J.A.M.

"Heavy Is As Heavy Does" by Menomena is a surprisingly intimate rock ballad, implying emotions in a direct manner.

"Point #1" by Chevelle carries the angst of the average alternative metal band with sophistication, creating an atmosphere of frustration. The music's intelligent simplicity differentiates this song from the band's peers.

"Descent Into Chaotic Dream" by Evoken moves like an immensely viscous liquid: slowly, yet not runny. Atmospheric touches breathe life into this funeral doom piece where otherwise the music would drag.

"The Pragmatist" by Mares of Thrace is incisive and ferocious, taking angry punk-influenced metal to another level. Not for the light hearted.

"A Snow Light" from Tales of Symphonia is a joyful waltz carried by orchestral instruments.

Much like a dubstep song, "Underground Army" from The Dark Knight Rises is dominant in bass sounds, creating a grim texture. Its unrelenting nature builds up a tension.

"Supa Shoppa" by Blur is a happy ska-esque instrumental rock piece that my friend Justin would probably dance too. The flute's nice as well.

"Adrenaline" from Call of Duty: Black Ops II is an aptly named electronic piece with hints of influence from modern rock and Persian traditional music. Despite minimal dynamics the piece manages to sound fairly epic.

SONGS

"Light Inside Darkness" from Penumbra Overture transcends dry "scary" music through its satisfying blend of synthesizers and neoclassical tendencies that evoke fear-tinged sorrow

"Shout (For Jane Maru)" by Harold Budd captures the essence of winter through its somber and reserved classical palette. The entire piece is numerous occasionally overlapping solos spaced out over the length.

"Ape Dos Mil" by Glassjaw subverts pop-oriented post-hardcore with slight, nuanced changes.

"Abandoned Castle" from Castlevania: Curse of Darkness, while seeming like every other castle theme at first, becomes energized through the introduction of fiery rock instrumentation and obligatory synthesizer. 

...Update?

"Dead Sea" by the Lumineers is seemingly just another folk song for the alt-rock crowd, but this iteration has a catchy chorus and vocals that are not too goat-like.

"Bittersweet" by Lowlife is an atmospheric ballad very much also mired in genre while still being fun to listen to.

"Duvet (Acoustic)" by Boa conveys fragile emotions over an acoustic guitar, allowing the powerful vocals to take hold; at the same time nuanced dynamics maintain the listener's interest throughout.

"Funambulist" by Cormorant fuses black metal with political statements about mankind and its past; at the same time rhythm and melody are employed to keep the piece moving forward steadily.

"Corpus Luteum" by Locrian and Mammiffer urgently creates atmosphere, conveying serenity, unease, and mysticism; acoustic instruments break through, filling the loosely filled space.

"Smother" by Daughter employs a very soft sound that extends beyond its simpleness into density through the very personal folk-inspired sound.

 "A Toccata Into Blood Soaked Darkness" from Castlevania: Curse of Darkness makes a sharp point through its use of dissonance, organs, and emphasis that whatever is happening is not an ideal situation; whatever bright outcome possible is not very likely, at least judging from the music.

Muzak

"Skyward Sword" by Cory Johnson is a post-rock rendition of the main theme from Skyward Sword; it's fittingly epic and soaring.

"Fire Above, Ice Below" by Agalloch is a reflective piece, creating a sophisticated mix of atmospheric rock and doom metal; the addition of acoustic guitar creates an arboreal sound, resulting in a sense of location in a forest.

"D-Evil" from the anime Ao No Exorcist is another "genre" piece that forges its own identity amongst its propulsive music.

"Sideshow" by Calexico is a bouncy song marked by very upbeat percussion; the piece is eccentric but retains its fun sound across changing dynamics.

"Silent Footsteps" from Elder Scrolls V: Skyrim is an ethereal chill, moving forward slowly as if to seem sneaky.

Im Tired

"A Multiplicity of Doors" by Earth is a glimmering spectacle of minimalism, matching repetitive guitarwork with a cello to create a trance.

"Stalactite Galaxy" by George Fenton is ambient documentary music, filling the space with lush synthesizers in place of a string ensemble.

"Nightmare By The Sea" by Katatonia is a dark rendition of a melodic song, creating a brooding yet engaging atmosphere unlike many other "similar" songs; the gothic metal cover twists its own genre to create a subtle contrast.

