Random-storykeeper's audio Reviews on Newgrounds

[AIM - Joa Goes Fishing]

It's neat that you always seem to pick paintings as inspiration for AIMs, because you are like the musical equivalent of a painter to me. Your composition is presented as being simple, and the details are in the sounds and how they add colour and character, like the strokes of a painting.

I like how you've chosen an array of medieval instruments to portray a subject that feels kind of distant from conventional medieval settings such as castles, cobbled streets, medieval parties, that sort of thing. The composition even feels like a medieval dance at first glance, but as the piece goes on, it becomes more clear that the scene is more distant and isolated. I think it's because of how laid back the sound is - the non-upbeat percussion and the prominence of the lutes and other stringed instruments feel softer and at peace, which connect with the artwork very well. I think the lutes in particular do a great job at giving your entry an out-at-sea feeling and it doesn't just rely on the wave sounds alone to do it.

The structure was quite nice, particularly the way it handles the same idea over the course of the piece. It was like the melodies kind of hit similarly, but they also change up ever so slightly with different instruments taking over certain parts and the lengths of each section changing, etc. - this felt evocative of waves moving by in the ocean and I like how that ties in with the setting of the art whether it was intentional or not.

Overall, this is a great entry with a lot of character hidden behind its initial simplicity.

Everratic responds:

I'm very grateful for your description of my style because I've been trying to figure out how to articulate it for years, and I think you summed it up neatly :)

That's an interesting point in your third paragraph. I get what you mean! I think I was trying more to imitate real life rather than ocean waves per se.

Thanks for the review and hosting the contest!

[AIM - Unchained Dynasty]

The parts with the drums, against that syncopated bassline, are very good. My favourite part, however, is that trumpet. Its melody is the line that adds character and flair. I enjoy the parts where multiple trumpets play chords over the bassline and drums.

The sound design generally fit the art and character you were trying to portray well. The drums sound great; I just wish they came out a bit more when the trumpets enter, because they kind of take a backseat to the entire mix and I think the urgency and drive moving the piece's momentum forward mostly lie in the drums.

It's interesting how the bassline suddenly becoming more even at 1:43 actually feels more off because of the syncopated lines that came before it. I found it to be a fine change before the piece picks up pace again. Overall, this is a pretty good entry.

[AIM - Our Life.]

Solo piano music is one of the more difficult types of music to make, especially in online music communities like Newgrounds. The act of it is not difficult, rather the act of making it distinct. In case of this compo, it is also connecting with the art that poses an additional challenge.

In regards to this entry, I find it to be a perfectly satisfactory piano piece. The muted piano suits the muted tones of the art piece, and the composition gives that general sort of happy/sadness/hope feeling, which sounds like what you are going for. The problem I struggle with is that I think this piece is too surface level to be emotionally impactful. The chord progression and the way it's used here seem so typical that the piece feels like it could apply to a lot of situations and not just this specific piece of art it was inspired by. It could be the somber track where two lovers have to part ways against their will, background music at a restaurant or RPG stock piano music.

I also cannot get over how rough the transition is between 1:12 and 1:13. It feels like a forced key change and it really doesn't work for the nature of the piece.

Overall, this entry is okay. It fulfils the general emotion and connection to the art, but I don't really feel any connection further than that, sorry.

[Call to Adventure]

This track, without a doubt, sounds like it was meant to be in a video game. That melody is a video game hook and I love its development as well as how the track feels like it captures an energetic night as seen in the art.

The main component that sticks out is the sound design. I don't necessarily hate it - in fact, that buzzy lead definitely adds character and helps to bring out the city feeling of your inspiration. I will admit, however, that it does wear me out of wanting to listen to this track on loop. I think it's something I have to be in a very specific mood to listen to, and given that it is supposed to play over and over again in a game, I think it could potentially hamper the audio experience. Of course, I have yet to experience how the audio is executed in the game, but from listening to it alone, this is the impression I get.

Overall, I think the entry does what it sets out to do - it fulfils the general notion of the art, is catchy, sounds - compositionally - like a video game track. I do notice now that it is actually a 1.5 minute track played twice and then faded out to meet the 3 minute requirement. Sure it technically meets the rules for AIM, but it also feels sneaky, in a way, to consider this a qualifying submission. It's great that you managed to complete two purposes with one track made within their overlapping periods, though.

[AIM - Eggstraordinary Garnish Grandiosa]

I'm impressed that you were able to find a piece of art that specifically had to do with eggs and outer space. (I'm also surprised that johnfn is still doing EGG compos in 2021, but that's neither here nor there.)

I've always had this internal expectation that pieces with EGG would be goofy and cheesy, but I enjoy how this piece is amusing and manages to be in on the joke while having class. I certainly get a sense of outer space shenanigans and I like how the piece incorporates that three note pattern.

The structure of the piece is pretty good; I enjoy the structure and flow of events that keep the piece compelling. I could have used some more velocity on the notes, particularly the EGG pattern, since that's the one that is most prominent - just something to give the notes a bit more sense of phrasing and not have each note hit the same.

Overall, this piece is a haunted egg waltz and I don't think I could say that about any other entry, lmao. I like the outro the most, especially when those higher notes at 2:39 re-enter. That slowed down version of the part from the beginning was an interesting change of pace that allowed the entry to conclude in a satisfying manner.

[Bold And Brash]

To preface this review, I wanted to address a response you made to a review in the previous version of this song. As a judge, I can tell you that all entries are evaluated based on their connection to their artwork as well as how they fare as music. Relevance to art is just a component of judging, but it is not the sole factor. Other components that music compos typically look at such as composition, structure and production are still factors in this compo.

