#1
This one started out when I wrote the chord progression in A2, and it kind of sat around for a while before I decided to do anything serious with it. I feel like, before I can really get inspired to finish a song, I need to write that one riff, that single idea that'll give me that "aha!" sort of epiphany about where the song is heading. In this case that riff was D2. After that, shit (relatively) fell into place.

As for influences, I'd probably name Tigran Hamasyan (just because I've been listening to him a lot), DANIEL TIEVSKY/TARBOSH THE UGer (no, really), Opeth (obviously), Robert Frost (the "story" pretty much came from his poem Stopping by the Woods on a Snowy Evening), and whatever other shit I usually listen to.

Enjoy and it's C4C.

EDIT: attached a new version. the most significant changes are at z4 and A5.
Attachments:
Promises.zip
Promises v2.zip
Last edited by RedDeath9 at Feb 22, 2016,
#2
i bet you were hoping for a real review first but nope you get me instead

66 is a dank meme

82 sounds like something i would write if i sucked dick

but no actually it's p cool

128 and 140 are neat variations... if you're GAY

150 "and if it comes to an end, i need you to know this: i prob gave you hiv"

166 is so goddamn good

and that little blorp at 182 is also really neat

214 is a really super transition

I think the ending would be better without 293

there is no way anyone will find the easter egg
#3
wow thanks

edit: i was actually wondering if anyone would notice 128 was a variation. i had a more obvious reference to 128 in the song before but i took it out

edit2: i just noticed a few dissonant notes at G1 and G2, in the clean guitar (or at least notes that could be optimized), but they're not that noticeable since it's quiet. i'll fix it later
Last edited by RedDeath9 at Nov 28, 2015,
#4
This thing is huge. Very cool, nuanced intro. The piano was very masterfully written. I really loved the note choice in measures 14-16 and 21-22. Also, track 10 complements the whole thing nicely, especially in 21-23. Sick clean guitar at B1. Loved the heavy chords at 29 and 35. The drums have a definite swagger about the m with the swung snare hits and the implied 4/4 with the ride bell while everything else is in 6/8. The synth (maybe synth access guitar?) solo on track 7 was very interesting. 64-65 was a great transition. C1 sounds sick. Sick drums at D1. Great, subtle backing instrumentation. Again, great keys at 104 - 105. E1 has such beautiful melodies, man. I liked the modified motif at E2. F2 riffs are fire. Loved the dissonant-ish synth interval at 148. The keys at 166 and 167 were very catchy. I kind of wish that sort of pretty sense of melody was explored further in at least one of those repetitions before you went into the strange (in a good way) sweep melody first seen at 168. The brief, lone piano lick at the start of 182 was nice bit of spice.

Nasty ass melodies at 214. So cool. The crescendo on the keys and drums at 217 was a very nice touch, though I'd take those last three cymbal hits out of the drums for realism's sake. 230-233 is crazy. You're consistently wowing me with those keys. The fast beat at 246 gives the passage so much energy and build up. Big fan of the returning motif in the solo at A4. Sick shit. Also, the solo it self is nice. B3 was a very nice section all around. The outro was heavy. Loved that dissonant chord in Track 7 and the drum groove was tasty. Overall, it's a nice helping of unabashed proggy prog. I can tell you put so much time into it. Props for putting so much care into every track.
Last edited by Million Dead at Dec 4, 2015,
#5
Thanks for the crit! (lmao sorry for the threat)

you're right about the cymbal hits and realism, i've been trying to be a little more realistic but I still see a few instances where i required the drummer to have three arms, ty for pointing it out

but thanks for all your comments. i didn't think my keyboard work was that great, except for maybe the intro and the bits around 166-197 - i mean, i think i could still improve a lot. but i'm still glad you liked it
#7
That was a pretty grand track. Fair play for writing for what seems like an orchestra. There's a lot of detail I probably miss half of but it's an impressive piece. A tad too loopy in some parts for my liking but that's just me. Sounds a bit BTBAM'ish at times too once B1 kicks in.

The entire thing flows really nicely though. I could go on and on about the abundance of intricacies that I enjoyed, but for some words that might drive a change...

D1 dragged on for a bit too long for my liking - I wasn't a fan of this section and was probably the longest repeated section in the entire thing. Was hoping maybe on the repeat some more variation, whether it's on the drums or melodies. Maybe cut the drums off for a bar at like bar 101.

I'm a fan of my melodies so was hoping E1 would be played out a bit more, but to be fair everything that succeeds this up to B2 is in a similar mood and is golden.

