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localicecreambiter · 1 month

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Zelda Main Theme/Title screen tier list

before we begin, this is my own opinion and preference in music! we all have different taste, so dont let mine invalidate yours!

im putting explinations for my choices below the cut, so if you wanna hear me yap about zelda music nows your chance

Triforce Heros: 10/10 i absolutely ADORE the triforce heros sound track! (actually listening to it as I type this) its such an underappreciated title (being the "bootleg" four swords lol) but has such good composition its hard not to love it. its similar to botw's rito songs in which acordians are found in a lot of the tracks- anyway back to the topic of the main theme: its great. a refreshing change from the main zelda theme (as was trend with the DS games) and has a lot of character to it. high energy too!! exactly what i want to hear! a straight vibe that id wait to start the game just to listen a little longer

Spirit Tracks: i think we all know why this is 10/10 spirit tracks is another one of those underrated titles, especially for its music! i love how the melody (extremely catchy by the way) is played by a flute here, corresponding to the instrument you get in game :) it feels like im about to embark on an epic cross country ride

Wind Waker: even without knowing the plot of the game it feels like a sailor tune that would be played at dinner on a ship. its simple, and cutesy like the games art style, but fun and catchy too! a classic, one that really gets you into that sea fairing mood

TOTK: The only reason this one isn't higher is because I don't like that beginning bit with all the weird whisper singing. it fits the game really well! its just not my favorite sound in the world, but the melody hits HARD and really plays with the emotion of the scene that accompanies it in game. its high energy, but not in the same way triforce heros was, rather in an epic way rather than bouncy (if that makes sense?) its composed SO well, AND THAT BIT WITH THE SMALL BIRST OF PICCOLO??? chefs kiss. favorite part. not to mention the small zelda's lullaby motif at the end?? THE BOTW MOTIF??????

Skyward Sword: ballad of the goddess is genuinely just SUCH a good song, and the way its composed for the main theme gets you in all the right ways. the deep brass makes it very dramatic, especially with the drums it uses (love me some boomy drums). I love the woodwinds playing with the brass too! scratches the itch just right

BOTW: another great theme! it manages to change up the format a bit, but still keeps that dramatic vibe a zelda theme should have (for the more serious games, I mean, triforce heros doesnt count-) the acordian returns!! the melody! oh my god the melody!!!! its definitely a breath of fresh air (hehe get it?) it manages to encapsulate what a plesant breeze blowing against your face feels like somehow, and im living for it. i love the use of the dragon instruments after the pause! it feels like all the different cultures of botw hyrule has been rolled into this song with the instruments and all that

hyrule warriors: bet you weren't expecting that one, huh? its the only semi-traditional zelda theme in the top tier, and why? im a bitch for motifs, okay? I wasn't diging it at first, because it just sounded like a recomp of the classic zelda theme just really damn epic, but then it hit me with that tiny twilight princess motif and I knew I was in for a ride. THE BALLAD OF THE GODDESS MOTIF GAVE ME CHILLS i was not expecting it at ALL! and tHEN IT TRANSITIONED INTO HYRULE FIELD FROM TP??? AND THEN IT DOES IT AGAIN LATER IN THE SONG? i love you hyrule warriors NOT TO MENTION THE OTHER MOTIFS IT SHOVES IN THERE?? OOT?? MORE TP????? i am unapologetically a motif lover and i will stand by my decision

Minish Cap: i was ranking the track "story" since the intro screen was just 8 seconds and not really a song. i love how peaceful it sounds, and really befitting for a legend. ironically, it reminds me of The Legend from deltarune in a way. the whole song feels like an exposition, and personally one of my favorites which is why it ranked so high

Age of Calamity: ah, hyrule warriors' more popular, edgy, younger sibling. i wont lie to you, the melody is killer! and i love how it goes from eriee to epic final battle-esk music half way through. it feels like a final stand, and my GOD is it good

Twilight Princess: its so empty and woeful sounding, yet oh so full of hope and light i can't help but love it. its so pretty, so SO pretty. it does so much with so little and thats one of the things i love about it. i think the best compliment you can recieve is "you look the way the twilight princess main theme sounds" plus the wolf howl at the end is so funny

