Shred the Eleventh: The sleeper has awakened!

A Person wrote: MovingPictures07 wrote: A Person wrote: Henry Plainview wrote: So after the 30 inches of snow here on on Saturday, there's going to be up to 20 more inches of snow on Tuesday night. ARGH! I hope you like snow. It's crazy, isn't it? We've gotten like 3 inches and we're supposed to get like 2 more tonight. I am only supposed to get about a foot Tuesday. This year has been pretty mild.

Same for us, really (in regards to it being mild).


Edited by MovingPictures07 - February 08 2010 at 18:34

Ricochet wrote: MovingPictures07 wrote: Ricochet wrote: Further on, I must sadly say I don't like Operation. The first part is great, but, through its developement and length, it's drawn into going-nowhere-ness. Although maybe it is a genuine delicate operation of decomposing the vigour of music. Thanks for the feedback! Sorry you don't like it. What'd you think of the rest? I'm listening to the album again, and trying to comment step-by-step. The first part was really promising, the atmosphere was slightly noir-mechano early horror, Rob's "cameo" is appreciable (although the keys do slip the sync a bit, at some point).

Oh, okay.

When I was composing Operation, I had a vision in my head of an actual scene and I composed to that---that's what I do for all of my compositions, really. So the differences in intensity during the parts are reflected in that.

Okay, biggest complain #2 (I thought so from the first listen, now it persists): I would suggest progressing somewhat with the keyboard music. Enhancing, enrichning, tying several more melodic notes, whatever pleases your creativity, only to actually sound creative. It ruins a not-too-shabby Raindance. No matter from what stylistical perspective, it's not even part of an austere (something I slightly feel in the music overall) scheme, but way below. Drafty experimenting, in the previous works, may have had its pillars, but this was desolating to hear, in comparison with the rest...

...which would lead to the first interesting thing: a waterfall of rhythms. That's actually nice. I'm somewhat nostalgic after the cello in Ex Anima, as a peculiar sound, but hereon it seems to be a forte.


Edited by Ricochet - February 08 2010 at 18:44

MovingPictures07 wrote: SaltyJon wrote: So far Raindance and Henry the Hexapus have been my two favorite tracks from Ask the Machine, and Snapshot makes me think of the game Braid. Braid?

http://www.braid-game.com/
Whether on PC or Xbox 360, I strongly suggest checking the game out.  It's a very well designed game in every way, and very enjoyable.

'Piphany Ramber

YEAAAAAAAH!

MovingPictures07 wrote: SaltyJon wrote: MovingPictures07 wrote: SaltyJon wrote: So far Raindance and Henry the Hexapus have been my two favorite tracks from Ask the Machine, and Snapshot makes me think of the game Braid. Braid? http://www.braid-game.com/ Whether on PC or Xbox 360, I strongly suggest checking the game out.  It's a very well designed game in every way, and very enjoyable. Huh... that's interesting. Never heard of it. Seems neat though.

Yeah, and when you move time backwards the music moves backwards as well.  You can move time backwards and forwards at different speeds, and the music follows it all.  Very fun.

MovingPictures07 wrote: Ricochet wrote: Okay, biggest complain #2 (I thought so from the first listen, now it persists): I would suggest progressing somewhat with the keyboard music. Enhancing, enrichning, tying several more melodic notes, whatever pleases your creativity, only to actually sound creative. It ruins a not-too-shabby Raindance. No matter from what stylistical perspective, it's not even part of an austere (something I slightly feel in the music overall) scheme, but way below. Drafty experimenting, in the previous works, may have had its pillars, but this was desolating to hear, in comparison with the rest... ...which would lead to the first interesting thing: a waterfall of rhythms. That's actually nice. I'm somewhat nostalgic after the cello in Ex Anima, as a peculiar sound, but hereon it seems to be a forte. I actually tried to be as minimalistic as possible; the piano is only on Raindance to accentuate the percussion and drums. I experimented with a more busy and progressing line throughout that track and felt it didn't accomplish the repetitious vision of what I wanted for the track. I'm glad you like the rhythmic part of it though.

As I've said, whatever the arguments, it strikes a cold nerve. As for accentuating, I don't find it a too solid so-called "counterpoint" either. Oh well. I simply can't say it goes well at all, together with the other elements that, anyhow you put it, are craftier.

Henry The Hexapus is nice.

Ricochet wrote: Henry The Hexapus is nice.

I really love the way that one turned out; it was one of the first ones on that album I started working on.