RealTin3Sn's audio Reviews on Newgrounds

[the empty room]

Tin3Sn Tessarakoste Talks Part 38: The first of the three legendary closing songs to this project.

Ugh... I remember this one vividly. You see, the day I listened to this we were getting ready for a trip. We couldn't let our dog roam around by himself, so we had to send him to a kennel. That day, just before we were getting ready to leave, this was the tessarakoste track matching that day of Lent. And I listened to it, and alone it was crushing. This feels like a horror-classical ambience of sorts, like Chopin meets Dark Escape Room meets Ghibli. And CIERIMusic is right, every note is devastating. But when I finally looked in my own house.... that's when I wanted to weep. Because I didn't have my dog, who had been there for me for months, just gone. It felt like the room was just desolate, devoid of the one I loved and who loved me. I cried throughout the day even into next and I've never told anyone about this before under my real name.

This song is amazing. But please, if you can... just don't give this one a mindless love response. Because it's so much more to me than it might have been to you.

Troisnyx responds:

To be fair, none of my reacts have been mindless, I've appreciated the depth of your reviews

With this one, I had my own losses to deal with. I mentioned in a previous piece that I lost my mother in 2008. I used that feeling of loss to imagine what the upper room at the Last Supper would have been like immediately after the crucifixion: pretty devastatingly desolate. Sure, there'd have been all the fixtures and furnishings, but the people make it what it is

[récupération d'espoir]

Tin3Sn Tessarakoste Talks Part 37: I hope I can keep doing this for two more reviews.

This piece is beautifully hopeful, and the interplay between the piano and glock is a really wonderful symbol of this. While the glockenspiel represents the bright hopes, the piano is a little bit more of the sadder reality I think. I'm not going to fully review it ('cause there's still two more to do and that would just burn me out), but your piece feels like something that should play in one of those Nintendo or other Japanese video games with a rich storyline when the protagonist is feeling defeated. Besides, I think a lot of this can be described through how the piano and glockenspiel interact. Sometimes, the world (piano) is dark and somber and hard to get through. But it's the hope (the glockenspiel), those little flashes of hope, holy hope, that ultimately make life worth while.

Troisnyx responds:

This review is consistent with another someone gave me many years ago, that I wrote sad things with flashes of hope and light in them 🙏🏽

[the weight of one's destiny]

Tin3Sn Tessarakoste Talks Part 36: The first of the four-talk marathon tonight.

As far as destiny goes (which is an abstract subject), this is a great one. The initial theme feels like a hero's cry/lament, maybe something you hear after they're defeated in battle. The section after this is pretty standard fare here, keyboard + glock + harp (arguably the tessarakoste trio). Quite nice, but again nothing unusual.

The next orchestral section... that is where things get good. When the bass enters for the first time it just grabs your attention so well, with the violin being such a poignant voice and contrast to the more subdued piano, and then the key change minor section flows as chillingly beautiful as a Spring river. But then afterwards. Jesus Christ this gets good. In fact, how is nobody talking about comes next? IT'S... FUCKING... AMAZING!!! It grows into like a magic cinematic garden of sound that rivals most other songs on this project with its richness and colour and captures destiny at its absolute perest. It's perfection. HOW THE HELL DID YOU WRITE SOMETHING LIKE THAT? IT RIVALS, FRICKIN', LOTR AT POINTS?!

Okay. I gotta give this a favourite for that orchestral part alone.

Troisnyx responds:

I think it came out of a need to build up in a way the piano couldn't do on its own 🙏🏽❤️

[running on empty]

Tin3Sn Tessarakoste Talks Part 27: Goddamn it I forgot Saturdays were part of Lent. That's why there are doubles from this point to the end.

This is like the sad version of prelude to contemplation. Both very minimalist and efficient pieces with a level of thoughtfulness to them that can be hard to find these days. Either way, it's been obvious for some time that the latter is more my favorite, but I see some genius in this too. The piece mostly stays very sparse until the last minute and 30 seconds or so, where it feels like a breakdown and surrender to the rain. You do give me a lot of greys in this piece, but perhaps that is because I'm reading the description.

It's easy enough for me to imagine this as like "Troisnyx scores and makes a 1920s silent flick" or something along those lines. I would, again, call this sort of the dark, despondent side of prelude to contemplation. It's the best descriptor I have.

Troisnyx responds:

Funny you talk about silent flicks: I extrapolated on this motif for a film scoring competition once. I still have the clip even though I didn't get anywhere with it

[perfluorocarbon]

Tin3Sn Tessarakoste Talks Part 24:

Superb beyond all recognition. I forgot just how good this was until relistening a year later. I thought this was mediocre, perhaps because I confused it with another track, but this is just fucking incredible. HOW IS IT POSSIBLE TO WRITE SOMETHING SO BEAUTIFUL?

I can't... I can't even begin to describe how great this is. The instrumentation is just perfect, the chord progression is heavenly, and the imagery is magic. It's like a mix of the ocean, a stasis chamber, outer space, and the otherwordly judge in one, shifting seamlessly across shades of blue. Maybe it's not the way I would have pictured blue consistently as a true synesthetic, but the colors you paint in this are unreal.

I'm absolutely amazed by this listening now, a year later. I can't believe I overlooked how good this was.

