’t very clearly defined to begin with.
When reading this, I couldn’t help wonder: did BTW make musical drugs? If so, I believe he succeeded.
My first thought was “that would be whatever music the reader likes”, but thinking about it a bit more, the quirkiness, extreme variety, high energy even when sad, and overarching theme of embracing absurdity do make Betwixt’s work seem to arguably embody the mentality of hallucinogens and stimulants. I wonder if he was an Earthbound fan.
Found out that the “beam” from I Believe Nothing/Freeform Mercury/Freeze Highlander is from a sample pack called “Vengeance”. Haven’t checked it out myself, but it might be a good place to start for anyone in need of some variety in their sounds.
I have never formally studied music, so intuition is all I can use for now I’m afraid.
I don’t need to follow the tonal centers of anything, buddy.
Besides, even though music is an artform, I do not believe it can be evaluated and judged with the same criteria used for visual arts
You have never opened an art theory book in your life. You probably don’t even know two things about art’s history.
I’m sorry to all the “thinkers” who equated “repetitive music” with the death drive… but this is what the most energetic and productive activity sounds like. It’s unconscious genius perhaps, but it’s truth that is being aurally expressed by Száhala.
I’m not claiming Száhala is making any testament.
This I’ll do, though:
stop writing for a sec
Are you really giving me any choice? Enjoy one more thread for nothing but your own posts, I guess.
The thing is that anyone can hallucinate a narrative out of Firecloud. In other words, the “narrative” is not in Firecloud at all, it’s in your brain, i.e. it’s entirely fictional and superimposed on the track by you.
As is the testament you claim he’s making through Enuma Elish’s simplicity. I don’t buy it, but again, personal opinions.
Like I said, follow the tonal centers. Follow the basslines if that’s simpler. Look for the relation between each part. Mine has a theoretical foundation too, even if it’s weaker for a number of reasons, one being that I don’t know all the right terms. (And also was trying to keep it simple so that people who haven’t dabbled in theory could follow along.) No, by the way, it’s not what I think of when listening to it. I was considering adding timestamps considering how much interest you seemed to have in it, and if I had more time right now I might. For now, I’ll just add for the tenth or so time that I’m not speaking in absolutes.
Not sure what gave me that idea actually. I think I looked at a Google Translated version of some page when I first discovered him and didn’t think to look back into it. Everywhere seems to say he’s Finnish through and through.
Guess I can’t blame you for not understanding it as I wrote it all when half-awake on my phone (don’t even know why; originally I just had the Hyphen quote), but in short, Firecloud uses its structure to suggest a possible narrative, and it does it in a way that’s quite straightforward but that for some reason, other tracks simply don’t do, the majority of his own included. (Actually, that’s the type of complexity you want to denounce, but I’d rather not get into which is “better” as there’s no accounting for taste (hence my stance on reviews)). What do I think he more likely intended? To put down random notes until he liked how it sounded. Why do I think so? Because it’s advertised as music, not storywriting! Nonetheless, the excitement factor from having all those distinct sections just can’t be overlooked in my opinion.
And one more thing I forgot, because I’m afraid to edit that:
“Good news! You can make freeform even if you can’t eat salmiakki. But salmiakki is really good!” ~ Hyphen
Just look at what salmiakki did for Firecloud! Without even knowing about music, just follow its tonal center due to how distinct each section is (for me this takes away a lot from the enjoyment, but only for one partial listen). To start off, he introduces an awesome (but simple) part based on E, and then soon after, a more complex one based on G. Nothing too surprising until…what other producer would do the jump at 1:50?! And then follow it up with all the ensuing theatrics, going to far as to suggesting that cool opening section was meant to represent the “fool” archetype? It would be amazing if Alek did that more, or anyone else on that note. The rest proceeds from there, in completely different territory, until the G-centered section self-consciously waits for the right time to say “hey, can I come back now?” and the close-enough F one is like “sure, let’s see what you can do,” but then it gets stuck, and as it quiets down to try and get a grip on itself, the previous one is like “nope, you clearly have no clue what we’re trying to get done here!” and then pushes it out once and for all to finish the tune, paying brief tribute to the single-note intro, but in a kind of mocking way by virtue of being a semitone above it. At the same time it could be seen as “hey, I’ll never pretend to understand what the heck you are or why you’re here, but you helped me get this far, so thanks!” Who am I to say? And all that said, what of the mysterious, initially jarring D# section that changed it all? The “king” one made a more intimate address to it, but didn’t overall pay it much mind or let it take the stand. Instead, it ends with the usurper and his likely annoying acquaintance. To Alek, was that fate? Considering the reprise of the first section follows the “king’s” key and even gets more than one repeating note at the end, could the “fool” have gained wisdom from witnessing this conflict and living by taking the winning side? Again…*bites into Tootsie Roll Pop standing on top of a hill* the world may never know.