Katatonia's piece "Walking By A Wire" creates claustrophobia with its sonic stampede and cryptic lyrics, leaving the listener feeling crushed; in spite of similarities to alternative metal conventions the harshness is softened by a contrasting keyboard part.

Starting with a melodic riff, Omega Massif's instrumental "Im Karst" erupts almost immediately, lurching forward like a stone giant; simultaneously the song seems to aurally represent loneliness.

Blur's "The Debt Collector" transcends interlude cliches by pinning the main melody upon brass instruments; it is joyous yet calm, never hammering on one's ears.

Admittedly Jimmy Eat World's song "Lucky Denver Mint" sounds like Death Cab for Cutie; it captures emo's simplicity while creating an upbeat and catchy melody.

"The Prettiest Weed" by Jim Guthrie transfers wondering and curiosity into a very unique classitronic piece.

If you were wondering about where the dissonant orchestral piece was - it's right here. Fret no more.

"The Dementors Converge" by John Williams mixes disjunct, sharp scatterings of melody with dark yet smooth undertones.

"Bowl of Oranges" by Bright Eyes is a steady folk song, complete with drums, piano, and acoustic guitar. As the piece continues airy instruments enter, urging the song to keep moving.

"Medieval Theme" from Crash Bandicoot 3 throws the seriousness of the usual medieval theme out the window and has a good time. Yes, the song itself has a good time.

"Opus 55" by Dustin O'Halloran is pretty piano music. No other reasoning is necessary. (And you can tell I'm getting tired by this point).

Closed Passage Summary

I plan to be writing a story for National Novel Writing Month (NaNoWriMo). To accomplish this task, I have prepared the following summary.        

    Closed Passage is a horror-themed story – in that it is developed with some horror tropes and an atmosphere generally befitting one – set in more or less modern times. The story does not however take place in a modern location; it takes place in a Victorian mansion that has been partially renovated. The phrase “Closed Passage” refers to Fate in a sense but I truly mean being trapped in an “impossible” circumstance. At this point the generic horror character would have given up himself to death; on this cliché Closed Passage is partially based. Here the character uses his problem solving and critical thinking skills to survive, much like the detectives Hercule Poirot and Auguste C. Dupin. As a result this story has a strong mystery aspect to it. I would list influences but only an illiterate fool has literary influences.

            As of this point I am not sure how long exactly the story will be. I plan to avoid the outlining process and truly dive in headfirst, unlike a certain friend.

Technically Inappropriate Sound Effects In Games

            Sound effects – and sound design in general – has become increasingly more specialize over the past couple decades. The use of sound effects can thus be considered much more intentional. As a result, unfitting sound effects are hardly excusable, especially in the 21^st century. On one hand, most gamers understand the difficulty and creativity underlying such a task. Yet the sound effect should ultimately fit the character or object. The difference between the expectation and the reality is quite interesting, though. A gamer might have a particular view while the sound designer might have a different view, ultimately leading to a sound that does not quite fit. An interesting dichotomy is created due to an expectation for realism with a particular sound, thus giving information about the implicated person or object. Paradoxical sounds, in other words, sometimes give insight.

            In Ratchet and Clank a baby dragon sort of enemy emits a seagull sound when attacking, a sound choice that would likely be mentally rejected. At the same time, the sound effect implies a contradiction that suggests that the enemies are meant to be comical or perhaps linked to the sea in some manner. A seagull sound definitely separates these dragons from other dragons. Another possibility is that these dragons like seagulls live in a polluted environment and eat unnatural food; this possibility is very plausible in the enemy’s native habitat.

In The Legend of Zelda: The Wind Waker, the great dragon – yes another dragon example – Valoo is an enormous red dragon yet he is not built gracefully. Valoo sounds like a whale which both complements and rejects his appearance. The great dragon is large and awkwardly built but the whale sound gives him a majesty. He is powerful, yet not necessarily in a direct manner. Unlike many other dragons he is graceful and not potent in the literal sense. A Skyrim dragon would eat the player for lunch, but not this dragon.