Ocarina of Time: i love that OOT makes the ocarina the main melody player and started the trend of the main game instrument being featured in the title/main theme. this one is pretty in a different way than twilight princess, this one is peaceful which is so misleading from the actual game story that i love it even more

Links Awakening (2019 Switch Remake): I separated this one from LADX because its VERY different from the original opening. Obviously, this one isnt retro music and that kind of adds to it, but its also the different beginning bit that sets it apart. the small mabe village motif before the actual zelda theme plays? love it. i really liked how they composed this version with all the different koholint instruments, it was like giving the song a new coat of paint. i love the classic zelda theme, but once you hear it so many ways it can get a little old, so it was great to see them do it like this :)

Majora's Mask: this is really only ranked so high because clock town is an absolute killer song, and I listen to it on loop. the only other reason is because that sharp turn at the end? my god its so disruptive but so good at the same time. the way the background cello gets intruppted by an ominous bass that grows louder, and how the clock town melody abruptly stops? such an amazing and indirect way forebode the dark theming of the story. both MM and OOT have such peaceful themes for their story lines, its good to see mm actually show that in the theme music

The Legend of Zelda: a classic, and what started it all. its simplistic with a great, strong melody, and i like how its paced a lot slower than most of the other games. that opening bit and the transition with the bassline is my favorite part.

Four Swords Adventure: this was another one I wasn't digging at first, but once you got into the meat of the song it was really nice. It starts as one melody, but gains a trumpet echo and a violin. its somehow chaotic but cohesive? i like how that reflects on the game

Oracle of Ages/ Seasons: OOA/S has nearly the same exact theme as LADX and four swords, only composed slightly differently. It keeps things simple, yet its very effective and plesant to listen to. a bouncy rendition of the main loz theme, just like FS and LADX. the only reason this one is ranked higher is because i liked the lower tone of the ooa/s rendition compared to LADX

Four Swords: im going to be honest, the retro sounding bassline with what i think is a snare? it felt a little strange, but i liked the little bits of the higher sounds acompanying the melody here with it. it felt like it was trying to be grand, but didn't quite hit what it was aiming for all the way. it was the beginning that through me off, really-

Links Awakening DX: simple, effective, yet a little too simple compared to the previous two since its the same rendition just with different make ups (if thats the right term) i know it was literally the 4th game to come from the series, but the original zelda theme felt like it had a bit more going on. still a good rendition of the main theme though! i like its bounciness

A Link to the Past: iconic. but, this was difficult to categorize since theres not much of a title theme? theres the selection screen music, but that became the fairy theme so i dont know if that counts either? either way its an 18 second clip or the fairy theme, which both are good, but just not really a show stopper (dont come at me alttp fans i dont mean it like that!! spare me!! mercy!!!!)

Zelda II: The Adventure of Link: why are you so LOUD holy cow- i like the theme, its pretty, but its short so it gets repetative if ykwim. i like the part with what im assuming is supposed to be some sort of bassline :) its my favorite part

Phantom Hourglass: i know its a wind waker sequal and i guess it makes sense, but just reusing the great sea music and changing up a part slightly felt kind of lazy to me? i do like the parts they added though! i think they're great sounding! but still feels a little lazy :(

A Link Between Worlds: I know what you may be thinking: "why is it so low? you LOVE albw" and to that I have to say, you know me so well, dear reader. You will also know, that just like the game its made after, there isnt really a title/main theme. the intro bit is about the same length as alttp so it gives you little to work with in terms of song. plus after the opening bit, it just kinda repeates the same few notes. going through the playlist i was kind of disappointed getting to albw, because at least alttp had selection music. this game has some of my favorite tracks to come from the series in it too so the intro being as it was (outside of a music standpoint, the intro is absolutely epic, don't get me wrong) i was just sad

anywayy! that was all of them!! if you actually sat there and read all of that, im proud of you. thanks for reading my yappage

#the legend of zelda #legend of zelda #loz #tloz #text post #tier list #zelda music #i yap

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yetihideout · 2 days

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Favorite Albums

Music Composed And Performed By Goblin: Their Rare Tracks & Outtakes Collection, 1975-1989, Goblin

My favorite compilation from Goblin, the prog rock, synthesizer masters who became famous thanks to their contributions to the soundtracks for Dario Argento’s Deep Red and Suspiria as well as George A. Romero’s Dawn of the Dead. Often super-charged and kinetic, but also possessing the ability to be slow, atmospheric and moody, this group epitomizes the nature and energy of horror: from the otherworldly and terrifying soundscapes of Suspiria to the beautiful, thoughtful love theme from the obscure St. Helens (not a horror film, but dramatic nonetheless.)