There is a logic to it, as with all art, just not the kind that lets it get away with hackneyed techniques, and this off-the-cuff interpretation is one of infinitely many.
To clarify, when I say the name of a note, I mean “some minor-ish scale based on this note”. My ears aren’t good enough for more yet. Nor is this intended to be a review of the track, because in the end…I just don’t enjoy listening to it as much as other ones! I simply think it’s one of the most simultaneously clever and heartfelt tracks in the scene, and whether the “idiot -> previous king -> fate -> revolutionary -> previous king -> (revolutionary + fate + idiot) = new king (standing next to a smarter guy than at the start)” narrative is intentional or not (I doubt it is), it sets the groundwork for it through its use of modulations.
- This reply was modified 8 months, 2 weeks ago by Sherkel. Reason: Trouble sleeping
- This reply was modified 8 months, 2 weeks ago by Sherkel. Reason: Can't stop hahaha
- This reply was modified 8 months, 2 weeks ago by Sherkel.
- This reply was modified 8 months, 2 weeks ago by Sherkel. Reason: Made it a...tiny bit clearer
Your review reads much more like a series of essays on various topics than just thoughts on Enuma Elish, but that’s certainly not a bad thing. Develop each of those ideas more and you could have a long series of pieces on the hidden meanings in Finnish freeform, all centered around a single track at that! Being strictly anti-review myself it was pleasingly thought-provoking.
It’s also cool to hear you’re interested in learning more about how music works, and if this is one of your means toward that then I’m all for it. I can think of a few points off the top of my head.
Ziggurat, Afternoon Owl, and Maruuk, for instance, all make heavy use of the blues scale. Compare to Last Window’s Sorrowful Nightfall or Insomnia, or for a really close comparison, Telefang’s Bryon Ruins. You’ll be amazed! Personally I’m often afraid to use this scale out of fear I’m treading on some holy ground at the wrong time, for a lack of a better way to explain it.
There are a lot more tricks he employs that you’ve no doubt noticed and that I couldn’t explain any better than you. Using and repeating a melody that “feels” like it should be longer, for instance…it all conveys a sense of “where the heck am I?”, and as an Australian living in Finland with an inescapable obsession on a long-dead civilization, that’s no surprise. I really look forward to understanding those techniques more…all I know comes from ripping MIDIs from games, as no amount of printed material or videos ever explained these things to me in a way I could understand…
Unicorn Grove and Firecloud get a lot of their power from sudden modulations, which is why I suspect they’re two of your least favorites. I’ve always considered that sort of thing intrinsically tragic, with exceptions of course, so it’s interesting to see someone feel the opposite way. Maybe cathartic is a better word for what I mean… To me, so-called “logic” in music is cowardice. What else can you call it when someone’s unwilling to leave the same place or experience something new even after becoming bored of where they are? Always be ready and always make your first priority be making the place you are your own, I say.
Having effectively reviewed nearly every track in the scene with that, I’ll spare you the rest of this “review of a review” before my Hebrew side takes over. Now, with interest, that comes to five million Euros, plus tax!
Found the source for some of the Liberation samples, thanks to Solvynt’s transcription. Look at 16:18 here: https://www.dailymotion.com/video/x5h3fyt
It seems like a Ghost in the Shell spinoff of some sort. They sure seemed to be into that.
Ah, and the dudette in War Monger is saying “We’re going to die now”, according to this old post!
- This reply was modified 9 months, 1 week ago by Sherkel.
Another post disappeared when I tried to edit it! I had added more in defense of Nomic, but I’ll take this to mean that’s a better topic for another time. Not too much point in recopying the rest unless others want it, but here was my list:
1. Betwixt & Between – Reincarnation
2. Hase – Houkai (Reloop)
3. Alabaster – Strikes Back
4. Hase – Brionac
5. Betwixt & Between – Liberation
6. Alek Száhala – Caballo 2004
7. Twisted Freq – Hanuman Visits Lanka
8. RR-ThermalForce – Moving Flare
9. Pain on Creation – Night Prey (Live Edit)
10. Einhander – Storm Coming