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Old 05-06-2011, 12:30 PM   #21
kylendm
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holy flipping ****.

amazing
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Old 06-01-2011, 10:20 PM   #22
DiminishedFifth
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I'm gonna reserve a spot for this, it's quite a lot to take in all at once. I'll say a couple things before I get started though:

1) Reminds me a lot of |_JR_|'s pieces
2a) It has a VERY unique sound, even though I said the above
--- 2b) I want this sound
3) I love it, but there are some things I saw (I'll get to those when I listen to it more).
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Old 06-06-2011, 05:04 AM   #23
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Holy balls. I have only two complaints about this, and only one of them is actually valid and not subjective.

The first is that my attention span doesn't agree with the 9:29 clock-in.

The second is that 'Escaping' doesn't transition well at ALL to 'Darkness.' Other than that, all the sections are great, definitely a pleasure to listen to in 3 minute intervals. All kidding aside, the piece doesn't lose momentum or do anything really to lose the listener's attention.

By this, I'm thoroughly embarassed to ask for C4C on really anything I've done, so I won't. :P
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Old 06-06-2011, 05:31 AM   #24
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Quote:
Originally Posted by guitar_jew
Holy balls. I have only two complaints about this, and only one of them is actually valid and not subjective.

The first is that my attention span doesn't agree with the 9:29 clock-in.

The second is that 'Escaping' doesn't transition well at ALL to 'Darkness.' Other than that, all the sections are great, definitely a pleasure to listen to in 3 minute intervals. All kidding aside, the piece doesn't lose momentum or do anything really to lose the listener's attention.

By this, I'm thoroughly embarassed to ask for C4C on really anything I've done, so I won't. :P


Not to be a dick, but technically both of those are subjective

What exactly do you think is the problem with the transition?

Really, though, thanks for the crit, and same to everyone else.
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Old 06-06-2011, 08:33 AM   #25
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Quote:
Originally Posted by Tarbosh
Not to be a dick, but technically both of those are subjective

What exactly do you think is the problem with the transition?



1. I guess you're right. Subjective wasn't the right word; I suppose I meant to distinguish between my personal problem actively listening to long pieces in one go and my only qualm with the music itself. This explanation probably wasn't necessary, but meh.

Off the top of my head, the transition was too immediate between two heavily contrasting ideas, and executed in a manner that took away from the work rather than added to it, IMO.
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Old 07-12-2011, 11:56 PM   #26
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Thanks to Tarbosh for the fantastic critique in my thread, and to RedDeath9 for starting out what's become an absolutely phenomenal piece of music.

What really catches me as being both peculiar and enticing is that the melodic approaches here are so unorthodox and unconventional, yet somehow make a lot of sense. I remember reading a comment in one of |_JR_|'s threads along the lines of ''none of this should make any theoretical sense, but it works'', and while I can see the basic foundations of some of the approaches featured here, trying to comprehend how the hell you guys write like this is beyond me.
I've got to say, this collaboration between you to was a match made in heaven - or daydream? You've both got such distinct styles of writing, but somehow they've melded together to create this perfect unity. So in advance, a massive kudos and thanks for writing such a creative and downright inspiring piece of music.

Throughout the piece, there's a strong visual image, which the section markers lend themselves well to. I'm seeing a character in a sort of distorted world, which is malleable like water, sort of like if you looked out a window drenched in rain, and everything outside becomes refracted and distorted. The whole world's black-and-white, and the big thing I'm picturing is the world around this character transforming into some haunting but awe-inspiring amalgamation of oddities, like seams splitting the air and releasing new materials, or inanimate objects morphing into lumbering monsters of sorts. I think the instruments themselves allude to this concept of growth or bizarre change with their complimentary lines and strong counterpoints, coupled with the frantic pace throughout. I can sure for certain that I'd love to see a short film with this as the sole soundtrack and audio - hell, I'd pay big money to see that or even fund it (Once I have some money, of course)!

One thing that really grabs my attention is that despite the piece being so densely layered with multiple voices, complex harmonies and modulations, erratic rhythms and instrumental soling, it never feels cluttered, and somehow not only maintains, but develops intensity throughout, and I just don't get how.
What was the writing process like for each of you? Did you start out with basic ideas to expand the structure and orchestrate from there, or did you go all-out, perfecting each instrumental part with the perfect voicings, rhythms and the like, and add them in? Was this written chronologically? Everything just flows so sensibly and in such a mature that I can't help but be marveled by it.

