Liontamer Posted June 2, 2023 Share Posted June 2, 2023 Hello OCRemix, Here"s another song from my album ! Contact Information ReMixer name : Black SeeD Email : Website : https://blackseedbm.bandcamp.com/releases Userid : 37884 Submission Information Game arranged : Silent Hill Name of arrangement : Dreaded Mist Song arranged : Silent Hill - Lisa's Theme (Not Tomorrow) Comments : Hello again everyone ! Another track from my album of remixed video game tracks in an atmospheric black metal way (Black SeeD - Farplane of Memories (2021)). This one is more of a gamble for an OC remix submission. This track takes inspiration from ambient black metal (like this), which is a style that takes its sweet time and assumes a lot of repetitiveness (with slight differences) for the listener to get comfortable with it. Usually long calm intro, themes that are repeated with melodies coming on top of it, big ambient pads melding with guitars, two or three identifiable sections... Coming back to my track, there is a lot of intentional repetition, but I try to get something new in each big section (new pad, new melody behind, etc..). The main melody of the original track is voluntarily in the back as the ambient guitars, leading the whole thing while pluck pad are doing the smaller melody repetition. Almost each melody smashed together is from the track. So here you go, a 10 minute black metal ambient track that repeats with variations. I hope you'll like it ! Here is the link to the wav file : Thanks a lot ! Black SeeD Link to comment Share on other sites More sharing options...
MindWanderer Posted June 19, 2023 Share Posted June 19, 2023 I love me some atmospheric black metal. Great sound, great performance. Definitely nails the brief. The elephant in the room is, as you mentioned, repetitiveness. For a 10-minute track, there needs to be a fair bit of dynamic content to hold the listener's interest. This is an issue with the genre as a whole, however, and in fact this is less repetitive than similar commercial examples. I don't like that this is standard for the genre, but I can't ding you for adhering to it. Soild work. YES Link to comment Share on other sites More sharing options...
Liontamer Posted June 20, 2023 Author Share Posted June 20, 2023 Opening sounds lush, I dig it. At :20, a more distorted/overdriven guitar faded in, and I had to prepare myself, since I'm not a fan of this flooded style and don't feel it's pleasent to listen to. Yep, at 1:06, there it is. Everything's super crowded and turns into a wall of sound until 2:43. Arrangement-wise, I love it; great transformation of the theme, strong instrumentation as well as sound design choices for the clearer sections. The flooded sections (e.g. 1:06-2:43, 3:47-6:30, 7:02-9:46) all have the supporting instrumentation sounding overdriven, which is obscuring the leads and detracting from the composition. I don't mind being in the minority, but at some point, I'll be viewed as being in the anti-black metal camp or biased against the genre. From what I've heard thus far, I currently can't get behind this style from Black SeeD as having reasonable/listenable enough production quality despite this being a known & intentional aesthetic. Perhaps that needs a broader discussion, perhaps not, though I'm open to it. Decluttering the denser sections would be great, IMO. I genuinely appreciate the arrangement, but feel the style of production hurts rather than helps. NO (resubmit) Link to comment Share on other sites More sharing options...
prophetik music Posted July 6, 2023 Share Posted July 6, 2023 intro is very simple but i love the layering and fade-in of the heavy distortion. the initial hit with everything in it that happens at 1:06 sounds great. it's a fat, heavy, dark mastering method that you're using and i think that the approach works great for such a depressing original tune. the flute's lead is represented in the leads clearly, and the iconic arpeggio is repeatedly represented in a variety of instruments through the first big band blow and the subsequent break at 2:43 or so. the break is honestly earlier than i expected, but i don't mind. the switch to the B theme in this break is also welcome - i didn't expect it at all, and the octave leads do a nice job highlighting those shifts. we come out of that into a band section with some triplet kick at about 3:48, using that set of chords. this continues to be mastered like a bratwurst, but there continue to be shifts in how it's being handled - the change in leads at 4:54 to the guitar as the lead with some altered synth work behind is a simple one, but seems huge in the fairly uniform context of the work so far. interestingly enough, the first time i felt something was over-repeated was here at 5:54 or so - i didn't find the lead part here as compelling as some of what we'd seen earlier. there's another break right at 6:30, hearkening back to the beginning's instrumentation. as one does, another slam transition at 7:04, and we truck back into the full band sound for essentially the rest of the track. there are some subtle brass/string sustained lines in the background that honestly add a ton to this section. at 8:42 or so, we get the triplet kicks back with the B section's chords and melodic content, with more and more layering on top of the existing band sound. then, finally, what we all were waiting for, some sextuplet bass drum right at the end before a fadeout on the acoustic part. this is great. it's mastered extremely well, it's indicative of the style, it features a preponderance of the original's content, and it's interesting to actively listen to. nice work. YES Link to comment Share on other sites More sharing options...
Chimpazilla Posted September 9, 2023 Share Posted September 9, 2023 I love this intro, the progression from clean acoustic to distorted and then heavy/dark is amazing. What a lovely arrangement too, the denser sections being broken up by simple, clean synth writing, building back up gently then loudly back into the heavier sections. I can still hear the beautiful synth arp from 2:43's section during the next heavy section starting at 3:47, and the writing is haunting yet hopeful, just beautiful. The guitar work is competent and emotive. The padding fits in very well and the drums are cutting through well. The arrangement comes off quite repetitive but that's a hallmark of this genre. There are just enough variations to keep it fresh as it moves along while being fully immersive. This track is mastered VERY loudly. I don't hear any artifacts and everything is clear mixing-wise. The effect during the densest sections is sort of a wash of sound, heavy on both distortion and reverb, but that is characteristic of the genre. I understand what Larry is saying, that he feels those sections are overdriven. But to quote what Emunator always says about mixing in this genre, it is a feature and not a bug. It is purposeful. I love this. It is luscious and lovely and completely engrossing. The arrangement is giving me all the feels for ten solid minutes without losing my attention. YES please. YES Link to comment Share on other sites More sharing options...
DarkSim Posted September 25, 2023 Share Posted September 25, 2023 More black metal from yourself, and I think this one is perhaps the cleanest mix I've heard of yours out of the 3 I've heard so far. It's still something of a wash of sound in the heavier sections, but I'm starting to understand and appreciate the genre a little more, and don't find it unpleasant at all. The bass drum once again feels machine-gun like at times, and a little more attention to the velocities of those hits would go a long way towards making them less obvious. If we're describing the sound as washing over us, think of programming the kick so that it ebbs and flows with the rest of the sound, and has a character of its own. Some simple sidechaining or velocity automation would solve this very quickly, and allow you to tweak it easily to get that flow feeling just right. There's an arpeggio in there that reminds me of the Lavender Town theme, another track you've arranged on your album, yet the chord progressions and melodies make this one a bit more accessible for the casual listener. That said, I was ready for it to finish around the 7-minute mark, and instead the last 3 minutes felt rather gratuitous. YES Link to comment Share on other sites More sharing options...
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