xRisingForce
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Most of Symphonia's "A Snow Light" comes straight from Phantasia's "Freeze," which is on the project.
that's a bunch of bs. the songs aren't even in the same relative keys (i.e. major, and minor, respectively). freeze has a whole lot more modulation going on too.
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oh come on
no "a snow light" or "rheiards"? those are the two best tracks on the album
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You're misinterpreting almost every feeling the mixers have. No one covers or remixes a song they think sucks. Read what's his name's post who I'll edit here in a second when I go look back at the other page. His Tin Pan Alley example is pretty much perfect.
i'm not saying remixers think, "this song sucks and i'm gonna make it better," i'm saying, "damn i kick so much ass i surpassed the original work."
You can do lots of things with samples, but you really can't reproduce the humanization at this point.
so.. what is the elusive auditory quality that constitutes humanization? why isn't it replicate-able through samples?
You also need to learn the difference between a band leader and an arranger/composer. There is plenty of overlap, but putting Maynard in a list of people with "tons of original material" is a little bit of a stretch. Most of the time he had someone arranging charts for him that had been written long before. Lok up Bill Holman, I believe. Definitely Bob Brookmeyer.
yeah i'll definitely look into it, thanks.
Most standards you hear jazzers (except this new atonal, mixed meter avant garde jazz) play now were written decades ago and a ton are actually old Broadway songs that have been made famous through jazz musicians. Bebop took old chord progressions and just wrote new melodies over it. It's really amazing, actually.
i was just gonna point this out; i thought that it was kind of interesting to note that since jazz's academization with the establishment of berklee, the people that flock to study jazz want to play it more than compose it. back when jazz was a fairly underground form of music, there were a lot more composer-performers. it's kind of in line with the classical tradition as well: a lot of composers during its formative years, but following the academization a lot more people are building careers as performers. i don't really study music history so that observation could have, and probably does have holes in it. kind of interesting, anyway.
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You want examples? You've never seen fan art or read fan fiction?
these things never grow into something bigger. they are kids entertaining fantasies. even doujinshi in japan is FAR from mainstream. quite in contrast to music.
Disney movies are Grimm's Fairy Tales; sometimes Hans Christian Anderson.
the book itself is not being rewritten, it is being adapted into a visual format. entirely different.
The Ring is a remake of Ringu. The Grudge is a remake of The Grudge.
of the people who've seen both, it is almost unanimous that remakes don't live up to the originals. the ring and the grudge don't even come close to how scary the originals were.
DC Comics' "Elseworlds." Marvel's "What If?"
these are not reinterpretations done by someone other than the creator.
West Side Story is Romeo and Juliet. Wicked is the Wizard of Oz. Rosencrantz and Gildenstern Are Dead is Hamlet without Hamlet.
this is your only example that holds any water, and it is still more of an adaptation since west side story is a musical, not a play. the catalyst behind a lot of remakes and adaptations are to modernize antiquated ideas, beliefs, and cultures for modern audiences, or many even to bridge cultural gaps (like with ringu)- that is, to satisify curiosity rather than some expressive need. i'm not invalidating either approach, but i guess it's a okay reason as to why so many remakes/adaptations of/into movies have been sprouting up lately.
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In general, I would say that music is composed because of a feeling. It is the language of our emotions. When someone writes an original piece, it is often because their feelings led them to it. The style, key, time signature, structure, every nuance of that composition is affected by the emotions of the composer and what they were feeling. Thus the song becomes a time capsule and a freezeframe of who the composer was and what they were feeling at that moment.
this is in part why i think of interpretation the way i do. art is the physical manifestation of one's essence, and to just mess around and distort someone else's piece is the zenith of disrespect when accompanied by certain attitudes. you are distorting someone's very being, often with a complete unawareness of the consequences of the activity itself.
That said, I think we play other people's music not just because it sounds good... I think that on an instinctive and perhaps subliminal level we want to understand the depth of what that composer was feeling when he or she wrote it, and we simply can't feel all of that unless we are completely immersed in it, playing every note, gaining a deep understanding of WHY they chose the key they did, WHY they chose that time signature. We want to know not just the music, but the reason for it, and we can't begin to have those answers until we're playing it.
this is a cool thought. this implies.. that there's some quality you can't get out of just listening to a song, you have to play it, you have to experience the song on a higher level to understand that higher meaning. this is exciting haha
In essence, to boil it down to the roughest terms, I think a musician seeks out other people's music and plays it because sharing the feelings of the writer is an intense and beautiful emotional high, and every new song is a new fix. Good music evokes feelings, and great composers can use it to evoke the feelings THEY want you to feel. The purest way to experience it... is to play it yourself.
i completely agree with this. it is the highest order of appreciating music.