I honestly don't know what to offer in the way of actual critique, since I love everything I've heard (all seven times I've listened), and nothing stuck out as jarring or out of place. I suppose if I can offer anything, it's that this - themes, developments, mood, the lot - reminded me a lot of A Triggering Myth and Kaipa, but orchestrated much more effectively.

Is the concept still underway? You guys have got to PM me once the new pieces are out, and hopefully I can actually offer something constructive other than the materials for a longer e-peen.

Again, a fantastic composition from the both of you, and something I'll be checking my bookmarks specifically for. I'm sure that I can offer something more constructive if there's something particularly you're after help on, but I can't spot anything myself. Be sure to PM me if there's anything!

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Old 07-13-2011, 05:10 AM   #27
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The only criticism I have of this is that it crashed my guitar pro at bar 170
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Old 10-17-2011, 09:03 PM   #28
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Quote:
Originally Posted by juckfush
Throughout the piece, there's a strong visual image, which the section markers lend themselves well to. I'm seeing a character in a sort of distorted world, which is malleable like water, sort of like if you looked out a window drenched in rain, and everything outside becomes refracted and distorted. The whole world's black-and-white, and the big thing I'm picturing is the world around this character transforming into some haunting but awe-inspiring amalgamation of oddities, like seams splitting the air and releasing new materials, or inanimate objects morphing into lumbering monsters of sorts. I think the instruments themselves allude to this concept of growth or bizarre change with their complimentary lines and strong counterpoints, coupled with the frantic pace throughout. I can sure for certain that I'd love to see a short film with this as the sole soundtrack and audio - hell, I'd pay big money to see that or even fund it (Once I have some money, of course)!


Wow, it's good to know that we were successful in creating that image. The character is lucid dreaming, manipulating his dream world to his liking. He does this very often, using it as an escape from reality. I'm very glad that you got that image.

Also, that really means a lot, haha Thanks.

Quote:
One thing that really grabs my attention is that despite the piece being so densely layered with multiple voices, complex harmonies and modulations, erratic rhythms and instrumental soling, it never feels cluttered, and somehow not only maintains, but develops intensity throughout, and I just don't get how.
What was the writing process like for each of you? Did you start out with basic ideas to expand the structure and orchestrate from there, or did you go all-out, perfecting each instrumental part with the perfect voicings, rhythms and the like, and add them in? Was this written chronologically? Everything just flows so sensibly and in such a mature that I can't help but be marveled by it.


Well, you know how the song started out. From that point, not very much of the song was constructed linearly. For example, the first riffs we wrote don't show up until bar 77 and 90. Also, the climax of the song was one of the first things written (and all by Daniel). In the end, I believe we had tons of sections and riffs, and we had to manipulate them to fit the overall feeling of the song. Then, we had to glue it all together. In fact, I think from 29-98, we were merely trying to connect the intro to the verse So no, it was not written chronologically. In order to tie everything together though, we revisited many themes. A lot of the riffs were based on earlier (or later) themes used in the song, e.g. the string thing at 45 was based on the verse riff, 69 is based on the riff following it (77), 90 is based on Darkness at 152. That's not to say it was all written out of order though - 128 to 143 was written all at once.

As for the writing process... Gah... Well, we would send ideas back and forth to each other and give our opinions on them. If the idea was good, and it directly followed another completed part of the song, it was added onto and perfected. Sometimes though, the idea was saved for later or scrapped. Sometimes, one person would perfect the idea himself before sending it (Daniel with the climax :P though we did end up editing that a tiny bit). We'd both act editor to the other's ideas, and it worked out quite well. It really was the ultimate exercise in perfection. I'm not sure if I'm answering your questions.

Quote:
Is the concept still underway? You guys have got to PM me once the new pieces are out, and hopefully I can actually offer something constructive other than the materials for a longer e-peen.


Um, well... We haven't actually collaborated on anything since SBtP, but we want to start one again soon. We've been throwing ideas around.

Thanks for the crit Comment. Whatever. Appreciated, either way.
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Old 10-17-2011, 11:33 PM   #29
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Ballin'. It really doesn't seem to busy, but looking at the gp file, it looks like it should, which means you did a great job harmonizing everything. I like how there are som subtly recurring themes through out. If Bal-Sagoth and Charles Mingus had a scary-ass baby, this is what it would sound like.
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