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Okay then. It was pretty clear to me at least that Betwixt had a large amount of tracks which fell outside the boundaries most freeform seems to fall into, but we can agree to disagree I suppose. Writing about music is indeed difficult and I wasn’t aware you were looking for a heated academic debate about who’s supposed to be better based on specifics. I’m not, in any case. The genre has elements I consider flaws and I’m amazed that there are so many tracks I love (those being the ones posted about on this site) despite that, that’s all. I’d rather not take this further.
Having dabbled in production for a good while now, I can confirm quite a lot of that. While I’m not fond of terms like “adult” and “tasteful”, the obligatory presence of beats/bass/breakdowns/etc. leaves very little room for content; thus to use that cramped remaining space for genuine creativity (especially combined with the expectation of short melodies) is a challenge that’s as both difficult as it is unique, and why the amount of producers that successfully do this instead of rewriting existing tracks has always been next to none. The success of the producers celebrated here in combining one-of-a-kind timbres with an aptitude for catchy yet powerful melodies to turn uptempo dance music into an art form can’t possibly be overstated. While Alek simply took those to an extreme degree while sticking with predictable structures, I find Betwixt’s ability to unapologetically inject his essence into his creations and allow structures and obligatory elements to only form within them at his mercy to be all the more impressive. All of the “big guys” have had at least one track where they managed this, but nowhere near as many as he did.
That’s just my opinion, of course. You’ve broached quite the interesting topic by mentioning the flaws of the genre (arguably danceable styles as a whole), and I’d love to hear what others here think about it.
I can count on one hand the amount of freeform tracks I’ve been impressed by since In Praise of Shadows, so being able to add Submission and the Artificial Reality edit to those is really great for me. F.E.A.R is a very fun track too, and regardless of mixed feelings on the rest, the album works very well as a cohesive whole. I also like that the new tracks fit the “Futureform” theme especially well compared to what we heard on Gone and tracks that ended up being free.
I love the proactive nature of the label, especially with regard to physical merchandise. Over-the-top musical pickiness aside, I wouldn’t mind one of those tees if I had more to spare at the moment. I hope it keeps going as strong as it has been and will be sure to keep an eye out for whatever’s next.
Alek Száhala – Xochitlán “Place of Flowers” or Meadow
Anomic – Jokainen kukka kuihtuu “Every Flower Will Wither”This should not be anywhere near as funny as it is.
I realize I haven’t been very helpful here. The base for the lead I tend to use before each track takes it in its own direction is actually Nexus’s “German Trumpet” presets. The point where I realized I was onto something two Septembers ago was when I had just that selected and a Fruity Blood Overdrive in the mixer! If you go into one of the tabs on the side in Nexus you can click “ply” (short for polyphony?) and then 1/16 or 1/32 to give it that “quick fade in” effect that’s all over the little we’ve heard from Einhander and especially Betwixt. Beyond that it’s amplification, EQ, and whatever effects gel well with it (I think I threw one called “chorus” on the ThermalForce-esque lead in Yarai) until it sounds a way I like, and then finally a filter. The trick with the filter is to have quite a bit of low pass if you want to use a synth as a lead instead of just background, but especially to jack up bandpass and high pass in general. Then right-click the bandpass frequency knob to make an automation clip and start telling it how to slide. If it feels like you’re swinging around a very heavy weapon, you’re probably on the right track (literally!). If there’s anywhere I should be more specific I’d be pleased to elaborate. The link in the Facebook discussion wasn’t of much value to begin with, so don’t worry about that. I think it was just a few seconds of an everyday saw with some gating and bandpassing put together in a minute or two. Also, I’d be interested to hear what results you have come up with so far.
“子猫物語” also seems to be the Japanese name of a children’s movie known here as “The Adventures of Milo and Otis”. I asked Nomic once if “Painajaiskarkoittaja” meant “Nightmare Banisher”, to which he basically said yes (a Finnish title is a Finnish title but all these translations work).
For one more from Betwixt, “3倍あいすくりーむ 1” seems to be a pun on “somebody scream” (one of the samples) sounding like “三倍アイスクリーム”. I also recall a comment somewhere mentioning a comic book character with the name “Tankobu Heso Taro”, but all I had was a shoddy automatic translation and I don’t have it on me right now…I’d also be interested in knowing from one of you Japanese-literate fans what the conjugation of the verb in “お前の尻の穴に棒を刺してやる” and “お前の目玉に画鋲を刺してやる (反人間中心主義の詩)” is.
Most of it was a bit too vocal-heavy for me, but I did like “Viber” and “Lost Souls” a little. I wonder what Jon would think!
Storm Coming is the reason I watched that movie! Keep in mind the clip might be better left until after watching it through, if any of you plan to. 😉
Keep it coming! Speaking of Aliens, I found out from Substanced a while back that this bit was from it too: https://www.youtube.com/watch?v=RDqTwSO1DDc
I’m still at it! There are a whole bunch currently that I’ve been trying to decide whether or not to post, some of which will be full-length if I do, but for now I’ve settled on this one mainly for being a change of pace from nonstop aggression:
https://soundcloud.com/sherkel/gopher-itThere will be a second breakdown, but I’ve been stuck as can be with this one, unlike the rest where I’m constantly adding/changing stuff.
It really is my own fault that these are getting so little exposure as I’ve been doing zero advertising, which basically forces my true motive out into the open. Might have to do something about that if I really want to go the producer route…but I still am curious how many Romancer archives that post is buried behind. 😛
One of the really old posts on here (around 2008 I think) mentioned an “original version” of Galatea. I’ve listened to the released version many, many times, hence my strong interest in it. It’s such a unique and impassioned tune already that I’d jump at the chance to hear any alternate take on it.
And the English samples for Invasion are from Young Frankenstein. 😉 I’m not sure about the Japanese ones. It might be worth adding that the sample in Sentimental Pain’s breakdown is from The Bride of Frankenstein!
You’ve left us speechless with that research, Solvynt. I’ve been trying not to look at this for too long until I’m really in the mood for those tracks again, but couldn’t help taking a peek. Thanks for shining some new light on these classics! I swear, some day I’ll be able I’ll hear the original version of Hatral (and Galatea), somehow…