Music is simple - some people write, some people listen, some people play
well yes people do do these things, but there are many pursuits of knowledge dedicated to unearthing what drives human choice and action, pursuits like sociology and psychology. psychology itself is purely a study of behavior! you may not hold these interests, but it is by no means a "little thing."
it doesn't even have to be "artistic" at all.
what is art if not artistic?
If you honestly care that much about whether or not a performer individualizes a piece because it's not what the composer wrote down, or that playing other people's music is intrinsically worthless because there is no "higher" purpose involved, then I truly feel sorry for you.
You are missing out on so much, OP.
ahh.. i do play other people's music. the point of this discussion isn't to categorize these activities as things that should or shouldn't be done, but the discussion is an honest inquiry of WHY some are driven to perform. it is fascinating to me, and perhaps not to you, but don't think for a second it's something insignificant and unworthy of honest attention.
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But...they are...
oh, please enlighten me! what other artistic scene is even comparable to the level found in music?
It's also really funny how he says "remixing" in a manner of speaking doesn't happen in other art communities, when it does, really rampantly, sometimes with the blessings of the original artist.
keep on making these claims with no supporting evidence. iirc, you, much like darkesword did that in my last thread too. an excellent way to prove a point.
Wait, don't tell me. I'll get it... just give me a little while.
it's obvious. the awesomeness of this thread produced animalistic responses and he was tired of constricting his friend.
Nothing was skewed. Those were points that made in your other thread.
but you did skew them. see, i don't believe interpretation is "wrong" and that musicians aren't "allowed" to perform others' pieces. i believe outside interpretations are lesser than interpretations from the composer, because by nature an artist understands his art better than anyone else.
I rarely, if ever, see this kind of attitude on OCR.
then, why was no one in my other thread able to concede that their interpretations were lesser? rather, some viewed them as equal and some as even greater. there are clear displays of that attitude all over OCR.
Poems, not that I've heard. Rewriting stories? Yes. Repainted pictures, kind of. They are sampled and mangled and glued to meet new ends all the time. Hell, West Side Story is a remix, so there's theater.
this proves my point- it is not nearly as present in other artistic cultures as in music. i'm interested though, what books have been rewritten?
Claiming that your previous thread has nothing to do with the subject matter is very untrue.
although they are somewhat related, in this thread i do not make statements of composing being higher than performing, nor have i belittled the performer's role (other than in pretty specific situations). i am just intrigued as to what would drive a preference of performance over composing, a preference that in many cases completely pushes out compositional interest. yes, with particular conclusions drawn here, we could apply them to the other thread, but that's irrelevant to the here and now.
Musicians are much more than mere tools. To compare sampling to an actual musician is about as musically ignorant as possible. The feeling and musicality of even an average player cannot be matched by computers and samples.
yes, but my argument wasn't a catch all. i said in certain circumstances, such as in employing aid of a studio musician after the part has been written, or employing the use of an orchestra after the score has been completed, is that not analogous to the role of a tool as replaceable? every characteristic producible by an instrument can be sampled, and there's nothing dehumanizing or less human about using those samples in stead. sampling is a relatively new technology, and it'll only progress in years to come.
The majority of jazz musicians do not compose. The majority of jazz musicians improvise.
i have to call bullshit on this. where are you pulling this from?
Yngwie is awesome
i know this, and i also know what royalties are, and that virtually every famous artist will receive them. however it's not a very good reason for validating performance to an artistic end, which is the point of this thread.
You're right, though. Playing your own music can be extremely rewarding and is personal, but even with the number of talented composers out there, they get bored of playing only their music and want to play the music that inspired them to write in the first place.
and which famous composer opts to make albums of others' pieces as opposed to releasing original work? i understand that everyone likes to cover, but in professional circles it is done sparingly. even in jazz circles, people like arturo sandoval, maynard ferguson, john coltrane, sonny rolins, write tons of original material.
I would not call the urge to perform a "surface desire" at all. It's much deeper than that. Also, you do not choose what is and what is not art.