Bar 215 onwards felt a bit same-y, even with all the bizarre chord sequences and modulations. z4 was a really cool short section, but then it kind of felt like it just kept on going. The leads didn't quite deliver the impact I was hoping, and that's probably because of all the different chord changes and sequences. I completely appreciate what you've done here, and it's really clever stuff, but I think it's been at the expense of a good vibe.

So yeah, really impressive piece of work. Just a little odd for my liking.
#8
Quote by Seb1uk
D1 dragged on for a bit too long for my liking - I wasn't a fan of this section and was probably the longest repeated section in the entire thing. Was hoping maybe on the repeat some more variation, whether it's on the drums or melodies. Maybe cut the drums off for a bar at like bar 101.


That's a good point, I could probably put in a little more variation in the drum track. And maybe on the melody the second time around.

I'm a fan of my melodies so was hoping E1 would be played out a bit more, but to be fair everything that succeeds this up to B2 is in a similar mood and is golden.


Huh, I didn't even think of adding more to E1, but that's an interesting idea. For some reason I always just thought of it as a 4-bar motif... I might play around with it.

Bar 215 onwards felt a bit same-y, even with all the bizarre chord sequences and modulations. z4 was a really cool short section, but then it kind of felt like it just kept on going. The leads didn't quite deliver the impact I was hoping, and that's probably because of all the different chord changes and sequences. I completely appreciate what you've done here, and it's really clever stuff, but I think it's been at the expense of a good vibe.


I see what you mean by that, actually. I'm hoping vocals will partially help with the "same-yness." A4-A5 is the part that I wanted to be most.. impactful, but I can see how it's not quite as impressive as would be expected. Part of it is the chord progression, definitely, but the progression also confers a certain emotion (at least to me); so the trick is making such an "erratic" progression into something huge and moving.

I think I'm happy with A4-F3, but the lead in A5 could probably be improved (at least at 271-272, that's just shreddy rather than catchy). Thanks for all your input!
#9
Your work never ceases to amaze me. I swear, trying to analyze some of your guys' works is like trying to do a case study.

I'll try to keep this relatively short. Could I ask you to review my latest piece called Recovery?

A1

Interesting chord progression throughout this section. It hovers between dark (for example, bars 12-13) and "warm" (at bars 14-20), if that makes any sense. It is exactly as advertised--at the edge of a cliff, drawn in by the darkness. Who would have guessed that the first inversion of D minor could suddenly shift things so dramatically.


But I have promises I need to keep

Bars 24-28, shits about to get real. Love the switch up at 31-34 to add a bit more suspense. The herky-jerky rhythm of that section is especially cool.


Solo B1

Some nice Eastern flavor in this one, but it also has a really strange dreamy feel to it. If I could put words to it, I'd say that it reminds me of The Simpson's theme, had it been originally composed on a sitar.

Post Solo

Bars 58 and 62, awesome rhythm changes here. Strangely enough, reminds me of one of a truncated version of a riff at the beginning of Metallica's Master of Puppets.

C1

Loving this section.

D1 - Good use of the whole scale. The repetition doesn't really bother me, tbh.

E1 and F1 - Smooth transitions and nice mood switch.

C2 - Less intense version of C1, but I dig it.

E2 is a nice variation from E1, more intense.

B2 - I'm loving the build-up into part G.

G1

What in the hell? I think by this point, I realized that I was in way over my head trying to critique this piece. I gave up and decided to just take the ride, wondering if the dude decides to jump off of the cliff. I can't even dream of being this good. This is some seriously grade A stuff.


By judging the changes in dynamic and the changing rhythmic density between A5, "And Promises Broken," and the Outro, I think it's safe to say that the main character did decide to make the leap. Hence the abrupt stop.

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TLDR:
#11
when i first read the description, i accidentally read "opeth" as "ometh" and thought "dear God, what kind of abomination has he created?"

idk how you write music thats this musically complex. its really hard for me to give a proper crit for this because its like nothing ive heard before, but ill try my best

E1 nostalgia and f1 are quite tasty, and z3 is oddly happy and catchy. G2 grooves nicely, but the chord choices are unusual (well, more unusual than the rest). out of curiosity, do you know music theory, or are these keys/chords arbitrary?

maybe im just more biased towards the more melodic (or accessible) parts, but i really like z4. pretty chord choices with just enough dissonance and weirdness to make it fit into the context of the song.

to be honest i want to like this song, but this kind of music is not easy to listen to (dont take it personally though, if you like it then thats all that matters). aside from the modal, rhythmic, and technical complexities, the song suffers from major sensory overload. i could probably handle all the musical complexity, but there are just too many tracks doing too much at once.

