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Alarm: cool track! If this came on at the club it would be a hit. Love the Phyrgian mode and the stacked 5ths in the bass-- added to a sense of stress.

Chase: very energetic synth motif! I always caution against repeating the same 4 measures of music with different instruments added in/taken out, as it can dull the listener's attention quickly. Loved the panned clock-- way to tie the theme into the music!

Wondering: This one's interesting! It seems to start contemplatively, but the drums bring much more of an intensity. It's a strong contrast of emotions in one song, and it's a little hard to tell what the vibe is. Either way, another solid track.

Nice work, and keep writing!

As long as it was intentional, I don't think it's an issue! And if the goal was so that they could blend together seamlessly during gameplay, I think that enhances my view of the soundtrack even more. All three of those tracks would blend together well.

City in the Clouds: I like the atmospheric quality of this track, though I do find myself desiring a stronger melody a bit sooner. You've definitely created an image of a delicate, beautiful city in the clouds with this instrumentation! There were a handful of harp notes that felt a bit out of place during the second half of the piece, though-- otherwise, not bad.

Timeless: definitely love the use of reversed audio, and the sprinkling in of gestures used in the last track.

Jungle Time: love this stately flute melody! This track has much more of a sense of directionality to it. For next time, perhaps add a countermelody during the repeat? The interplay of the clarinet and flute was great, and you can totally lean into that more.

Ocean Time: not too much to say, this is another solid track.

On the whole, you did well! I enjoyed how you were able to show the same location in multiple states, but also show us other fun, different locations! Good job, and keep writing!

The Cosmic Clock: beautiful little pizzicato melody, and I love the trilling woodwinds. This track is super mystical, and utterly packed with character. I was initially going to caution against having an ever-repeating bassline with different things going on above it, but there is so much character and so many different vignettes, I couldn't possible complain. It has a really mechanical feel to it, and brilliantly orchestrated. Would work great with a live orchestra! The singing was an awesome addition.

Ticky Goes To Town: You've established a quirky, whimsical world, and this piece certainly follows in that vein. It is strikingly similar to the Second Waltz by Shostakovich, though. Definitely be careful-- it sounds like you're dancing around Shostakovich's work. 1:52 is a point where it sounds more like original work. 2:10's flute motive is lovely! Again, 2:30 seems to be a direct rip of his orchestration.

Ticky Goes To Another Dimension: this track, despite the steady drum, feels slightly disoriented because of the offset harp-- brilliant effect. There are some times where the mix feels a bit imbalanced, with certain instruments sounding closer to the ear than others. Again, the addition of vocals is really cool!

Overall, I loved this soundtrack! Your production is really good. I still have mixed feelings about the Shostakovich quote: it's a delicate thing, because I'm sure it's in public domain by now, but you showed that you can compose a fun, playful waltz without needing to copy somebody else (1:52-2:30 all sounded original to me.)

Nice work, and keep writing!

Blackthorne Seamarket: I always applaud the addition of sound effects, like running water and birds, to help submerge us into the actual setting of the game. This is a cute little track, though the harp-mandolin(?) combo feels less steam-punky and more medieval to me. (P.S. definitely consider using Musescore 4's new sound libraries! They are free and a major upgrade from the previous ones.)

Pine Wood's Valley: another lovely track! One thing I noticed with your flute melody is that it lacks a sense of contour: it sort of jumps around freely without a sense of start, end, or a direction along the way. For next time, always take these things into consideration. 

Tenebrae Islands: One of my favorite so far: the haunting tritones, rain, and distant synths definitely give it a sense of mystery. To further create a disorienting and frightening atmosphere, perhaps you could vary the rhythm a bit? All the notes seem to change on the 1 and 3 of every measure.

Ardwen's Village: I love this janky melody with the whining dogs! Fun fun fun.

Nice work, and keep writing!

Taulight Overdrive: immediately, I'm impressed with the production of this track. This synth could kill a Victorian child. Undoubtedly a headbanger of a song.

Curiousity Drives Us: smart use of 6/8 to convey the adventure/exploration that accompanies this track. I normally caution against using the same chords over and over for the bulk of a track, even if instruments are added/taken away, but given this genre, it adds to the grittiness somehow. I wouldn't change it.

Oops You Woke The Machines: One thing I am noticing is that each track is in A. Changing that might be a way to create more interest? Regardless, this track is another real headbanger. 

That Thing Is Huge: another good one! Love the bit at 1:50 where things change up a bit.

Nice job, and keep writing!