If a deep-seated desire is not a shaping factor, then what is?
you are misinterpreting me. performing because it's fun, which cobaltstarfire and many others have iterated, or because they merely want to, is nothing more than a surface desire. the "urge" that you speak of is exactly what i am trying to identify through this thread; what constitutes it, how deep it is, and things like that.
Right off the bat I made comments that essentially said, "We've been here before with this same person. Here is the thread where it happened." They were not off-hand or insulting by any means. They were very relevant because, as I explained above, you turned your last thread's statement into a question for this thread.
i apologize, i didn't know you were being genuine.
Hell, zircon just flat out asked you what you were talking about. The guy's not an idiot, and your superfluous use of frivolous vernacular completely masked whatever the hell you were trying to say.
i clarified my terms in the first paragraph, terms which i want to stick by, ironically, to avoid confusion/misinterpretation. because, by appreciation i don't mean just listening, by conceptualization not composing, and by realization not just performance. they are more than that.
Coming to a community of musicians and music lovers and asking "Where is the artisitc end in being a performer?" and then accusing the community of being everything that you think is wrong with musicians probably won't go over well - no matter how delicately you word it.
last time i'll say this- this is NOT a criticism, so stop perceiving it in the wrong way. there are plenty of others here that have given me great responses, but you insist on viewing everything i write with narrow eyes. my question is genuine, so stop trying to infer any accusatory undertones.
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Yes, actually they have quite a lot actually, but you don't seem to have been exposed to very much of any kind of art, be it musical, visual, or literary.
examples to back up your claim?
What are you talking about?
you're going to be playing better music if you play theirs as well.
you don't have to learn a piece to achieve that; you can pick up on whatever harmonic/melodic ideas by listening if you have perfect pitch.
I still believe the ultimate form of appreciating music is to play it (or some part of it), not to only listen to it.
i totally agree with you.
Though thought-provoking, I think the analogy is flawed. There do exist millions of independent readings of poetry, enactments of plays, and performances of ballets, each of which will be slightly different from the creator's vision and be either better or worse (or even neither) for it.
i'm not talking about small differences that don't change the overall work. those examples are more analogous to cover bands. when you interpret a song in the context of ocremix, you are using the source but extensively changing it as well. so the analogy still holds- why aren't paintings interpreted in this way? poems? books? choreographies? plays?
sup
nothin'. i appreciate your input is all.
Elaborate on this point. I'm interested to read exactly how you feel about this subject.
i'm sorry but i really don't want to. there's a whole 28 page thread about that, and i don't want to digress. you can check this out, if you want.
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You are slowly approaching my point.
you want a german girlfriend.
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i need to weed out this useless, unproductive conversation before i can respond to the good points raised by others.
You do remember correctly. He also believes that interpretation of a person's music is wrong as well and that the only person who is allowed to play a song is the person who wrote it. Further, he believes that the only real composers are ones that perform their own music, no matter how many parts there are.
The OP believes that performing other peoples music and interpreting it is evil, horrible and wrong, if I remember the last thread they made correctly.
you two share a remarkable propensity for skewing viewpoints. my stance is that a composer possesses the most valid interpretations as natural entailment, and interpretations by others aren't inevitably bad, but lesser by nature. what i think is "wrong" is this absurdly arrogant mindset that permeates ocremix which believes in distorting, morphing, or altering others' works and championing them, with inflated chests, as equal or even superior versions. that's what i think is "wrong", not interpretation itself.
in considering all art, only music is home to a scene in which this kind of attitude is so popular. do poets alter existing poems? do authors rewrite published books? do artists repaint famous works, changing colors and shapes along the way? and have careers ever stemmed from this, as have with classical performers? it is a ridiculous notion to be sure, but for some reason, musicians exclusively among artists of other disciplines feel as if they have the creative license to do so. having said that, i don't want to dwell on this any longer. the intrinsic worth of classical musicians really has nothing to do with this particular subject matter.
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1) Pieces written by small numbers of people (a single composer, a couple band members collaborating) are written to be played by more. It wouldn't work to only play your own music.
orchestral pieces perhaps? in such situations where a composer enlists performance (not compositional) help, aren't such roles comparable to that of a tool? with the advent of sampling technology, that's pretty evident now than ever before. i heard klaus bedalt produced the pirates of the caribbean soundtrack purely with samples.