unless youre specifically looking for a "wall of noise" type of sound, id seriously recommend giving some breathing room (adjust the track volumes, leave breaks/rests in some tracks, tone down the complexity in some places, etc.). not to mention the overall chaotic nature of this song makes it feel directionless IMO.

tl;dr - the song isnt bad by any means, but its a bit overkill and hard to listen to in most places

tl;dr-tl;dr - im too much of a conformist pleb for this music.

also when you get the chance, can you check out any (or a few, or all ) of my recent works? theyre not quite as complex as this, but i think you might like them

http://www.ultimate-guitar.com/foru...d.php?t=1697080
http://www.ultimate-guitar.com/foru...d.php?t=1696910
http://www.ultimate-guitar.com/foru...d.php?t=1674494
Last edited by pAWNlol at Feb 18, 2016,
#12
Quote by pAWNlol
when i first read the description, i accidentally read "opeth" as "ometh" and thought "dear God, what kind of abomination has he created?"




E1 nostalgia and f1 are quite tasty, and z3 is oddly happy and catchy. G2 grooves nicely, but the chord choices are unusual (well, more unusual than the rest). out of curiosity, do you know music theory, or are these keys/chords arbitrary?


I want to say it's a mix of both, lol. I know basic theory (concept of major, minor, other random scales, intervals, whatever), but I definitely do not know what i'm doing most of the time In that way, I go by feel, but it's not all guesswork; I try to make sure what i'm doing is not unintentionally/blatantly bad/dissonant. It's a bit strange, because sometimes it makes me cautious to explore outside my comfort zone (like major and minor 7ths, other basic dissonant chord voicings), but when I do decide to go outside my comfort zone, I'm just lost and i play it totally by ear (example: bars 242-249)

maybe im just more biased towards the more melodic (or accessible) parts, but i really like z4. pretty chord choices with just enough dissonance and weirdness to make it fit into the context of the song.


thanks. speaking of z4 (and other parts), I really need to throw in some rhythmic variation, I think that's part of the problem with the whole outro bit. z4 in particular sounds kinda boring rhythmically.



lmao all those links are broken but yes i'll check out your stuff
#13
That was brilliant. Instrumentally it seems frenetic, and yet surprisingly it sounds so relaxing on the whole. There are a couple of very minor problems: D1 (bars 90-103) could do with some variation in Track 1, since all the bars are the same and it gets a little monotonous in that part. And secondly, the solo from bars 164-166 doesn't sound very good. Your probable intention might have been to make it sound deliberately quirky and strange, but the notes 24--23p22p21 in bar 165 don't sound good.

As I said, these are very minor problems and on the whole it's a great composition- especially the outro.

If you're up for C4C, could you check this out and give your honest feedback? https://www.ultimate-guitar.com/forum/showthread.php?t=1697265
#14
It seems every time I listen to something new from you you've gone further into exploring different tones and colorations in your music. The mood is very unique and it has taken me a few listens, stops and repeats, to really try to assimilate the feeling and the direction that a lot of the ideas have.

I don't think this is a bad thing because with repeated listens it really settles into my brain and there's definitely something very unique and well constructed about it.

There are serious flashes of brilliance in this, and I feel like as a piece it is hard for me to objectively point out something "bad". I can subjectively point out things I think could be better or that I don't like but there's something about its inherent odd melodies, progressions and dissonances that sounds very deliberate, and intentional. In that sense I find myself poorly placed to give advice since it really seems that you've managed to achieve your end goal here.

I don't know if I particularly "like" all of it. I find it all deeply interesting, and there are parts I love, but some stuff is just really weird to me, especially some of the really dense stuff busy stuff with a lot of unusual melodies and progressions going on at the same time.

If I have to spot the places I really love the most in this song it would be meas. 63 - 89, 226-241.

If I had to really give one overarching criticism is that I wish there were stronger melodies that really synched with the underlying chord progression. It seems sometimes it goes into creating a melodic line and either doesn't hold that mood long enough or switches around to other instruments a lot, and it makes it really hard to follow where everything is going, or moreso, what the main melody or intention is. At the same time if that was the idea it does indeed feel difficult to grasp and unstable, constantly shifting.


Nice varied drumming btw. I enjoyed a lot of the drumming throughout and the variety in pulses and accentuations.
#15
the best advice i can give you as a musician, reddeath, is to really take some time to learn music theory, but spend just as much time (if not more) UNlearning it. too many people think of music theory as these rigid rules, but i like to view it more as "suggested guidelines" and a means of organizing one's musical thoughts, especially when translating one's thoughts to the fretboard/keyboard/paper/etc.