Menu: While the ticking clock has been used by maaany of the composers here (me included, in nearly every track...) I like how yours sounds ripped right off an SNES... this is a very cool opening track, and the blend of 16-bit sounding synths with piano, bass, guitar, etc. is very nice!

Save File Select: smart use of the clock here! You've taken the same ticking rhythm and utilized it in a completely different vibe. This track is fantastic-- pure retro vibes here. There's just something about File Select music. It has a certain vibe... teetering the line between chill elevator music and brace-yourself-for-adventure-music. You nailed it.

The Center of Time: very cool effect here with the fading synths-- and the clock effect at the end, leading into the next track? Spot-on.

Time Travelling: it's super smart to repurpose existing material in a new light, and that's just what you've done with the Center of Time chord progression! Now it's upbeat. It was also smart to add a little tag: the same chords repeating again and again can get boring to the ear, so having some new chords after 3 repeats was a good way to keep the music fresh.

Clash: quintessential retro battle music goodness. I can see that you have a good ability to keep the music fresh: while chords do repeat a lot in each given section, you change them enough that things don't get too repetitive.

The Culprit: the way the beat is not quite aligned with the ticking of the clock is so clever! Conveying character through music can be a challenge, and through the little off-beat rhythm, we learn that this culprit doesn't quite obey the rules.

Fateful Duel: another solid track! The synth runs at 1:10 are my favorite bit.

In all, this soundtrack is wonderfully cohesive, with plenty of diverse sounds, and an almost post-retro feel with the synths + traditional instrument combo. Are any of these instruments played live? The guitar sounds like it could be.

Fantastic work, and keep writing!

While the use of a ticking clock was an all-too-frequent appearance on most of the submissions (mine included...), I do quite like how it brings us into the opening!

Loved the entrance of the drums and electric guitar, and the slow buildup of intensity! The panned voices in the next track are really cool, and I love the 7/8.

For this final track, I want to caution you against this all-too-common error. It seems like you've taken the same 2 bars and looped them, then added on/taken away instruments throughout the rest of the track. While eventually the chords and things do change, this repetition can subdue the listener's attention.

All in all, you did an amazing job with this soundtrack, and I enjoyed how you varied each track. Good work, and keep writing!

This is a fun, upbeat track! Right away, I noticed that some of the piano notes clash directly with the atmospheric synth's notes-- be extra careful to avoid this kind of mishap. There are definitely several other points where this occurs, so perhaps this was an intentional effect? One of the guitars almost seem to be in a different key altogether. I do love the way the track's energy is constantly propelled forward, although there are lots of times where so many instruments are playing at once, the music is perhaps too busy. I'm really not sure if you wanted so much dissonance, but a large number of instruments have frequent, direct clashes of a half-tone with each other.

Still, nice work! This is a cool track.

Welcome to your first OST jam! I've been around the block a few times but I'm looking forward to hearing what you put together.

Eclipse: I see you have some really excellent sound libraries-- this track sounds utterly beautiful. I always caution against the repetition of one line while instruments are added to/taken from it (a sizeable chunk of the soundtracks I hear ultimately boil down to that.) What makes this track acceptable in my mind is that the entrances of instruments don't always align with the start and end of the repeated phrase. In the case of the staccato strings, they actually come in on the 4th measure of the phrase.

Soul: love the reversed audio bubbling around. The entrance of this lush cello melody is divine, and I enjoy the tone shift. A beautiful little clip that moves.

Lover's Reunion: I can't lie, the first ten seconds actually gave me chills! What a delightful, delicate little piano-celesta gesture! The cuckoo clock is humorous, and the clarinet over plucked strings in 3/4 is another classic way to symbolize something whimsical. The interplay of woodwinds, and the constant passing-off of the melody is perfection. Another favorite moment is 1:05, when the strings join the bassoon briefly for the melody. In fact, delightful moments keep occurring faster than I can type. I think you've got it figured out...

The Medieval Battlefield: is that really you singing? It sounds like it could be the EW WordBuilder-- or you just have an insane, insane low range. As a baritone myself, I'm envious of this. How did you make that recording? It's so cool and ominous. I love how this track balances sounding almost haunted with having this majestic, somber feeling-- the souls, sad to be dying, perhaps...

The Child: the addition of the heartbeat is a creative way to add emotion, but the piano and string combo is emotional enough! This is the most cinematic of the tracks thus far-- it perfectly captures the feeling of saying goodbye. The icy harmonics are another excellent addition. The pulsating piano certainly sounds like it's imitating the heartbeat as they both fade.