2) Many people can't write music but can play and even improvise well. Should they not play? There are very few people who are gifted compositionally.
right, it would seem that their innate capacity allows them to only perform. however, i don't think i've ever heard of a musician excellent at improvising never write a piece or two.
5) Compositions make no money if no one plays them.
lol, so yngwie malmsteen makes money off of people who cover his music? i think this is only true for classical composers, but they're so long gone they're not benefiting anyway
on a related note, why do we read books that other people have written
you're attempting to analyze the purpose of appreciation, something i, personally, do to experience art. this thread isn't really concerned with that though; i want to know why different people realize others' works
In fact, any performer that I've met with that amount of talent also have the ability to compose music as well... they merely choose not to. Think about that one.
yeah that's exactly what i'm talking about. what drives that kind of decision? what makes them elevate performance over composition, especially performance of pieces that aren't even theirs? you'd think it'd make for a much more personal, and arguably artistic, experience to perform your own pieces.
Also, composing takes a LOOONG time... just like writing a book, writing a script, choreographing a dance, etc-it's a type of menial activity that not everybody's cut out to do.
in light of what Gario says, it seems like a pretty good reason is that they choose not to, as opposed to not being able to.
it's a somewhat a good idea to get some inspiration from other music.
it in every way is, but this doesn't necessitate realization, only appreciation.
While we're at it, let's find out why people like sex.
hasn't this been done? like a million times? possibly by german psycholgists?
Well when I actually played music, generally the music I wanted to play was because it was music I enjoyed listening too, and was also fun music to play.
yeah, this looks to be the most common impetus. see, i'm not sure that art is about "wanting".. expression is way more than that. it's a need, i think. if performance is driven by just surface desire, in my mind that disqualifies it as art. i don't think that's the case though.
But I still want to know, why wouldn't people play other peoples music?
the "type" of person i am requires a rational impetus before action, and in other cases, a rational impetus to continue an action. decisions aren't really decisions if they aren't outcomes of shaping factors. i feel like performance could be a natural function of the musical experience itself, something we are inherently driven to do, so it's interesting to wonder what drives it. fun is good, i'm just looking for a different kind of answer.
More than anything else though, playing music is instant gratification--whether it's written by you or not. In fact, playing music not written by you can be more exciting, since the process of writing the piece makes you painfully familiar with the music. I guess the only real middle ground here is improvisation?
i didn't want to mention improvisation, but under these categories, i think the essence of improvisation is realization, conceptualization, AND appreciation all at once. to think of it that way is pretty weird, but at the same time, it's pretty insane too. and yeah, i think i definitely agree with you; realization itself seems to be a function of appreciation, like a a higher order or something. appreciation that goes beyond listening.
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He said those thing in a previous thread that started very similarly to this one.
you've got to be kidding yourself; a thread that starts with a triple post with huge, emboldened letters, and an overt argument against a thread that starts with a genuine question are similar to you? the only thing similar in both threads is your provocative language.
This thread looks like it's very similar to, and probably going to go in the same direction as, this thread.
the "thesis" isn't making an argument at all, otherwise i'd be presenting some sort of stance. the thesis is clearly a genuine question...
Note that there have been several good responses to his question and that he only responded to a handful that were mostly about the semantics of what his thesis-esque posts actually mean.
...which i'm asking so i can attempt to understand various spheres of thought. don't assume stupid stuff- it makes complete sense to clarify myself so those who don't quite grasp it yet, can give valid responses.
i love how, right off the bat, you make these off-hand and insulting statements, rather than contributing a useful answer or two. oh well, it's not like i really care for your opinion at this point anyway. thanks to everyone for the great responses, keep them coming!
oh, and DHSU JOIN THIS THREAD SO WE CAN TALK
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I play other people's music because that's what a DJ doesWell, for other mediums like mentioned with sculpting and painting I do believe that carrying on a specific design, theme, or visual style arrangement can apply to that realization category. Its all fairly vague.
sorry if my terms are a bit confusing, but by realization i somewhat mean manifestation. when you play an instrument, you are manifesting notes, and when you play a song, someone else's or yours, you are realizing a song. when you dance, you are realizing a choreography, cooking:recipe, reading aloud:book, etc. painting and sculpting don't have these real-time equivalents.