Goblin is, without argument, one of the most influential artists to the world of horror music – no doubt influencing John Carpenter’s simple piano-driven theme to Halloween (listen to Goblin’s title track from Deep Red and compare) to the current crop of synthesized themes in films and series like Turbo Kid, It Follows, Drive, Stranger Things and many others.

These are all babies born of Goblin!

Silk & Soul, Nina Simone

My favorite album by my favorite vocalist for reasons that are inexplicable to me. This is the album that I play most often – perhaps it’s the odd variety of songs chosen (although all of the material in the Simone archives are from an astonishing range of disparate and unique sources). Historians would consider “I Wish I Knew How It Would Feel to Be Free” to be the signature song from this album, but I find her brief tale of simple, matter-of-fact racism explained in “The Turning Point” to be much more devastating, perhaps since it’s told from the point of view of a child.

All of the songs are wrenching and even her revisions of Burt Bacharach’s “Look of Love” and The Association’s “Cherish” are re-ignited with a more appropriate longing and yearning that only Simone can express.

Creepshow, John Harrison

My favorite horror soundtrack of all time. There is something about the opening piano theme that appealed to me even when I first saw ads for the film on HBO as a child (I was much too scared to watch the entire film, but I would torture myself by at least watching the opening credits). The child-like piano tune with the taunting children voices was spooky, fun and surprisingly catchy. This album was a sort of Holy Grail of mine growing up and I would often watch the film just to hear the music. It wasn't until many years later that I was finally able to get a copy of the record. Each story in the film is brought to life by a signature sound – from the Gothic, piano-pounding revenge motif of “Father’s Day”, the melodic and secretive tone of “The Crate” to the minimal synth soundscape that perfectly applied to E.G. Marshall’s roach phobia and germ-free apartment from the “They’re Creeping Up on You” segment.

Each and every note is deliberate, brilliant and visual.

Bone Machine, Tom Waits

My favorite Waits album, probably for the simple reason that each song is like a tiny, separate horror tale embodied with an extremely visual style and brought to life by Waits’ rough, often inhuman voice. Each song is painted in charcoal black and tell stories about the hopelessness of...well...everything. “The Earth Died Screaming” is perhaps the most famous track from this album, but my personal favorite is the slow and mysterious “Black Wings” – a familiar tale of a neutral angel (or demon?) and his exploits, both good and bad. “Murder in the Red Barn” is an equally intriguing tale that one can easily visualize and it's peppered with ambiguous lyrics like, “there’s nothing strange about an axe with bloodstains in the barn - there's always some killin' you got to do around the farm.”

I like to look at Bone Machine as a sort of audio short story collection of tales that Roald Dahl, Richard Matheson or Robert Bloch might have conjured up.

Thighs and Whispers, Bette Midler

A rare album that I actually listen to all the way through. This 1979 album has a diverse range of songs, including a great version of “Millworker” from the Broadway play, “Working”, and some cute disco-fueled tunes like “Married Men” and “My Knight in Black Leather”. Each song has some moment that gives me shivers, or at least slight goose bumps. One of those moments is in the song, “Big Noise from Winnetka” when they sing the line, “Once she was picking up the big boys…now I’m pickin’ up my little kids’ toys”.

The whole album makes me feel really good with all of its emotional ups and downs...which, afterall, is basically what makes a perfect album. Right?

Cow Fingers & Mosquito Pie, Screamin’ Jay Hawkins

My favorite compilation of songs from the incredibly insane catalog of Hawkins. All of the favorites are here – “Alligator Wine”, “Hong Kong”, “Little Demon”, “There’s Something Wrong with You” and, of course, his most famous track – “I Put a Spell On You”. Every song is unleashed in his inimitable way, through screaming, shouting and lip-smacking gibberish. His work makes me scream with laughter. I find that listening to his albums is the perfect remedy to road rage…just “singing” along with Jay is incredibly cathartic and relaxing! Take him along with you on your next commute.