To Safe Thy Soul: yes!!! love the energy that this track sparks. When the melody repeats, and it's echoed by an oboe countermelody... loved it. My only complaint (possibly my first and only complain so far?) is that the opening is so intense, but it gets more subdued as the track goes on.  Around 1:45, we almost seem like we're picking up again, but it once again fades. This big, beautiful flowing lines are welcome, but perhaps a percussion instrument would have picked things up a bit. Still, such gorgeous and incredible music!

A Second Chance: I love the return of the opening theme. The solo strings are wonderful (Cinematic Studio Solo Strings, I think? I use the same ones!)

In all, I am glad that you fleshed out your story so much. This soundtrack is incredibly polished, and despite living in a traditional orchestral world, the reversed audio and genuinely exceptional writing keep it from ever sounding remotely mundane. This is undoubtedly one of the best I've heard so far. I can tell you've put your heart into this, and I really hope you'll stick around do these jams again and again. Beyond exceptional work-- keep writing!!!

The Persistence of Memory: this pensive little flute melody against the simple bassline and uncertain string melody establishes a rather uncertain mood. The entrance of the other winds suddenly makes us realize we are in 6/8, not 4/4-- a nice touch. At some point, the repetitive nature of the flute motif and the plucked bass got reduntant in my ear-- or perhaps this was intentional, to warp our perception of time? Repetition used in this fashion (i.e. minimalism) can be very effective if used intentionally. Here I wasn't sure how intentional it was, but this was still a lovely opening piece.

The Sacrament of the Last Supper: as a violinist, my fingers are killing me just thinking of this very high, very long pizzicato passage! Luckily the MIDI violinists don't complain ;) this track is simple and pleasant, certainly a good conclusion track. I think I hear a classic hymnal melody intertwined as well! I actually love stuff like this.

Nice work, keep writing!

First and foremost, this is a very compelling story! I wish each track had an explanation of what was occurring in that moment, but I can use my imagination thanks to your thorough explanation.

Alternate Past: whatever soundmass you've created here, it couldn't have been at the click of a button (and if it was, I am dying to know what sound library it is!). I want to live in this ethereal soundmass. I want to buy a house in it and go stay there when I'm feeling pensive. Really cool-- and the slow sounds of a clock create this sense of something coming...

Forsaken Ruins: beautiful interplay of the cello and synth here. This track has more motion, and an undeniable icyness. I like it, and I want to hear what comes next after listening to it.

Metadimensional Rift: with a name like this, expectations are very high for this track! Fortunately, it did not disappoint! The bright, almost hopeful melody that is consumed by this dark, swirling noise paints a vivid picture of something horrible opening up.

Stream of Impermanence: another cool track that feels right out of an action sequence in a movie! The funky synths almost feel out of place here, but that's nitpicky (which I feel at liberty to do since this soundtrack is thus far very impressive.)

Hourglass Shrine: Not much new to say here! Sometimes it does feel like the piano is out of place with the rest of the mix: the distant synths are utterly cavernous, but the piano sounds right up close. Perhaps adding more wet to the piano could help? Either way, another stellar track.

Palace of the Demiurge: you know it's over when you hear the church bell... love the drama of this opening!

In all, this soundtrack aces the slow, atmospheric sound. I loved it-- good work, and keep writing!

Last Firewells: I believe the soundtrack is in reverse order on SoundCloud? Either way, this is a rather somber theme-- fitting for the story as you described it. I will say, the low thirds in the guitar are rather muddy-- otherwise, good job with this track.

Matchstick: love the synths and the distant, wailing oboe-like instrument! The icy, high synths definitely convey the coldness of the landscape-- and the dissonant ending chords, perhaps, signify the 

Silent Hell: the perpetual eighth-notes in the guitar definitely symbolize the slow trodding around that the protagonist and their wolf friend are doing throughout the day.

Chant Du Loup: a solid, quick track-- I liked it!

Left: definitely think the holwing wind is a good addition to this track-- and the lack of any sort of beat, at least at first, is perfect for conveying the confused, lost state our protagonist is in. I enjoy the low, dramatic guitar line. Certainly conveys that feeling of 'oh crap, what am I gonna do now...' that they must be feeling.

The Lone and the Wolf: as the first track, I enjoy that it introduces many of the instruments that will appear throughout the soundtrack, including the synthesizers and guitar (which are really the main two.)

In all, this is a solid soundtrack, and I'm impressed. Good job, and keep writing!

Minute Man: What a fun, cheery opening soundtrack! Love love love this retro chiptune vibe-- and thanks for keeping the chords varied and interesting. Also-- props to whomever made that fantastic album artwork!