Immitation is the best form of flattery. If I made a great work of art in any medium I'd certainly want people to love it so much as to want to get closer to it via replication.well this can certainly explain why an artist would want to have his work performed, but the question i'm asking is why you would want to perform it
Hmm. All I'm saying, is that when I hear Felix's theme I get the unmistakable urge to have my broadsword let out a howl, and slaughter the nearest living creature.this pretty well answers why you appreciate/listen to videogame music, but i'm asking why you would perform it, play it back
No matter how good of a composer you are, I doubt you can write a klezmer piece while also being capable of writing a baroque, classical, romantic, bebop, and bossa nova piece.well sure, but realization isn't a theoretically necessary compositional tool; it just speeds up the process for those of us afflicted with relative pitch. why do you realize others' pieces, with realization as something distinct with its own artist end
Are you smoking a joint at your computer, thinking about random shit and reasons behind them?and yes, this is a daily ritual of mine
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i stumbled across something while thinking today. i think the experience of certain artistic disciplines can be accurately summed up in three distinct areas: conceptualization, appreciation, and realization. applying this to theatre, you get script-writing, attending plays, and directing/acting. likewise, you can choreograph, attend a show, and dance. you can write a book, read someone else's book/attend an oration, and orate your own book (words are not physically manifested until spoken).
(on a related note, it's worth pointing out that realization can only be applied to disciplines whose respective appreciations exist in time, and otherwise is absent, like with sculpting, painting)
with music, the equivalents would be composing, listening, and performing. in my musical experience, composition is most practically realization alongside conceptualization, although it can be independent of realization as evidenced by the pieces Beethoven wrote far into his deafness.
here is what i'm wondering: why we are compelled to experience music through realization. i feel like i can justify the other two; i compose to express myself, i listen to songs as a means of experience, but i'm at a loss as to why i play other's pieces. for the artist, i understand realization is necessary in order to commit songs to a lasting format, and a means to make money by touring, but even then, what is the artistic end? is the realization of a song, written by you or not, a more submersive, and higher order of appreciation in comparison to just listening to a song? appreciation, done through realization, so to speak?
anyway, i'd like to know why you all play other people's (or your own) music, so please, share your thoughts (and on everything else too, if you'd like).
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I am of the opinion that I am the #1 Star Ocean fan ever.
Star Ocean 2 was the first RPG I...
witnessing this magnitude of epic completes me
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Umm... this is rather... creative.
Let's just start off with the basics: It takes an incredible sense of originality to turn Aeri's theme into this, it's a jump from a sad, solemn medly, to a pleasent jumping carribean type feel.
However, you completely defaced the sanctity of Aeri's theme, and unfrotunately for you, that's bad. It's well done and all... but you seriously can't do this to some songs, especially this one.
qfmft
10char
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horribly messed
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k, submitted
i guess it's you and me hoBOka!
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this is lame
who's even competing this round
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So many people have commented on that that I'm sure it's not a fluke... but it's funny since I've never played Final Fantasy 7 before. I've listened to the Voices of the Lifestream project, and that's as close as I've gotten to the soundtrack. A friend of mine even asked if it was based on Aeris's theme, which surprised me, because I have heard the original for that, and it's really not very similar.
Ah well. There are probably worse comparisons people could make than Nobuo Uematsu. Glad you enjoyed it, and I hope you like the upcoming theme.
i guess it just goes to show that after many years, music is starSPACE THEMEting to overlap in general areas
it is actually not a bad comparison; yoSPACE THEMEu're being compared to the icon of vgm composers. you'd have to listen to maybe the first 10-15 songs on disc 1 of the ff7 ost; uemSPACE THEMEatsu makes heavy use of that pSPACE THEMEarticular instrumentation.. especially in ff7
and yes, i hope i like it too SPACE THEME
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maquis, i think i liked your piece the best but the melody, chord progression, chord voicing, and -especially- instrumentation in the opening, are all very final fantasy 7
i can see a moonlit lake pretty well during the softer sections, but i feel like the song warps into something else during the huge crescendo, particularly due to the grandiosity. that makes it a bit off point for a nocturne about bodies of water, but enjoyable nonetheless.
god, entries for these competitions are always so pleasurable to listen to. this is probably the most engaging and enthralling aspect of ocremix to me.
