June 6, 2018 at 7:54 am #3649
The idea of this thread is to have the TYFTH members writing reviews of whatever track they want to write about. The reviews can be 2 sentences long, or 34 page essays — it doesn’t matter. As long as you are voicing your honest opinion in a clear manner, we will all be eager to read it.
In order to have things more organized and looking nicer, I will for example italicize the name of the tracks and use proper paragraphing. But anyone is of course free to write whatever they want, however they want. This will be a truly freeform thread lol. If you enjoy writing huge blocks of text in ALL-CAPS suit yourself, it’s okay and no one is going to mock you for it.
I should add that the purpose of reviewing/criticism consists in elucidating what works and what doesn’t in the reviewed/criticized object, in our opinions, with the ultimate goal of having an effect on future works of present or future artists. This means that reviewing/criticism involves a lot of trashing (or at any rate… my reviews will lol). If you only have glowing words to say about a particular track, it will still be your honest opinion, and therefore valuable, and we will all be interested in reading it. I have for example only glowing words for stuff like Afternoon Owl or Enuma Elish, and rightly so because these are some of the greatest pieces of music ever made.
So let’s get thinking and typing!June 6, 2018 at 8:03 am #3651
Betwixt & Between – Hydra
Hydra is boring until its climax, with some funny vocals on the breakbeat part, a pretty good rise which culminates with a completely out-of-place female vocal, and then there’s a huge melodic climax that comes out of nowhere, with no previous warning, no previous sign whatever pointing to its appearance, and then it’s over. It’s also too short. If Betwixt made it longer and built it up properly it might have been pretty good, as the melodic climax is nice.
June 6, 2018 at 7:57 pm #3654
- This reply was modified 4 months, 1 week ago by bern.
It is fair to say that about Hydra when listening to the track from a stand-alone point, but then, so are most intros. I guess not every composer want to start a track with something harsh like Storm Coming.
However, from a DJ’s point of vue, the boringness of the buildup could be used while mixing a transition, to arrive at the breakdown before the vocal sample and climax.
Ok, my turn. Not exactly freeform, though.
Endlicher Entfernung: A guy want to convince his little sister to have fun together. He succeeds.
That track should have been instrumental only, or at least have had an instrumental version.
I found myself wondering, back then when I was dabbling in mixing, how would you play this live without risking embarrassment to yourself, or offending someone?
The obvious answer is, you can’t. And yet, I found it solid, except for the samples’ bad taste. But if I could remove the voices, how would I fill the quiet parts with?
My favorite part is the first 30 seconds or so, where the melody goes from carefreeness to plain disharmony, then quickly breaking into chaos.
Following-up to whatever stuff @bern said in the Introductions, Endlicher would be a better example of cheesiness in a track than Nothing Compares 2 U, which is a rearrangement of Cirno’s theme, and if you are familiar with the canonical material, you can see for yourself that a dumb, (weak?) fairy is nothing to worry about.
I don’t think it was intended to be serious. But yes, if you like your freeform like you drink your coffee, you should stick to Alek.
The point about imitators is sorta moot, a better question would be: Did <artist X> manage to leave <structure set by innovator> to produce its own sound?
When you are starting to produce, it is normal to try to copy the sounds you like.
Given BTW’s experimentations and work in several music genres, I would say he was looking for his own sound, and that typecasting it into a Alek imitator, even as one of the best, is a bit unfair. And they are worse cases of imitation out there.
The trick is to be inspired by other artists and genres without downright plagiarizing what they do.
June 13, 2018 at 3:08 am #3657
- This reply was modified 4 months, 1 week ago by Jambato.
Lol, is the girl being raped by her brother in that sample from Entfernung? Well. With or without the sample, I don’t like the track. I mean, I guess the first 30 seconds, in which I hear a baby being raped by her brother, probably had an effect on this opinion… though. So maybe, after all, if you took the sample out I might’ve liked it. — I don’t know, because I couldn’t bear listening to it for more than 4 second intervals, meaning that I had to scroll through it as fast I could before turning off the volume for good. Incidentally, I’m always reminded of cartoons and anime when I hear Japanese voice samples, and I don’t watch cartoons, so I’d rather my music kept those samples out. J-core, as whole, is pretty bad. It unfortunately seems the cool Finnish Freeform must be sandwiched right between the base UK Hardcore and the ridiculous Japanese Hardcore. There’s no way around it, because of all the similarities they share. The public that enjoys this kind of music is not discerning enough to differentiate between the three styles, so they lump them all together. Meanwhile, those who can discern and appreciate, however so slightly, the difference in the quality of the music produced by these different scenes and traditions, has to face the problem of the lack of new quality music being made. So the music coming from Finland is not plentiful, and even DJs who can appreciate the superior Finnish music want to, well, DJ, so they have to use whatever other music is coming out — and where they are coming out is from base UK and weird Japan. This is, then, how we get to a DJ wanting to put a little anime lolita being raped by her brother next to such towering masterpieces as Iron Squid.
And, by the way, it’s not like the Japanese aren’t able to make good art. They are. They have produced videogame gold, for example. And the world would be a lot poorer without Japan and its weirdness. That said, I still don’t like shooting spaceships with 12-year old anime girls, nor do I like listening to silly Touhou music made by hermit-like hikikomori whose only life experiences include watching anime and drinking an absurd amount of energy drinks. I think the energy drinks would explain their taste for high BPM. The rest would explain their lack of subtlety and eye for nuance. (And once more explain why cartoon music appearing next to Man Eaten or Invitation doesn’t seem out of place to them.)June 13, 2018 at 3:19 am #3659
1) I understand your point about Hydra being useful to DJs. It makes sense. That said, I’m not a DJ so the only thing I care about is the track that is right in front of me, and I will review it and judge it based on its effect on me while exclusively listening to it. If I was reviewing a DJ set I would comment on the transition, its selection, etc. But when I review the track, the track (and other similar tracks to which I can compare it) are all I care about. And if an amazing track is hard to mix but is a 5/5, I will still defend against a 1/5 easy-to-mix piece of trash track.
2) I have nothing against imitators. I am just calling them by their names. There’s nothing wrong with imitation as long as what you are imitating is good…
June 13, 2018 at 11:58 am #3662
- This reply was modified 4 months ago by bern.
A quick clarification on Endlicher Entfernung because it’s bugging me: it was written for this comp, so it certainly wasn’t made to be presented alongside Iron Squid or even freeform in general, just the other tracks on that CD. There’s a distance between them, even if it’s finite. 😛
- This reply was modified 1 month ago by Sherkel.
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