My final example is the Charmanders from the lava level in Pokemon Snap. They make unusual sounds (that sound remotely tribal) when they gaze at you moving through the level. I honestly cannot describe the sounds, so I’ll instead discuss the angry “Char!” statements hurled at the character. They sound livid but at the same time they have a cute sound, a paradoxical sound that makes total sense in retrospect. Through this sound effect the Charmanders become simultaneously dangerous and cute.

In short, sound effects are more thought out than they may seem to be. Usually sound effects have some important role to play, giving greater depth to characters. Sound effects both make a character or object more useful as well as allowing them to serve some role in the game (in many cases).

Discouraged Ones

            Discouraged Ones by Katatonia features a dismal album cover, seemingly indicative of the album overall; the artwork transcends sadness and conveys something deeper. It has an eloquent beauty, transgressing the description of “dismal.” A swirl of black and varying shades of orange dominate the cover, creating an ethereal look reminiscent of disintegration; the use of black reminds me of the style used on the front of Nine Inch Nail’s The Downward Spiral. The change in shades and colors is a strong force behind the cover’s beauty. Only the upper right, high above the figure, has a bright aesthetic, while everything else has a darker color; juxtaposition of colors helps make the artwork interesting. Throughout the cover is a sense of variation especially in color, creating something ultimately memorable. (The subtle changes make the cover easier to remember and digest.) A faintly blurred look gives a sense of the abstract, even though the main figure is clearly defined. His placement in the bottom emphasizes him yet making him look small. Ultimately the cover uses orange and black to convey a lachrymose wintry look reminiscent of physical disintegration.

            Together these elements create a dream-ish reality inspired by fantasy but immune to skepticism. Only the object in focus has a shape but everything else lacks a true shape, allowing the focus to be created. Colors hang in the picture, creating a surreal backdrop to the figure. At the same time something beyond just the collusion of colors and various art principles operates. Archetypal references and other connections meet the art itself and add another layer of meaning that surpasses a sum of the parts.

            Black has a connotation of being standard, elegant in a simple manner, or simply dark. The third option has the most application, since clearly this cover subverts a “standard” look of any sort; the second option is possible, though too. Black dominates the cover, defining the figure and contrasting the orange; the result is beyond a merely destructive picture. Orange as a color is commonly associated with the sun and/or flames (at least to me), creating a warmth that meshes with the darkness. This visual image can be likened to a stereotypical desert at sunset: the air is warm but not oppressive. Ultimately the contrast is soothing and not leaning particularly in either direction. Analysis of the archetypes present reaffirms my initial thoughts, at least on the surface.

            I have, however, neglected the figure himself. He is humanoid yet angelic, as shown by the wings protruding from him; these wings are pointed outwards, indicating that they are not yet closed. This figure is in descent, away from what appears to be an artistic representation of the sun (the brightest patch of orange). Resultantly the person appears quite downtrodden. Ultimately I am reminded of the story of Persephone, where Persephone descends into hell and brings winter into existence. The angelic aesthetic is perfectly complemented and juxtaposed against this story in my view. Elysian imagery (the bright orange) works with the black to create a beautiful image. Though the picture is downtrodden it displays beauty in that moroseness; it is well-portrayed and quite creative.

Songs?

"The Parting" by Katatonia is a dramatic epic, driven by numerous styles of rock and metal music towards a memorable yet cohesive style.

"Big Chair" by Travis makes use of significant bass (for an indie pop song) combined with electronics to create an uncharacteristically large sound; at the same time prettiness is merged with catchiness, thus creating a strong piece.

"Grim Heart/Black Rose" by Converge in all of its grittiness has a smoothness to it reminiscent of gravel; it rises from the ashes like a phoenix, growing throughout its 9 minute length.

"In Fulminic Blaze" by Locrian and Mamiffer plays like an ambient song yet the piece itself is pyrite; guitar feedback and other strange sounds populate the underlying synthesizer, creating a bizarre contradiction.

"Radical Dreamers" from the Chrono Cross OST subverts J-pop soundtrack tendencies by pitting the vocalist against a folk guitar melody that meanders. The end result is melodic yet tinged with sadness.

"Dancing December" by Katatonia is a metal near-instrumental without the heavy distortion, creating a unique sound; the piano is an accomplice to the song's very free and abstract structure. Further keyboard parts help expand this 2 minute track into a substantial composition. In the background the word "Dancing" is repeated in a barely audible manner.

