Give a good greeting.
Try not to give up.
Sleep well, eat well.
If you’re troubled, talk to someone!
You’re likely to succeed if you try.
It’s taken me a year to write this post. I titled it “yearly” as a joke… months ago. This is evident by the fact that I wrote up the first album last year. I’m just doing the best I can now.
Foilverb – Melancolia
Though this was released way, way earlier
this last year, I was only reminded of it now because I saw Foilverb had a new album on Bandcamp (at the time). It’s fitting because while I didn’t need this before, for some certain reason it’s a very welcome sound.
Since starting this blog I’ve matured a lot to appreciate this kind of music a lot more. Straight ciptune still ain’t my kind of thing but a blended sound like this is super interesting to me. This album is a fantastic example of the kind of chiptune and game-y sound I crave. That mixed with actual instruments, put to what would be a fine song on it’s own to create a blend of new and old is really fascinating.
Undiscovered Maneuver is an example. Frenzied but still with some charm because of the chiptune sound, there’s still tension lingering about. It becomes more and more dramatic despite the cute beeps and boops.
It’s the only that really has that rising tension to it though. The end of Quiet Dream and Dreams Fracture both are far more laid back and floaty feeling. Though the latter does have a violin sound to it that is very, well, melancholic. It lives up to the title of the song without question.
A surprising track is Flowers Down which features vocals (done by Tomoko Asaka) that feel so out of place but somehow still work and sound lovely. The rest of the track itself is lowkey and isn’t as enjoyable as the two previously mentioned tracks but it still fine.
The rest of the album is composed of remixes though the only artist I recognized (and excited to see!) was Go-qualia. An artist whose ambient stuff has been most pleasing in the past. However it’s Dreams Fracture (Lemon Curve Remix) that stands out to me most. The song becomes something entirely new. The use of acoustic guitar is fantastic. Not something I normally like but used in such a great way here!
Droplamp (H.K.WORKS x monolith slip) – WHEN THEY CRY EP
I love droplamp 1 so I was thrilled to see they were taking part in a Higurashi no Naku Koro ni mix (well, through their label-ish). It’s very short with only four tracks and remixed by a different artists.
ひぐらしのなく頃に (H.K.WORKS Remix) is a… weird track. It’s kind of ridiculous really. It’s fine until the first USO DA which is accompanied by a generic EDM airhorn. Why? Why? I can’t hate it because it’s just so funny. I think the rest of the remix is fine but I just can’t get past that hilarious aspect that happens over and over throughout the song.
Monolith Slip’s Naraku no Hana remix is weird as well. It’s a suiting follow up to the first track but not the best this EP has to offer. I’d say their other track, you (Monolith Slip Bootleg), is nicer. That might be because the original is such a nice track. Maybe just that. The tone of the original is intact so the approach they went with on the song feels all kinds of disjointed until the busy chorus. Like, it has a lot going on. I think the nonvocal parts work really well at least.
Finally, why, or why not (droplamp Remix) is obviously droplamp’s track and it does not disappoint. Droplamp rarely does, really. It gives the original song, which is slow and dreary, surprising energy and zest. To the point where it almost changes the tone of the original in a good way. It’s definitely the track that’s gotten the most mileage out of me and I’ll continue listening to it more than everything else.
紅女の血宴 ／ quoderatDEMONstrandum
“Why Fang-tan,” you asked, “Why an eight year old Touhou album and not a new one?” BECAUSE. Well, I was sorting my Touhou music and remembered how much I liked this album and AramiTama, really. Make no mistake. I have a HUGE Touhou backlog to get to. I bought a bunch of albums at Comiket but stuff like the Jerico albums aren’t something I’d ever review. Hell, even this album is a bit out of my league.
The first track, 紅女の血宴, is actually my favourite from the album. Not because it’s so different from the rest of the album (it really is) though. A piano centric version of Septette for the Dead Princess with electric guitar in the background that gives it a really interesting, soundtrack-like feeling. It’s definitely an interesting style choice for this of all songs.
There’s two remixes (one remix, one rearrange) of the title track which makes one a bit techno and the other way cooler than the first. 紅女の血宴 (Izumi Rearrange) is definitely the more impressive track though both it and the original are really good individually.
悪魔の証明 is a hot mess of a song. Fitting for U.N Owen was Her but also, cool because I love me some interesting arrangements. A mess of screeching, static noise and other nonsensical sounds is the intro to this violin and j-core mix. I loved violin with dubstep in the Noragami Aragoto soundtrack and I’ll just always get excited whenever the weird mix comes up. The whole song is a mess of sounds and at 8 minutes long, it might try some people’s paticence but the moments of clarity (both in the violin only parts and the j-core only parts) make this weird track so worth it.
Like the title track, there’s two other U.N Owen was Her remixes but neither are as good as the one that precedes them.