Song of the Week 18: 'Super Metroid Ending' by Nick Lammertyn/Darkpearl

Met is unable to do Song of the Week again, so I'm going solo this week. This review is going to be a little bit different, for pretty much two reasons: 1) This is not from Protagonist Records or OCR. 2) This song has one instrument, and one instrument only: the piano. Unfortunately reviewing this is much harder than the other tracks I have been reviewing. I had so many more sounds to state my opinion about, but this time I have to focus on just one instrument. It's not a bad thing at all; piano pieces can be quite nice to listen to. Anyway, this is a song that I got off of a website (the song was chosen by Met, by the way) that has to do with solo piano pieces from Super Metroid. Not only can you download the mp3 versions of the songs, you may also download a pdf file for the sheet music in case anyone wants to learn it. You may find this website here. This particular track is based off of the end theme of Super Metroid, and is simply called Metroid Ending by the artist Darkpearl. As soon as I learned this was going to be a solo piano piece, I knew that this review was going to be difficult as well as interesting. The main problem I'm having with reviewing this is the fact that I can't see how far the song is, or how long it is. So I'm probably going to have a problem with times. Sorry about this everyone, but this probably going to be a bad review. Alright, now for the actual review. The beginning starts out high and sweet, and just from that I knew I was going to like this. The first couple notes then repeat themselves an octave lower, giving me the idea that the short melody will be heard from throughout the song. When more of the left-hand bass clef notes come in right after that, it gave it more "beef" I guess. The more support a light melody has, the better. The harmonies during this part is absolutely awesome; it gives me chills to hear treble and the bass notes merge together. The treble clef notes have a short and simple solo, then here comes the part of the song that makes me want to melt. Low notes are being played smoothly, and beautifully. The way it flows is absolutely incredible. With more harmonies being added, this makes the song even more beautiful. As soon as I heard this sequence for the first time, I pretty much shut my eyes and let the world disappear. The melody at this time makes the world feel at peace. I love it. Later in that section higher notes come back in, playing that same melody portrayed in the beginning of the song. This part gives me the impression that something more is coming; something that I think I will like. The notes go back to their low pitch after that, this time going into more of a minor key. It does turn back into a more major tune, but beautiful just the same. It switches off and on between major and minor, but somehow the blend all works out. It continuously flows; I can't detect a single bit of choppiness. I can hear some triplets in the bass part, but it works so well with the melody that it makes it all the more awesome. The bass part does an absolutely amazing job in this section, since most of it is bass. The treble is more of the background though, but it does have an occasional melody to go along with it. There is a section after this where the bass is pretty much in solo mode, using triplets in an astonishingly cool way. When hearing this, it almost sounds like a sad melody, but usually it's the sad and depressing melodies that move me most of all. This section dies down after a while, but then transitions into something completely new and familiar, one of the main themes from Super Metroid. It's even a theme played in the game Super Smash Bros. Brawl. This is a great melody, especially on the piano. The bass harmonies add more emotion to the song as well, which continues to make the song more amazing. That melody dies down eventually, introducing the next and final melody. This melody is different than the last, with it being simple and minor. It gives off more of a creepy feeling rather than the last melody sequence. The final notes is that melody with a retardando, then ending with a major chord. The major chord is only thing I would have a problem with; the song might have ended better if the chord was minor.

Pros: Flawless, relaxing, and it continuously flows. There is beautiful melodies. The entire thing made me speechless, and the song is absolutely amazing.

Cons: Like I said earlier, it was just the one major chord that bothered me. That is all I have to say about that.

Overall: I think this is going to be a song that I'm going to be listening to for a long time. I've listened to it already numerous times in a row, and yet it hasn't gotten old. I love this song, there's no doubt about that.

Rating: 9.9


Met:
10/29/2010
I want to start by saying this is the most listened to song in my music library. I do love electronic music, but solo piano is good stuff as well and I have to say that Nick Lammertyn really has something special here. It's ironic that the Super Metroid theme Mr. Lammertyn is "remixing" (rearranging is more correct in my opinion) is something of a heroic march type piece. He managed to turn it into something powerful and moving with some real depth and feeling. I can't really critique the logistics here, and this will be an odd review for me, but I'd like to have a crack at it.

The beginning is very soft and I immediately think Metroid when I here it. Things are lead in very smoothly and now we've got a song of real character. The flowing depth of the bass really builds things along and is the primary catalyst throughout the song for the intense movement and feeling conveyed. It's very dreamy and the only melody that seems to interrupt this feeling is the Metroid theme that jumps up pretty high on the piano. We've got some good uncertain minor sounding chords and then it drops down and starts adding some real feeling and power. This is absolutely moving, haunting, and powerful. The music's mood is striving very hard to resolve something and it sounds as if the resolution must be reached. The build up is essential, it maintains the tension and then drops it back down again with seething power. This is where music truly strikes you down. Now we're building back up to the higher end of the piano with a transition into the rearranged theme. It's oddly calm, a big difference from the source tune. It projects certainty "The Galaxy is at Peace" (the last Metroid is in captivity). There's some good expansion on the theme with the bass and some odd sounding, but solid movement downwards. The awkward most part is emphasized in contrast with the moving part from before as if to say "What are you talking about, tension? The Galaxy is at peace!" Now we've got the moving part at the end that's clearly recognizable as Metroid. It ends with a strong major chord; excellent resolution. I didn't include time signs in this writeup because I was a little caught up in listening to the track. It's not something you can really pause and restart at a certain part; it's mesmerizing.