Secondhand's Shop: what a unique track! It's better to have shorter tracks that are packed with unique sounds, as opposed to a long track with frequent repetition, in my opinion. Using Lydian inflections to denote whimsy is classic-- you've clearly got a sense for what musical elements convey certain characteristics.

Cogwheel Plains: another fun, bouncy melody! Here I see a skill exhibited that's very crucial: the melody passes from one voice to another. That's an effortless way to create more interest in a track. Well done! Not to mention, a really cool ending progression to propel the listener into the repeat.

Cuckoo Forest: fun use of non-chiptune instruments here! When I compose video game music, I usually will have one or two chiptune lines over orchestral stuff, so adding the bells over otherwise chiptune-only sounds was a cool touch.

The Hour Tower: fun, subdued melody-- I heard some Phyrgian inflections there, along with some unexpected modulations. Way to keep things fresh! I am impressed beyond words.

Battle with A Timeless Foe: this is quintessential battle music right here! Love the funky bassline. 

My comments may have become sparse as the soundtrack goes on, but that's mostly because things I wanted to say would have become redundant. All of the tracks were short, but feature-packed, and often had really exciting melodies, harmonies, transitions, contrasting sections, etc. etc. etc. Undoubtedly my favorite soundtrack I've reviewed so far. Excellent work, and keep writing!

Last Stop: while beautiful, this track feels less negative and somber as it does melancholic and bittersweet in my opinion! I always caution against repeating the same 4 bars of music with different instruments added or removed-- perhaps a B section would have benefitted this piece? Either way, beautiful and certainly emotional music.

They Are Here: clock, or heartbeat? Taking the classic clock chime sound and putting it low in the bass is a cool touch. Again, the chipper guitar melody and general major quality of the chords doesn't really capture a sense of death or urgency-- more of a dancey quality? For next time, try experimenting with darker harmonies?

The End: Definitely my favorite of the three tracks. The low, dramatic piano progression is the most unique in the soundtrack. Again, I wish they wouldn't have repeated verbatim for the full length of the piece-- and there are times where the melody has clashing notes with the chords. Ignoring harmony, though, this track is pleasantly atmospheric and has a sense of rest to it.

Nice work, and keep writing!

Dejavu: I love the sound of this reversed guitar! Very cool, yet after the third or fourth repeat, the ear desires a bit of a change. In essence, this is 8 bars of music repeating again and again.

Main Theme: this guitar sounds similar to the one from Dejavu-- perhaps you took it, tuned it up, and reversed it? Either way, once again my ear craves a bit more variety-- and variety is delivered with the really cool breakdown section.

Nice work, and keep writing!

Save the Space Time: all of the synths you used are really cool, and I love the echoing sounds of the clocks! It's a cool piece, though I always caution against repeating the same chords for such a long time. The B section at 1:55 could have come even sooner, I think!

Time Goes Slower: immediately, I love the daunting feeling this track has. The slowed down clock is a nice touch. This slow 10/4 is a cool meter to be in! Definitely my favorite of the two tracks.

Good work, and keep writing!

The opening, immediately, is eerie and unsettling. For next time, try adding a B section to your piece! Instead of repeating the same piano part, and just adding new things to it, try introducing a new instrument, new harmonies, etc.

Great job, and keep writing!

Cool use of the clock sound! Definitely a funky track that I could see playing at a club as much as in a game. Not too much else to say about this one, as the same chords repeat so much that it sort of fades into the background... though not always a bad thing for a game soundtrack.

Going to the Olympics 2020: what a fascinating opening! Love to hear live instruments used. The reverse sounds are cool. I do always caution against the method of composing where one repeats the same 2 or 4 bars with changing instrumentation, as it can get redundant quickly. While it does eventually return to the same chord progression again, the break around the 1:10 marker was a cool way to spice things up momentarily!

Koriyama Skyline: I love the use of chatter sounds in this track! These little extra-musical additions are what really make a track unique. This track really would have benefitted, I think, from a melody a bit sooner: the piano melody was cool, but waiting so long to finally bring in a melody detracted from the opening: also, having the piano chords so low and tightly voiced muddied those chords for me.

Grand Escape: loved how it went right from one track to the next! Loved the little clock sound. Be careful, because the piano is clipping.

Nice job altogether, and keep writing!

Title Theme: smart contrast of high and low registers to create a creepy vibe! This melody is almost Wagnerian in length, or I'd suggest a repeat with an altered orchestration.

Puzzle Theme: loved the polyrhythm here. Once you layered in all the instruments, I'm glad you changed the harmonies instead of leaving it static on the i chord.