Who knew that spouting out silly words and making fart noises would become such a huge part of someone’s career? I’m totally in the wrong profession.

Sweet Dreams (Are Made of This), Eurythmics

Definitely the first official “album” I ever owned. Like most people of my generation, Annie Lennox mesmerized me in the music video for “Sweet Dreams” (which aired on MTV practically every few minutes). I was equally fascinated, terrified and hopelessly drawn to the pounding computerized beat, the throwback classical strings and Annie’s low, monotone delivery contrasting with her higher-pitched, "choir of angels"-type refrains. And who could forget her bizarre appearance? This is the perfect example of the power of the early 1980s music video: The song and accompanying video compelled me to purchase the entire album. I loved every single song on it – a rarity that I have not often found with other albums.

With the eerie “Love is a Stranger” and the hypnotic “Jennifer” to the ethereal, jungle beat of “I’ve Got an Angel” and the fun and goofy “Wrap it Up”, I had unknowingly set the stage for my musical tastes.  

Hooked on Classics, Louis Clark conducting The Royal Philharmonic Orchestra

This was an album I remember being in love with as a young boy when I would play the cassette tape of it over and over again. It was a great entry point for classical music. The often goofy, pseudo-disco element that was added to the medleys of famous classical music provided a fun and punchy rhythm to the proceedings that was perfect for a child. I found a copy of the CD recently and discovered that the album is still a fun listen. The quick, “clapping hands” backbeat now reads very silly and one can envision the album being played during low-impact cardio exercises at a YMCA.

Though this album (as well as its sequels and spin-offs) has its vehement detractors, the album has a sweet innocence to it. It’s merely trying to make classical music a bit more accessible while not taking itself too seriously.

The Haunted Mansion, Disneyland Records

Though not officially an album by any means, this was a record I played quite often as a child. Accompanied by a terrific illustrated book that detailed the exploration of the famous Haunted Mansion of the Disneyland world, your narrator leads you through the famous scenarios from the ride. Though only running approximately five minutes or so, the adventure leaves your brain with indelible memories, probably the most startling being the bride with the visible, beating heart.

The B-side is what I remember the most from this album – a simple collection of sound effects, from moaning ghosts to the absolutely terrifying and intense sequence of a pack of dogs barking in the distance and getting louder...and ever so closer…

#Goblin #Nina Simone #Bette Midler #Eurythmics #Creepshow #John Harrison #The Haunted Mansion #Disney #Tom Waits #albums #Hooked on Classics #screamin jay hawkins

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ash-and-books · 3 days

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Rating: 4/5

Book Blurb:

Music says things words never can. I love you. I miss you. I’m sorry I killed you.

Every night, Ceridwen Kinsley plays music on her rooftop for the spirit of her dead mother. A peaceful if odd ritual, until she witnesses a murder by something not quite human. The monstrous encounter earns her notoriety within the city and a visit from the reclusive Lord Protector Drystan Winterbourne.

Charged with protecting the backwater city of Teneboure by the king, Drystan is failing at his task, and he can’t afford another slip up. But when fate and the very monster he means to conquer bring Ceridwen to his notice, he seizes the opportunity and presents her with an offer: play music for him at his manor in exchange for the money her impoverished family desperately needs. Music eases the strain of his magic, and who better to hire than the woman whose tunes he secretly listens to at night?

At first, Ceridwen is put off by Drystan’s unkempt appearance and harsh demeanor, not to mention the odd ailment that plagues him. But as he embraces her passion for music and she draws the recluse out of his lonely tower, the two develop an unlikely attachment. Class lines begin to blur as fearful indifference shifts to unexpected desire, and Ceridwen yearns to help Drystan subdue the monster as well as provide for her family. However, the monster prowling the night isn’t their only enemy, and as terrible secrets come to light, protecting those they love may risk their lives and their hearts.

This retelling of Beauty and the Beast incorporates themes and motifs from Phantom of the Opera, and is set in a gaslamp fantasy world with strong gothic vibes. It should appeal to fans of romantic and atmospheric retellings and fairy tales by authors such as Hannah Whitten, Tessonja Odette, and Stephanie Garber.

While this is book 4 in the Reimagined Fairy Tales series, it can be read as a standalone.