Pros: Intense, powerful, deep, moving, borderline spiritual transformations; this is absolutely solid, conveying profound emotions and feelings that we must resolve, yet keeping an ending where we have peace. I say it almost works as a message of "Resolve your disputes, we must make peace, we must be willing to die for what we believe, but we must have peace."

Cons: What cons? There is something, however, that I'd like to mention. This song just missed being a 10 by .1, an obviously slim margin. What would've made this perfect is... if it wasn't a rearrangement. I almost feel like the Super Metroid theme and source tune is holding Nick Lammertyn back from creating something of limitless potential.

Overall: Wow. Awesome.

Rating: 9.9/10

Schedule

Pardon the mess; we're realigning the stars.

Michael

For the first time, Michael hesitated. What if that other angel was right? What if-

No. There was black and there was white. There was shadow and there was darkness. Michael didn't believe in in-betweens. Michael didn't believe in every extreme either. Right and wrong meant as little as good and evil. Things were what they were, and nothing could be done about it.

Michael tightened his grip.


Flying away from the scene, Michael looked down. He smiled at the splattering of his work. He always had had a flair for the dramatic. He was what he was, and Michael was the best.

But you could be so much more.

"Damn it," muttered Michael. That Gabriel ruined everything. 

Karachay: Part 2

Saturday, May 13th, 1967
Dear Isaak,
Life is fast becoming survivable again. With the winter's snows melted, I've gained not only respite from the disease (we had quite a singular strain of flu this year. I've enclosed some notes that may interest you), but a source of rejuvenation in our renewed contact. Without your letters, I think my position here in Ozyorsk would have withered me away. As it is, I feel that some sloth has set in my bones, though perhaps it is merely age. How laughable is it that I think myself little more than a child still?
The people I serve here care little for politics. But for the vans that had come with the moon a few years before I knew this place and myself, they see the outside world as little. It is from Out that their supplies come, and it is to Out their taxes go. I fear that I am alone here in my concerns for the war.
Political babble grows dull. The weather, though, is of endless interest to these farmers. They slave in their fields, and call the weather hot even now. I almost fear they're all mad - why else would I have had to come aid one who collapsed in his field from overwork? I left him in the care of his wife.
Shall we have a wager? You see, his wife is pregnant, and she set to her task with fervor. I'm willing to say that such work will do this woman good, and the birth will be easy. If you take an opposing stance, why not gamble five rupees? There's little to lose, especially if the doomsayers are right and the drought ends us.
To your health,
Lyov

Untitled Story 1 :: Chapter 1 :: Part 2

After my brother was nearly killed from the accident, I took him to the navy hospital, only because I knew it was the only place that could fix him up. It was the only decision that I could make. I knew that he would be drafted. I managed to get in as well, because of my ability with machines. Starships are different from cars, as would be expected, but not different enough to keep my skill from helping. The training is strenuous, but no more so than to be expected from a military program. There are slightly different tools and we need to learn to work in zero-g, but beyond that it's not much that needs to be but relearned. I'm not getting much communication from my brother anymore, except to say that he's alive still, really, and that training is going well enough. Our work started on the ground, mostly fixing the small fighters that were landed from the near-world skirmishes. My brother contacted a captain somehow, and got us both on his ship, so we could continue to look after each other I guess. I'm still not seeing my brother much, but at least I know he's not dead still. We've been doing drills excessively, and know exactly what we're supposed to do with most any attack situation. As mechanics we get suits with extra arms that are controlled by brain implants, so I suppose I have been upgraded as well as my brother.

     The attack came at about 0300, and crippled us badly, despite our preparation. After I saw the situation I got my suit space ready, just in case. It was Ravagers, the evil buggers. They care nothing for spoils, only mindless destruction and death. Once I saw it was them, I stayed by the engines to keep my heat signature from reading well on their scanners. All I heard were the screams, even from the men, they sounded nothing so much as little girls. I could see one of the other mechanics being torn apart and eaten alive, the Ravager was a particularly nasty one who cauterized the wounds to keep the victim alive longer. The screams were enough to drive most anyone mad by themselves, and the visuals only added to that. Insanity was imminent in my mind.