Safe Room: not too much to say about this track-- a nice, simple break from the action.

Battle Theme: while definitely very intense, I think this track could have benefitted from further percussion to really ramp up the intensity of the strings.

Game Over: loved the use of solo strings here, perhaps to imitate the sounds of a funeral dirge. (the Musescore solo strings really do sound good!)

While using clock sounds to tie in the tick-tock theme was smart, I'd have loved to see more creative uses of it instead of just having it on the first beat of each measure, or on the 1 and 3. Perhaps having it in a polyrhythm, or keeping it in 4 over a mixed meter, would've shaken things up? That's my only real criticism: otherwise, you did a great job, and keep writing!

I am thrilled to hear something recorded live!

Hush My Child: an effective, simple, lilting melody is a difficult thing to achieve while still sounding fresh. You've managed to succeed with an utterly pastoral little tune... I was dying for a repeat!

World of Wonder: by the time I reached this track, after hearing only two measures, I immediately knew this was going to be one of the top soundtracks. The playful use of meter is brilliant when trying to portray children's experiences, and it sounds like this recorder melody (brilliantly played) fits the contour of the Hush my Child melody, almost like a variation. A knack for good melodic writing is on display here. Having a definitive A and B section was also smart. Again, I wish the music had looped! But I understand limited recording time.

Teenage Battlecry: still a very lighthearted track, I don't have too much to say about this one. It's very cheery, and the brass/organ combo reminds me of carnivals, marching bands, etc...

A Slower Life: A beautiful, gentle track (that piano motive sounds so much like the opening to Defying Gravity!) I'm so happy to hear these live instrumentals, which truly add such a warmth. There were two times in this track where there were contrasting natural 6ths and flat 6ths played, which did pull me out of it a bit-- but again, given these are live recordings and time was limited, I can't protest too mcuh!

Dreams and Memories: smart use of the crackling effect to portray the aging that has occurred. A somber ending indeed.

Hush My Child (credits): excellent and sweet conclusion to this utterly adorable soundtrack :)

On the whole, I feel that World of Wonder was the most lovely track here, and it felt really innovative and exciting. I think some of the later tracks could have used similar levels of fun and creativity, but they all undeniably matched the vibe of the life stage they were meant to represent. You should be immensely proud of your work, and I hope your girlfriend is feeling better (you sang beautifully!) Good job, and keep writing!

tick tock: what a bright, fun track! It's important, in competitions like this, to rely on the theme in order to stand out. The sounds of people counting, as well as the metronome, are smart ways to tie in that theme and win some extra creativity points ;)

I'm super impressed by the way you keep this track sounding fresh. Lots of fun melodies and constant changes in the beat. This track belongs right up there with other sonic tracks.

gameover: love the chillhop vibe here! Another smart way to establish unity between tracks, especially those which have such contrasting vibes, is to borrow elements like chord progressions and melodies-- which you do beautifully here. It almost feels like a variation of the previous track. The oscillating pitch bend is a hair too wide for me, and it just confuses my ear instead of sounding like an old-timey piece of machinery. Also, the bass drum is really forward in the mix.

In all, these two short tracks are bursting with personality and energy, and sound very unified despite their contrasting vibes. Great work, and keep writing!

Tangled Threads: a great opening track, this certainly sets the scene for the dramatic story you've laid out. The unusual rhythm in the synth, while pretty cool, does detract from the piece's atmospheric qualities because of how closely placed it sounds in the listener's ear. Lovely when the strings come in! There's lots of cool synths on display here.

Where Do I Run: Nothing like a IV-III-IV progression to portray melancholy! It's a beautiful opening to the track. This track is able to capture the atmospheric vibe much better for me: the strings still have a unique, pulsing rhythm (similar to the one the synths had in Tangled Threads) but without the harsh attack that pulled away from the other, slower instruments. Loved the entrance of the guitars, and nice drop. When you write a repeating chord progression with instrumentation changes at every repeat, it can become monotonous very quickly; hence why this drop was very important to keep the interest up.

Day By Day: what an exciting harmonic world we open in! While every piece thus far has been totally tonal, this one fully embraces atonality-- and I love it. I would have loved to see more of this sharp, angular, gritty harmony in the earlier pieces. Once the smaller, kit percussion enters around 1:30, this sounds like something I would totally study to-- much more of a chillhop vibe.

In all, I'm impressed by your ability to build up tension in a track-- and the very unique harmonies of Day By Day. Keep writing, and great job!

Points for uniqueness, certainly! An intense, very metal track with sometimes atonal(?) moments? Not quite what I had expected, but I love it. Belongs just as much at a concert as it does in a video game. You were able to keep it fresh while never sacrificing intensity. Well done!