Holy Flying Statistics of Updates

100% of the updates for this blog were announced on this blog.

Jokes aside, I have decided to expand Nighttrail beyond music emphasis and into art in general. Naturally many of these articles will end up being about music or games in some respect but I'm not going to limit the blog to simply that. Condensations will be made to make this blog still remain cohesive and also varied in topics.

At the same time, I will soon be establishing an "intellectual" blog; I'll put a link up in this post when I start it. I haven't started it yet since I do not know what its focus will be.

Essentially:
- I am writing some game-related posts I will put up
- I am also writing a post about visual art
- Song picks will be once a week and will feature 5-8 songs
- Ecetera, Ecetera, The topics will sort themselves out somehow and make for a cohesive blog.

Screw West Europe and America! Yeah! I Said It!

"Na Judaa" by Laal is a mellow rock song, driven by simple but synchronized male-female vocals and a guitar being plucked.

"My Twin" by Katatonia is a pensive and morose piece, driven by psychological pondering; effective use of rock music and the flanging creates a very disruptive feel, propelling the oddly intimate lyrics.

I Am A Knife

"I Am A Cat" by Shonen Knife is a Beach Boys meets punk type of piece, mixing a lo-fi aesthetic with a very catchy sound; in this case the surrealism is balanced out well and results in something humorous, rather than just weird.

No Parassenger, No Passasite

"No Passenger, No Parasite" by Norma Jean is a deceptively simple and repetitive atmospheric metal piece; building itself with the two phrases "Wake up" and "No Passenger, No Parasite" the music creates a trance. The piece is akin to inclement weather in its persistent repetition.

Lie Down

"Lie Down" by Year of the Rabbit mixes the low key and the post-grunge, creating a rhythmic piece.

Musique, Windbag, Musique

"Mine, Windbag, Mine" from the Bastion soundtrack is a neat mix of musique concrete, trip hop sounds, and ethnic music, with a dab of electric guitar.

Death Rides A Mule

"Death Rides A Horse" by Russian Circles is akin to a snake slithering rapidly, making an attack; its music is structured yet free, able to create an exciting yet intelligent "headbanger" song. Not that the song is meant for listening by the "headbangers."

Sustained Music

"Landscape V" composed by Toshio Hosokawa is a musical soundscape, creating a scene before the listener's ears; it features a sho, a Japanese wind instrument, paired with a strings ensemble.

To Drown

*Inspiration withheld.

Fragments cast about the floor,

A few identified as part of statue,

The rest condemned to obscurity,

An insignificant section.

Slight rivulets trickle down the stairs from the main entrance,

towards the engraved golden symbol on the ground floor,

and the broken statue of the great hero

seeking to drown in it.

Good, I’ll be happy --
When the deluge finally succeeds,

And it will drown,

Then people can finally move on,

Not worrying themselves over the doomed golden land.

Like fish in a dead ocean,

these people will inhabit desolate places forever more,

lacking in meaning,

and I will have won.

The Mormons

*Inspired by the joke that the Space Pirates look like Mermen and are therefore "Mormons"

Mormons;

Mormons;

Mormons;

Mormons.

    In all your bases -
    and yes they belong to us -
    we swim,
    destroying all of Mrs. Purple's things.

    In your ship -
    and yes it does belong to us -
    we're taking our cookies back
    and knocking down your suit,
    Mrs. Purple.

    You say "Mormons" and laugh,
    but we mean business,
    ready to use our claws,
    of course.

    Samus, you run,
    but we get up all in our bases
    and make sure you cannot win;
    we're Mormons, Mrs. Purple,
    and we can walk damn fine.

    In all your bases -
    and yes they belong to us -
    we swim,
    destroying all of Mrs. Purple's things.
    

   We came for our cookies,
    and we shall defeat you,
    for the sake of cookies;
    for the sake of Mormons;
    for Joseph Smith.

Blocking you from your powerups,

Infiltrating your privacy,

Ushering your defeat in,

Bringing a new era.

In all your bases -
and yes they belong to us -
we bring a new era,

In which all shall revel,

Except for you, of course.

OM NOM NOM,
That chocolate chip cookie

Is delicious,
Mrs. Purple.