     I felt the ship undock and leave. I stayed where I was for a time, then got up and explored the damage of the ship. I had no life signs but one, then that faltered and died. That was when I realized there were two in the same place, the one running, the other no more. I followed the sign to a main access corridor, then realized to wonder why I was following. Soon after I decided to follow again. The worst it could do by itself would be chase, and that only if it found me. The arti-grav was gone and I had the advantage of the extra arms to pull myself along. It seemed to be a man, carrying my brother. I hid in a side corridor to see where he was going. I followed him to the airlock and saw a shuttle. Waiting with it was a woman with a nasty scar over one eye, which was a cybernetic replacement and looked less than legal. She was carrying a gauss rifle and had a hacking device strapped across her back, which is probably how they got in, not that they couldn't have come in through one of the large holes in the hull. I stayed in hiding until they left, then explored more of the ship. There were no survivors but me. The loneliness and fear of another attack were enough to drive me nearly mad with paranoia. I knew that they could come back at any minute and kill me. I hid constantly. Then one day the small ship came back. The one with the man who took my brother. I decided I would kill him. He killed my brother, and my brother would be avenged, he had to be.

Disappointment

Whenever shades of expectation
Meet reality,
They grow and change and seem to shift
Phantasmagorically.
The morrow's ghost of Yesterday
Illumined by the light
Finds ugle form in sharp relief
And power to incite
A sullen, disappointed mien
From Hope that died to dust.
The Present future spitefully
is violating Trust.
For what is yet is forged of Dream,
restrained by fetters not,
Whereas the now and past are bound
But for the shift of Thought.
And Dream and Thought can only join
In Art and never life.
For Art is Hope and life is Truth
And Truth is is borne in strife.

Part 3, Strike

You have

the final
decision.


To hold is

irrelevant.

To aim is

irrelevant.

If you want

to use
it,

you must be

definitive.


You must

take
action.


You must
never

look back.


You must

pull


the trigger.



You must


strike.

Song of the Week 17 (Xanthurian): 'The Device Has Been Modified' by Victims of Science

For my first Song of the Week post I am reviewing The Device Has Been Modified by Victims of Science. There is also a really cool music video of it here. Again, I really don't know what I'm doing, so I'll just get right to it. The beginning has no rhythm section, simply a kind of spacy dottish sounding melodic synth which switches to more harmonics once the voice kicks in (yes, this has vocals, I don't know what else to call them), and continues throughout most of the song. The beginning vocals are subtly echoey, but that adds excellent atmosphere to the song. One of the best parts of this song is that it uses a sort of auto-tuned GLaDOS voice for all the vocals. At about 0:30 the drums start up with a very faded sound so that they sometimes get drowned out by the other things, while still laying down a good beat. Some interesting piano is also ghosted in the background at the same time. At 0:45 the voice is used as a harmonic drone with the lead continuing with the melody creating a very cool, almost electric, effect. Immediately after this, a counter melody comes in as part of the spacy synth track. At 1:02 a turret voice comes in with some higher vocals. At 1:08 everything but GLaDOS and some chimes with a string track for ambience stop playing, and GLaDOS starts telling a kind of story. This part actually reminds me greatly of Reogan's GLaDOS's Lament. At 1:38 the song is just straight GLaDOS for a few seconds to make a very good point. At 1:41: "Android Hell is a place and you will go there if you receive unsatisfactory marks..." or something like that. At 1:46 the instrumental parts kick in again, and they seem a bit loud. At 2:09 the backgrounds fade out and only the drums and chimes are still in the song, creating a really neat effect. At 2:24 the dissonant harmonic voices make it sound incredibly robotic. Listen all the way to the end, it's strangely creepy.

Pros: Good melody and really cool vocals with some great drums and countermelodies in the background.

Cons: Some parts are a bit loud and some more "solos" would be nice.

Overview: A good song, if a bit fast and loud in parts, but that sets the tone for the song well. The vocals are really cool also.

Rating: 9/10

Conner

Connor felt his captors lower him to the ground. The strange spongy bag seemed to melt from his flesh as a watery mist poured onto it, and soo him. His blindfold too was disappearing. Within minutes, he had regained enough use of his limbs to speed the process himself, and as soon as he could, he stood. Opening his eyes proved a mistake, though, for glitters of light from everywhere gleamed in a conspiracy to blind him. He fell back.

A hand caught him. Carefully opening his eyes, hands sheilding as well as they could, Conner saw his captor/rescuer for the first time.

She was a beautiful maiden, with skin of Alabaster and faintly blue white hair. Her voice was like a melody as she directed his gaze across the turrets and fountains of a marble city. Every building had some sort of water running from its roof, and every walkway crossed over thin, beautiful canals that formed elegant curves about the structures.

"Welcome to Aqueopolis."

Michael

"You're wrong." Michael's eyes dared his companion to disagree.

"I wish I was. But you saw what happened to Bekka. If we don't figure out how we can stop this thing, we might-"

"Gabe." Michael warned.

"Damn it, Michael. Death isn't your pet!"

"And your friend back there proved life wasn't hers. If you want to follow her to her fate, I'd be happy to leave you."

Silence filled the vehicle. After a long minute, Gabriel took a breath.

"I see you were right. This is hell. No one with a soul could be as heartless as you. You might think yourself immortal, but you're not. None of us are. And if we don't band together now, we'll all end up like Bekka. If you just keep driving, you kill us all."

Michael turned.

"Gabe?"

"Yes?"

"Get the hell out of my car."