First of all, 'middle-aged man getting a divorce' is a really unique idea for a game, and I think it would have some charm to it! 6PM immediately gave me animal crossing vibes. This is a light, easy track that would fit right into a home renovation game.

Title is also really enjoyable! The two tracks certainly sound similar, though the end of Title had some brief and interesting drums-- would have enjoyed hearing more of those!

Nice job on the whole-- keep writing!

The Main Menu music is soft and serene, with nice winding harmonies. Your main theme is very unique, drifting in unusual parts of the scale with odd harmonic inflections. There is a lot of potential to reharmonize this strange melody, and I look forward to hearing it in the other tracks!

Midnight waves is short and solid! You're pulling some lovely timbres out of the Musescore 4 palette so far. I really enjoy the lack of constant repetition in this soundtrack: things keep changing to keep the interest alive! 

Underwater world is another example of some really unique and lovely harmonies.

Really dramatic finish with Some Wishes Don't Come True! I love a little Dorian inflection ;)

I applaud your thematic development and exploration of harmony. Solid work!

The Herald was a lovely opening! I must know what library you used for the guitar. The cello melody got a bit buried by the other instruments when they all came in. I also felt like there was a lot happening all at once, but it was hard to discern the piano runs from the guitar and the strings-- it was all a bit muddled. Be careful with overloading your tracks!

The Forest Spirits is interesting-- the combination of organic, close-mic flutes and synth flutes was cool in the beginning.

Good use of wave sounds in Seaside Respite, though they did linger for a long time before the piano came in. Beautiful piano improvisation here, it was certainly soothing and reminiscent of the flowing waves.

Gluttonous Miasma had a really cool opening! All of these synth sounds are really epic and help to build the mood! Again, the cello melody here is hard to pick out amidst all the synths. Super innovative use of what I think was coughing sounds? There is a huge variety of timbres at play in all of these tracks, which I think keeps the drone-like harmonies from getting repetitive or feeling too slow.

All you could wish for had a really interesting quality to it! The fuzziness of the piano gave it a homey vibe which aligned with the idea of being in a small house with a star. The intense arpeggios were the only thing that didn't quite work for me in this piece: it was a little too intense for the mood the story implies.

In all, this soundtrack is very well-done--you have a knack for making epic, sweeping tracks, as well as wonderful keyboard skills. I applaud you for using real recordings too-- not an easy feat to make them sound this high-quality!

Wish Upon a Star had a really fascinating start, and I can tell already that this will be a really cool track just by the subtle, interesting audio effects. This is a beautiful, lilting, simple melody-- enjoyed the harp countermelody. Great start, definitely establishes a serene mood for the rest of the soundtrack.

Contemplate starts sparsely-- good move here, as every track doesn't need to be overloaded with instruments.

Soared in Purple skies felt improvisatory and free-- I quite liked it. This was the most varied of the tracks so far. Beautiful modulations and chords, and cool synths! You can feel the moment where she begins to fly away-- magical!

Lovely change of pace at The Music Box! I enjoy how, despite the upbeat tempo, the track remains relaxed and chill.

Dor has such lovely, interesting chords in the beginning: I've noticed all throughout that you use directionality in your music to indicate rising, falling, etc. This track had some iffy harmonies at one point early on, but this was brief. The return of the opening theme was a tender moment-- things like these help music sound more heartfelt.

Overall, this was a lovely soundtrack that perfectly channeled the chill, starry vibes of the jam :) nice job!

Track 1: This is a really lovely motif! Beautiful use of mixed meter-- and I love the sound of this cello, so expressive with wonderful legato. Harmonically, I'm interested the whole time. Solid job, and great ending.

Track 2: Ah, this was a refreshing change of pace-- I love the upbeat strings and the layering of new instruments with the second repetition. The B section is well-done, that wooden percussion instrument has such a cool sound to it-- I can't quite tell if it's just a marimba.

Track 3: Another awesome change of pace, this track is so fun! The guitar sounds great too-- and the kit percussion is a wonderful addition. This is a prime example of how to remix an existing melody in a cool way! Despite such wildly different sonic worlds between tracks 2 and 3, the melody helps keep it consistent.

Track 4: I love a nice, delicate winter level theme, and this accomplishes that beautifully. I love the slowed-down melody-- another great way to mix things up, and it opens up room for more interesting countermelodies-- as you have done with the crotales/glock.