Troisnyx responds:

Thank you so much!

Of note is that the cover artwork for tessarakoste features me hovering in a vat of perfluorocarbon, but because the liturgical colour of the season is purple, that's the background colour, and not blue adgjkjfshjkdfs

But yeah, outside of that detail, it's the album artwork track!

[ninety-nine hopefuls]

Tin3Sn Tessarakoste Talks Part 21:

One of my absolute favorites from this project, and objectively one of the best. This was in my top 5 the first time I heard it, and nothing about that is likely to change any time soon. Just one of the most entrancing and perfect compositions I've ever heard.

Your use of the strings to represent the wind is absolutely extraordinary. Normally I'd associate them with warmth and sun, but the way you make them capture a chilly autumn breeze here, is genius at its purest. I'm not kidding. The wind almost feels palpable and it sometimes sends chills down my back. The synergy between the glock and trilling flute is spellbinding and dreamlike, even despite its similarities to other songs here that use glockenspiels. The silver white colors I get from this entire passage in my synaesthetic brain is a true testament to this genius.

The rest of this piece *easily* fulfills your vision without any flaw. The piano part is sublime in its arpeggios, and the interplay with the oboe stands apart from the more intensely chilling section that came before. It's almost like the calm before the storm, so to speak. And what comes after... that's nothing short of beauty befitting a transcendent Ghibli masterpiece. This is where the piece blooms into all its magnificent glory. This is where you see the seeds fly around, in a dance with the divine wind, and where they land matters not because they've been blessed through this force. I'm not joking, this could definitely fit in any anime movie with this kind of scene.

I honestly can't believe there's Kirby influence being the main play. Just because I don't associate the Kirby games with high art musically, and this has so much of an anime feel that Kirby just doesn't sound right. Much like I can't for the life of me fathom that you blitzed this in an hour and a half? How the fuck does that happen?! Was this just a divine golden hour or something, or are you a wizardess? If so, and if this was Kirby influenced as you say, then I need to hear the Kirby soundtrack ASAP.

Objectively, every part of this piece is raw artistry of a whole different order. This easily ranks among the best pieces you've ever created. I swear it's spiritual.

Troisnyx responds:

Re: Kirby, light instrumentation and glockenspiel in particular came from the likes of this remade Grape Garden theme:

https://youtu.be/YNJSQwNRd5M?feature=shared

Like in the original, there are windy levels. The dynamics are subtler, granted, but in context I find it effective

[Left]

The first non-piano song from you?

This kind of sounds like a Newgrounds take on a hymn mixed with a classical sonata. I don't totally know how else to describe it. It feels very European and somewhat cinematic as well.

Solacitude responds:

Yes first but surely not the last non piano piece I publish on NG! :)
I agree this kind of arpeggio played by a cello is often found in classical repertoire.
I tried to make it sound engaging and as realistic as possible, despite being a free library, I think it creates a very nice sound, I'm glad you enjoyed, thanks for passing by ^^

[Floating in Thunderous Skies]

WOW!

You did this in Mario Paint? This sounds like it should be a full-fledged video game theme it's awesome. Your style continues to influence me so deeply, even 13 years after you made this. in ways you may not have anticipated.

I like the use of 5/4. It doesn't always have to be like this (think something like Muse - Animals), but here, you really use it to bring the thunder well. The 3-3-2-2 rhythm is very full of life here. Beyond that, not much else to say. I really like the way this is all put together. You did good on the thunder imagery. It feels bright and dark at the same time.

Troisnyx responds:

Thank you so much!

Have you heard the newer version of it perchance? It's not a full remake, but I love what I did on the piano there and it feels like a fulfilment of the original

[Pop & Bop]

Welcome back, legend!

This is a worthy as hell way to start it off. Like EBF were still alive today.

Phyrnna responds:

Thanks!

[The tale of Sir Corvin]

Hey it's good to see you again!

So... I see you're still at your classical, Western side. I really miss your anime side, and respectfully, classical is becoming less and less my thing (it's a long, messy story I can tell you about someday). I'll keep listening, but my favorite stuff from you will either be Ghibli-esque or in an odd time signature.

Here's my thoughts:

You really nailed the timing. I read your text as the piece played, and you nailed that story! I could feel the spirits coming, the stories told, all of it was lovely. This is a challenge I suspected you would be really good at, and this didn't disappointment. You caught it just in the nic of time too, wouldn't have wanted you to miss this~

Beyond that, great performance as always. I also really like your use of key changes. Didn't pick up on it the first time, but it really works. Nice chords too!

Great work! I hope this places high in the final results. And do check out mine, Powerfully Stricken, as well!

-Tin.

Solacitude responds:

It's been a little while you're right, 3 months since the last piece I published! I plan on -trying- publishing at least once every 1 or 2 months. I had to get used to a new keyboard and FL Studio at same time, but getting the hang of it slowly but surely!

I'm glad you liked this one, and felt it fits the story as well! Also nice thing you didn't notice key change at first, I'll take it as a sign that it's implemented seamlessly enough :)
I sure love composing in a neoclassical style, but be sure I'll come back at some point with more pop/ballad/Ghibli-esque kind of pieces. Thanks for the kind words!