As far as relevance to artwork goes, your entry definitely checks the box. I like how the title of the art you were inspired by is transformed into a likeable hook for your song. I'm not usually a fan of entries sharing the same title as their art inspirations, but I didn't have a problem with it for yours.

I like how the lyrics encapsulate the essence of who Squidward as a character is and go one step deeper into the sad sap he is. I know they're not perfect to the character, but they do give off a similar sort of personality to what he has. I also like how the sliding higher notes towards the end also remind me of the music in SpongeBob (particularly the tracks that sometimes play during a titlecard for an episode), but in no way sound like they're ripping off the music from the show.

One thing I really missed from the first version of your entry was the introduction with the funky guitars, because those also fit the art quite well and served as a great beginning to the lyrics. I do enjoy how a hint of them sort of come up with the sliding notes towards the end, but I think they would have been so much more effective had the intro from the previous version been heard. I wasn't really a fan of how the track instantly starts, which is a shame because I like everything else about this track. The harmonies in the vocals and the off-and-on nature of the pitch in the vocals add a lot of charm to the song, and I like that they stand out more in this version.

Overall, I think you did a great job at connecting the art to the entry you've made. If the intro from the old version could be connected to this version, I think you'd have a pretty solid entry all around.

PikeyPaige responds:

Wow! I so appreciate the in-depth and thoughtful feedback. I was lucky to have such a hooky title to begin writing to. This song has become a regular part of my show now and I do very different versions of it each set. I will incorporate it out feedback into the performance and try to capture the things you liked in the first version as well as second version and hope to make it into a more solidified song.

I am so stoked that I tried my hand at making art based on art. That was a first for me and has broadened me as an artist, I feel.

[AIM - Landing of Hope]

I think you managed to capture everything you were going for in your music. I get spacey-ness (not sure about spacious though) and mysterious, alien landscapes that seem inviting. The atmosphere is captured perfectly and exuberates that balance of brightness with mysterious space vibes.

It was an interesting choice to make that lead distorted. I think it gives that sense of hidden wonder despite the somewhat happier melody, like you're exploring this barren landscape that you're not quite sure is actually barren and you're not sure what to expect, but you're hopeful that it will be a generally positive experience. I love that downward contour buried in the accompaniment starting at 0:16. It would have been nice to hear that a bit more, especially when all the other instruments enter, where it practically becomes non-existent.

Overall, I think the entry connects well with the art, with a fitting amount of whimsy with the dominant sevenths that go with the colours and the landscape. The track has a sleepy, relaxing vibe to it that one could rest to if not for the distorted lead. Nice work!

wobwobrob responds:

That's a great note about the downward contour - I can think of a ton of ways to highlight it or expand it throughout the track :)

[AIM - Leyline of the Shores]

Even though I prefer listening to your other entry, I like the way this entry captures the essence of its art inspiration more. The sound design feels just right not only for the atmosphere, but I can feel the particular colours leaping off the animation while I listen to this. The sound you made for "Shores" is very airy and has hints of ambiance behind it, both which convey the sounds of wind and water in the art.

I love the piece's progression with the addition of the percussion. The change in energy adds momentum and the change in pace allows for the exploration of the piece's soundscape in a more rhythmic motion. The composition feels so off, and yet that's what makes it work so well with the atmosphere.

Overall, this entry connects with the art well and has a great sound design that is oozing with atmosphere. The only other issue I have is that it ends so abruptly. I would have liked to hear it at least fade out, let the tail linger for a bit longer - it almost feels like there was more to this piece but a section of it was isolated for this contest (which wouldn't make sense given that there was more time left in the allotted range to expand on it more).

CorruptModule responds:

Thank you! This one was definitely trying to turn the given image into sound. I really appreciate the feedback!

[AIM - Out by the shipyard]

What I wholly love about this piece is how it takes its time setting the scene. I feel like I'm listening to the whole picture, not only the details, but also the atmosphere and the emotion. This is mainly due to the sections, which I could hear being expanded into their own tracks like a mini EP of sorts.

In the first section, the more ambient sounds integrate with the acoustic sounds seamlessly. I enjoyed the gradual buildup with the additions of more sounds subtly entering until the very end where the tension in that buildup finally becomes apparent. The chord choices in the second section are beautifully spaced out and the silence between the chords allows for one to linger on the emotional impact, but it is interesting that the silence between these chords seems to get shorter as that section progresses.

One minor nitpick I have is with the transition between the "Shipyard Walk" and "Empty Shells" sections. The strings not fading to silence was a good choice in preventing the piece from sounding like two different tracks, but they slightly duck between 2:31 and 2:32 in a place that would have felt more natural remaining at that same volume when the new string section enters.

I love how the third section flows, and all those strings working together in harmony just work so well in capturing the emptiness and sadness of a landscape. When the harp comes in at the fourth section, it really gives me KOLM vibes - just that right balance of hope and melancholy. The final section, bringing things back to a more ambient sense, quieting down...just brilliant.

Overall, I love how the piece takes its time with setting the mood with its strings, laying out the parts in a beautiful, flowing manner. I think there’s a beauty among the empty, desolate sadness, kind of like empty structures that get taken over with passing time. It makes me think: is nature trying to win its way back?

nyxl responds:

Thanks for listening and for your detailed review! I'm happy because what you described on how you experience the track is what I was aiming for. You are right about the strings around 2:31, I think this is because the highest note changes from root to seventh and the transition between the two notes does not really exist. It didn't bother me anymore after a lot of listens, but as you noticed, I should have tried to improve that :)