Track 5: Another great mood shift, the dramatic piano and drums sound great! For some reason, something about this mix-- maybe the solo violin?-- makes it feel less intense and more computer-ey. I can't pin exactly what it is, sorry.

Track 6: I'm glad to hear the return of that beautiful solo cello! The buildup to the release is really cool-- and the conclusion is wonderful, I love a good bVi bVii I...

In all, I'm impressed by your work. This is a good soundtrack with a lot of character. I think it is missing a sense of identity, which is perhaps a result of just how varied each track sounds. It's a shame, because that variety is my favorite part of the whole thing-- so take my words with a grain of salt. I am impressed-- keep writing, it all sounded great!

Track 1: I can tell that you put a lot of effort into making this track interesting! It sound through-composed, like you never just copy-pasted a section to repeat it. That effort is key to making your music stand out. Writing unafraid like this is a brave thing to do, and props to you for it. I quite enjoyed this fantastical track, particularly the more intense moments. My only advice for this piece is to make sure your orchestra isn't too busy-- there were several times where I couldn't make out the melody over two or three other lines.

Track 2: Woah-- this opening is wild, and the brass sounds absolutely wild. This track is brazen, intense, and gripping-- in fact, and I almost never say this, you may even need to reign it in a bit! Some of these cluster chords sound like there are 15+ voices at once-- most brass sections don't have much more than 6. While clusters are a really cool effect, they can make the music sound computerey if you don't keep the instrumentation realistic. That said, this track is far more intense, nuanced, and interesting than a lot of other intense track's I've yet heard. What I hear is a compositional voice that hasn't been restricted by the expectations of what a composer should sound like. That freedom is something I admire-- and something I wish I could capture more in my own music.

Track 3: this opening is harmonically free and beautiful, but then it does get a bit plunged back in to that really dense texture where I cannot make out the melody. Much of this could be to do with the software, but in general, it's okay not to use all the instruments all at once-- or at least not this many. 

Looking back, this was a lot of criticism, and I want you to understand why. A lot of the music in these submissions have been neat and clean, but have essentially been four chords repeated over and over with the instrumentation changing every loop. What you've written is leaps and bounds more expressive, unique, and like I said, very gripping to listen to (I was hooked the whole time!) You allowed your voice to come through and really express the emotions of the story. Maybe each track wasn't perfect, but frankly, I'd much rather listen to your real, nuanced compositional voice than any four-chord loop. It feels like there's room to actually critique... where some people don't share enough of themselves to allow that to be.

Consider me sincerely impressed-- I've listened to this whole soundtrack twice through and am excited to hear more of your music. Bravo, and keep writing!

I love this spooky track-- definitely belongs in a sneak/chase scene in some horror movie. The ending is definitely a  highlight. Nice job, and keep writing!

Track 1: Interesting mix here--this combination of instruments and sounds is unique. Definitely has me intrigued to hear more!

Track 2: I really love this orchestration, both tracks have such a unique sound! I can't think of anything to compare it to. That old, flutey synth is really cool too. Good job with this one.

Track 3: Really ominous track, I love how it just blossoms open.

In all, this is a solid soundtrack, and you did well. Keep writing!

Track 1: The live guitar, and bass combo is excellent! This track immediately feels cozy-- reminds me a lot of the soundtrack to Garden Story, actually! This is an A+ track: you say what you wanna say musically, without any added fluff, and do so in a clearly defined sonic world. It's perfectly done!

Track 2: The addition of more intense drums gives this track a new tone, while the guitar, bass and chiptune tie it in to the last one. Great use of modes here, too. Loved that looser B section-- couldn't quite feel the beat, which was a cool effect actually...

Track 3: Very interesting track... sounds almost like a holiday track from Animal Crossing, wish I could remember which one... definitely love the sparser orchestration.

In all, you achieve great things in a short and sweet way. Top-notch music in a bite-size portion, written with great detail... and of course, major props for recording the guitar! A perfect score in my book. Bravo, and keep writing!

You've just about moved me to tears, my friend... it's crazy to think that my music could have been such an inspiration for someone else.

AND YOU LIKE THE TRIANGLE... DO YOU KNOW HOW MUCH TRIANGLE I USE AND IT NEVER GETS ANY RECOGNITION >m<

God bless you for liking it. It's, like, my third favorite instrument.

Seriously though, thank you for listening and for giving such great feedback. It's always wonderful when people pick up on the subtle nuances, reharmonizations, and other little details that make the music special. 

Thank you so much for listening :) I hope the same thing too!

Thank you so much for listening and for the feedback! I know-- this was a really long soundtrack, and honestly, after the track loops back to the start, it would be fine to skip to the next one. I guess I just had a lot to say, and needed to get my creative juices out!

Thank you so much for the feedback, it is so appreciated :)

I would really, really like to see this game come to fruition somehow-- but I wouldn't know the first place to start with that, so who knows if it'll ever happen.

I wouldn't say the soundtrack was directly inspired by the likes of Legend of Zelda-- at least not from a compositional perspective. I simply haven't played enough Zelda games, honestly! From a sonic perspective, though, I can shamelessly admit that WITH the close-mic woodwind sound present in tracks like Nettle Glade (Day), The Oasis, and The Thornway (Day), I was trying to emulate the new Link's Awakening. If you go and check out my soundtrack Animula (MUCH shorter than this one, I promise XD) you can hear a more direct inspiration from Breath of the Wild, at least in the first two tracks. And if anything, this is a good excuse to go check out Twilight Princess' soundtrack!

No stress about going over each track-- there's a lot of them, that would be super unrealistic. I appreciate that you even listened to all of them! And again, your soundtrack was really great-- good job!

Track 1: This piano opening is beautifully cinematic, and an awesome start to your soundtrack. I am extremely excited to hear your use of modes-- it is clever musical ideas like these that add interest to any soundtrack. Great opening theme, definitely gives this game a sense of awe and wonder and has me excited to keep listening.

Track 2: this is a simple, beautiful menu theme,.

Track 3: I love this catchy theme! So far your music has been attentively written, and it all sounds great. I am glad that you aren't shying away from changing meter, modulation, and having plenty of consistent changes to the music.  Better to have one minute of great, diverse music than 4 minutes of a repeating chord-line, it really keeps the track moving.

Track 4: another really well-done track, I enjoyed the accordion and the wide variety of instruments used here-- using a lot of instruments is an easy way to add diversity and prevent the timbres (no pun intended for this pirate-y track) from getting boring.

Track 5: At this point in your soundtrack, I haven't yet said "okay, I get the gist of this track, let me skip to the next..." You do a good enough job of keeping things very interesting that I have listened to each track fully.  This one is no exception: definitely giving starry cave vibes.

Track 6: Wow, awesome usage of the Locrian mode here, this track goes so hard!!! That transition into the beat was awesome... absolutely killer boss battle music.

Track 7: Only because you're so good I feel like I can nitpick, the melody in this track was slightly hard to follow. It drifted without much direction or shape. Other than that, the track sounds really beautiful and makes a lovely conclusion to this amazing soundtrack.

From one composer to another, fantastic job. I am glad that you embraced modes: they really are a simple and effective way to add interest and character to any track. I hope you continue to write music, as you've got the gift of charming, lyrical melodies, music with plenty of character, and a knack for writing meaningful, awesome stories.

Track 1: Definitely a very creepy, unsettling opener... do I hear a bit of Dies Irae in this melody? Always a good touch ;) this track did run pretty long, though I'm assuming it just loops, so I ended up cutting to the next one around 3 minutes in to save time.

Track 2: immediately, I was impressed by the use of synthesizers here-- and it sounds like you've incorporated the main theme of the first track here. The monster-breathing effect was brilliant. This becomes incredibly eerie very quickly... the mixing is so immersive.

Track 3: another cool-sounding track, and quite cinematic-- I enjoyed the sudden dramatic shift. You keep interpolating that me-di-me-re motif everywhere, it's very cool to keep hearing it pop up! However, I again had to skip forward as this track was a little repetitive after a while. Try to avoid getting locked into the four-chord repetition cycle, it can take away the natural momentum of a track!

Track 4: loved the electric guitar entrance! Is that you playing? This is another really cool track at first, and then it gets locked back in to a repetitive pattern-- after the 14th or 15th repetition, the piano motif is becoming redundant.

Track 5: super hardcore track-- I am really digging this electric guitar! Your composition skills are really good, each track is well-crafted and I am still hearing that motif everywhere.

Track 6: You have an excellent way of making twisted, corrupted-sounding music-- and I love what you've done with this track. The restatement of the first part of the track, now with a corrupt thundering sound beneath it, is a cool effect.

Track 7: more good stuff, nice job here. Also, I just saw your note on the repetitiveness of these tracks-- so I take back my previous criticisms, sorry about that!

Track 8: still loving all of the hardcore stuff you're making! This is an awesome "final chase" theme.

Track 9: Again, cool stuff here-- I love all the story cues you have. Each track is very well-curated to match the story, you have a great intuition for that. 

In all, this soundtrack is immersive, eerie, and remarkably well done. Amazing job, and keep writing!