great job everyone, congratulations to maquis for winning, and do your best to pick an inspirationally evocative next theme
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classical performance is no different from a bunch of foreign laborers raising a building provided a blueprint, and even as obscure of an art form architecture is, i've never heard of anyone jizzing over the workforce
and that's all reading sheet music is, following a blueprint, and the stricter the notations read the more similar various interpretations will be, to the point where there is no room for interpretation and it will merely be an embodiment of arrogance. it is both obscenely arrogant and futile to try and argue that anyone's interpretation of another's work could possibly house more validity than the composer's. to warp a pre-existing song and then argue that it is more valid than it was, or just as, no matter how open-minded i approach the situation, could only fall under arrogant faggotry
yet in composing and arranging, as many/most of you have built and still seek your worth as a musician on the latter rather than the former, it seems you are all way too inclined to dismiss my words as those of a random stranger's (with, of course, the argumentative bolster of numbers), so you can continue to do what you do in your comfort zones
think about it, it crosses over into pretty much every other art form. the only reason actors are a necessity to cinematography is because the quality of our cg does not yet cross over to believable reality (and because we cannot simulate realistic voices). in music however, soon enough using real instruments to record will be an obsolete relic of our past as the quality of samples are already blurring the line between artificiality and reality
excellent performers are banal and a dime a dozen, extraneous and unnecessary, and just to answer someone from way back.. performance is NOT a requisite to the music making process.
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I dunno if its by accident or not, but Blue.Nocturne's track sounds remarkably close to a Final Fantasy song.
..Lol
Trying to disqualify your opponents through indirect accusations of plagiarism? It seems that nobody can get away with arpeggiating chords with square synths without someone going "LOL FF7"
Way to go Uematsu, thanks for putting your stamp on such a ubiquitous approach to harmony :\ (kidding)
HA but I never said Crystal theme in my suspisions Mr Nocturne...that raises the eyebrow further, almost to the tearing point from my head.You have to be kidding here
What -else- could you possibly be referring to other than the main theme of the most popular Final Fantasy, bar none
Look man, it's one thing that your remixes largely deviate from themes to better suit your cornucopia of idiosyncrasies, but why don't you actually try composing within the described ballpark instead of doing your own thing, which kinda sorta defeats the purpose of the CMC. That way you'd be killing two birds with one stone, by 1. expanding your artistic abilities to encapsulate more ideas (which is, arguably, the point of the CMC), and 2. being able to construct pieces that are in line with the CMC, so you can win without having to make inane accusations because you instead write music that's pretty much determined to be dark, hence your failure to win the previous CMC.
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The Most Wanted Song sounds suspiciously like I Am the Wind (CV:SOTN)
Funny, I was thinking the exact same thing.
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Actually... I didn't.
Whoops
Sorry, then.
By the way, if you want to, you can submit your piece as a bonus entry. It will be included in the set, but it can't be voted on or for.
Yeah sure, I'd really appreciate that. The sound quality and pretty much everything about it production-wise is bottom-of-the-barrel, but I wouldn't mind critiques.
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You changed what I PMed you D:
The theme is very simple: pure, solid determination. The song should inspire people to follow their dreams.
But whatever.. I originally had a much more exciting theme, winter (intentionally broad to encourage the individuality of interpretation to the fullest).. but Abadoss said someone picked snow or whatever before. Bah.
Alas, I don't have any means of recording distorted guitar and all Reason guitar patches suck, so I didn't finish in time. I know I can't enter this piece, but I don't want my work to be for nothing, so I'd still like to share it in it's humble midi format, if that's ok. And for some of those nasty sounds, the mp3 encoder I used really messed up some of the bass slides and guitar bends. As for the song itself, it's a pretty upbeat jrock song, just to remind people that it doesn't matter how bad things may be in the present- there's always hope in tomorrow. So, the song is aptly titled, "The Sun of a New Day."
http://www.tindeck.com/audio/my/ldza/05-Atarashii-Hi-No-Taiyou-~The-Sun-o
On a side note, it really is interesting to see the amount of people who default determination to something apocalyptic.. disasterous, melancholy, to the people, like myself, who equate it with notions of success, happiness, conquering, etc.
Full Throttle Into the Starry Abyss (A Star Ocean Tribute)
in Post Your Game ReMixes!
Posted
i wrote this piece off a deep-seated inspiration from the star ocean series and sakuraba's work on it, and maybe even a little phantasy star. any kind of crits would be very appreciated, particularly production
thanks and happy listening~
link: