#cool story in the video music

[ace-and-ranty]

Wicked, the book, feels in theory like something I could really love. Unfortunately, I did read it, and I did not like it.

[red-moon-at-night]

🗣📢🗣📢🗣📢 NEW TOOBOE MUSIC VIDEO 🗣📢🗣📢🗣📢 EVERYBODY STAY CALM

It's really really REALLY fucking good please go check it out and enjoy 🙏🙏 thank you for listening

[bmpmp3]

thank god for indie devs making like tiny little maximum 10 megabyte freeware games on itchio keeping the art of filesize optimization alive. ASSET REUSE FOREVER!!!!!!!!!!!!!!!!!!!!!!!!!!

[caluupin]

Father!!! 🔥🔥🔥🔥

[francy-sketches]

I'm gonna have to work on my final project non stop for like a month straight bc I procrastinated on it too much fuck my stupid baka life

[quantomeno]

The Gilded 7 Casino

This song is clearly influenced by Take 5. Or at least I want to think it is. I discussed time signatures in my previous song analysis, but like I said then the most common time signature is 4 4 (it's even called common time). It's 4 crotchet beats per bar. If you can dance the Macarena to it, it's 4 4 time. If you can dance a waltz to it, it's 3 4 time. Take 5 uses a very unusual time signature: 5 4 (5 beats per bar). Take 5 also always makes me think of casinos, even before I played this game.

Now, the Gilded 7 Casino also has a relatively uncommon time signature, but it sadly hasn't got the number 7 in it. This felt like a massive missed opportunity but it would have also been quite odd to write so I can accept it.

Anyway, to the actual analysis: the song is written in 6 8 time. Note that both numbers are different from usual. The unit beat is different: instead of a crotchet (quarter note) it's a quaver (eighth note). This is known as compound time. It's the time signature used for songs such as Greensleeves or INXS' Never Tear Us Apart.

It is my favourite time signature.

A waltz has the accent repeating every three beats (1, 2, 3, 1, 2, 3 for an example see this video at 1:22), and so does 6 8 (but it's more like 1, 2, 3, 4, 5, 6). You have to imagine it like two beats played per bar, and those two beats are split into thirds.

The easiest way is to say 'coventry' two times a bar.

Take a listen. Note that the tempo is quite slow relative to each 'coventry' (it's almost one coventry a second, I think it's 48 a minute), but because it's three little beats per each two big ones, it feels quite fast.

(Note that I've seen people write sheet music for it using 3 4 time. I think this wrong, but if you change the tempo the two time signatures are virtually indistinguishable, so who knows.)

So, why 6 8 (or 3 4 even)? What does this bring?

Let's take a step back and look at the rest of the song first.

It's rich. The piano feels weighty, with nice, heavy chords punctuated by deep, low notes which anchor us to the beat. You have that warm, arco violin paired with that husky-voiced saxophone. We have that constant heartbeat of the piano along with a walking bass in the back that fills out the sound nicely. It is a thick texture that is veritably thrumming with life, yet... there is still something not quite wholesome about it, isn't there?

My sources tell me it is written in D minor. This accounts for part of the discomfort it engenders. The minor key brings a sinister atmosphere to the piece; you feel like something bad is happening, if not evil than at least something dodgy. Exactly how it feels to be in a casino, surrounded by all the money being thrown around and the shady dealings going on. The casino is a Family-run business after all.

(D minor to me is also an elegant and rich key, that evokes deep purples with touches of crimson. It's because of the D being the tonic. It just is OK.)

The dynamics are decidedly loud, again creating a bustling atmosphere. I feel it is pertinent to note here that the first time we hear this song (correct me if I'm wrong but I distinctly noticed this last time I played) is during the slot machine gun scene. Unless you voluntarily choose to go back to the casino afterwards, this cutscene is the only time you'll hear the song. This piece is designed to evoke a sense of chaos and thrill.

And now, we reach the rhythm.

6 8 time. It evokes a waltz or a ballroom dance, which aids in building that elegant, luxurious vibe, but, being 6 8, it is notably quicker than a normal waltz would be. It gives the piece a briskness, but since each fundamental beat (the 1 and the 4 I pointed out earlier) is quite slow, it doesn't lose that languid, almost bloated feeling.

Then we have the violin and sax. The violin tends to jump between playing short, detached, strongly accented notes (e.g. at 0:52) and longer, smooth notes, but never really losing any intensity (e.g. 0:41). The saxophone is much the same (listen from 1:20 to 1:43). Again we have this contrast between the stateliness, the weighty feeling of wealth, and the buzz of the casino. It's a bit like the ostentatiousness of the nouveau-riche compared to old money: the casino has cash and it's showing it off. The elegance here is all bought and as a result it ends up feeling tawdry. It also helps with the action-packed scene that it features in. This is further evoked by the sax's tendency to add ornamentation to its longer notes: little flitterings of notes at the start of the drawn-out ones. It feels like it's trying to impress you.

Also, big shout out to the percussion: that cymbal crash really brings out the bam! and could be a bit of a play on the sound of coins falling. The drum beat enters quite late, at the same time as the sax. It doesn't quite work to keep the beat, however, if anything it seems to land on off beats, opposing the regularity and pacing of the piano. Once again, we have a song that brings out unease but also bewilderment and hustle and bustle. The song feels fun, it just has a dark undercurrent.

Exactly how the casino should feel.

It is not Layton-esque, and it highlights how future London has become a seedy city ruled by criminals. Recall that Layton, a man of simple elegance and refinement, who appreciates the craftmanship of a simple lacquered stool, is now (supposedly) the owner of this den of iniquity.

It evokes all the things Layton patently isn't and in doing so encourages a sense of revulsion that things could become so bad. The whole casino makes me feel sad, because it stands opposed to everything Layton believes in, and the thought he has changed so completely he would forgo those values hurts.

[wanderingibon]

yaelokre's new album songs of origin is so good GWAHHH the vibe the lyrics, im chewing on this so hard.. especially for dragon age ocs, not to be cringe on main but 'bird cage blue and yellow' is giving crow rook and lucanis (in terms of their characters / story parallels) to me severely. let me cook

[hawkinslibrary]

well, i can't upload the video, but the first official post for st day is here ! bts of the play for anyone interested

[pippuns]

finished ff16 :)

[echoesofadream]

me watching mv shoot sketch.. i forgive him 

[lgalacticjayl]

Sorry gang I'm going insane over Watsky again.

But please look at this, 5 songs that each flow into each other and this just keeps getting better and better as the songs themselves are so good but then they all have a conecting story! and they blend into eachother! and now theres sick as animations! oh my god this is so incredibly artistic and so cool

[downtherabbitholewithlucy]

GEAR-TALK with Wes

[always-a-joyful-note]

Okay correct me if I'm wrong but I'm like a....marginal looker-on of kpop groups and something that I've picked up that utterly fascinates me is the way that these kpop groups focus their songs and music around some sort of concept that has so much story potential in it.

It's like...combining ballads and epic songs with modern pop music and in essence creating the short stories/one-shots in the same world version of those ballads and epics. Like musicals but rather than a cohesive single story, fragments of story ideas, and I kind of really love that....

[mymarifae]

like when it comes to people advocating for shit like more of kikuo's work to be included in prsk it's just...... did you... did you look at the lyrics. or did you just hear technically well-made somber-sounding music and go "yeah this would be perfect for 25ji to cover 😍🥰💖💖" (side note: society when 25ji stops getting labeled as the Edgy group when their personal themes are just as positive and lovely and heartwarming as all the other groups 💔society when this fandom learns to read) without taking the five minutes to understand the absolutely abysmal really fucking disturbing sickening topics kikuo tackles in his music . like this isn't music you listen to for fun it should make you uncomfortable you don't fucking Jam Out to this stuff you shouldn't be able to listen to it more than like. once. it has no place in prsk and this applies to a lot of other songs and producers y'all want in there and also some. songs that are already in the game but i digress

[alethiometry]

kinda wanna put a pin in bg3 and go replay fc5 if i'm being honest 👀

[last-answer]

OH my friend was telling me abt smth cool earlier