Review:

A talented flutist who secretly plays music on her rooftop is suddenly drawn into the mysterious life of a reclusive duke with a monstrous secret. A unique twist on the classic Beauty and the Beast story with hints of Phantom of the Opera! Ceridwen plays her flute at night on her roof, in spirit of her mother who died. Yet on one fateful night when she is attacked she is rescued by a monster... or so she thought. The next day the famous reclusive Lord Protector Drystan Winterbourne offers her a deal: if she agrees to live in his manor and play music for him for one year he will provide her poor family with money to support them. It's too good of a deal but Ceridwen wants to provide for her family, so she agrees to the deal. Drystan might be a bit unkept and have a bit of a harsh demeanor... yet he is passionate about her music for some reason and she knows he is hiding a secret. Drystan is has only a few rules: do not enter the tower, never leave the grounds, and make sure to be in her room at night least the monster come for her. Drystan has a secret: he is the monster, or rather, one of the monsters in the town. He was cursed after being gifted with magic and now turns into a wolflike creature that he can barely control... the only thing that eases it is Ceridwen's music. Yet if he tells her the truth he risks losing the only thing that is keeping the beast at bay. Ceridwen and Drystan may be falling for each other, yet with the Drystan's many secrets... can their romance really survive when the truth gets out? I've loved reading Megan Van Dyke's reimagined fairy tale series so much and I have found that each one of them is such a unique and fun twist. I loved the gothic atmosphere and story in this on with the monster twist and the romance was sweet. It's definitely a fun read for fans of reimagined fairytales and I would absolutely recommend the series!

*Thank you Megan Van Dyke for sending me an arc in exchange for an honest review*

#book review #fairytale reimagined #beauty and the beast #phantom of the opera #megan van dyke #the musician and the monster

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bigboobshaunt · 1 year

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New Pokémon in Scarlet and Violet, my thoughts! Spoilers obviously.

A bit of a disclaimer but I haven't seen most of these in motion, and sometimes a species' entire quirk or charm appeal is conveyed by gameplay, so it's very possible I may change my tune about many of these later on.

So, for starters... the starters! I actually think they are all pretty good this gen!

*Sprigatito line: you know me, I was hoping it would go bipedal and luckily it got a pretty cool theme going on as a magician. That's fun.

*Fuecoco line: HONESTLY in love with these. I thought the egg that the second stage carries was a sombrero when I first saw it, so I was worried it'd be another Ludicolo situation, but I love the idea of a croc Pokémon that also comes with An Additional Creature to mimick how crocs will sometimes ferry a bird and allow it to pick stuff off their teeth. It's a very inventive idea ESPECIALLY for a starter! My first playthrough pick for sure.

Quaxly line: The ugly duckling of sorts evolves into a very flamboyant peacock-duck hybrid. It's got pretty cool animations, seeming to always be dancing. Miror B is sweating.

*Pawmi line: Honestly a pretty good visual demonstration of why Pikaclones don't usually evolve. I like the idea of its ability, but design wise these could have very easily been one or two stages.

*Smoliv line: Honestly? Outsold. The final evolution was one I didn't think they would have made that cool, but it actually rocks.

*Wattrel line: The first stage is pretty boring, which is kind of a pattern this gen, but I love the second one being a frigate bird with an electric sac. Another one I want for my team.

*Nacl line: MINECRAFT.

*Maschiff line: Honestly my first disappointment. I liked the first stage, but the second doesn't change a lot except for losing the fun coloration? they both kinda just look like an irl dog. Not very exciting.

*Greavard line: I think the first stage was universally beloved, but the second is gonna be polarizing. That said, I'm a HUGE fan. I love how it actually evolved into a spooky creacher with a skeletal look, and I can't not admire the gumption of how its disguise-candle became A TOMBSTONE.

*Lechonk line: Lechonk evolving to be yassified was unexpected but very fun. I like both its gender dysmorphic (maybe) forms, they're simple but very cute.

*Fidough line: Honestly just very good and cute. Making it a dachshund was a good decision and it has a fun ability to play off its design as a toasted bun.

*Tarountula line: I've seen a lot of hate for it but while the first one is kind of underwhelming, I was the only one in that group who got the soldier motif and I think the evolution is great. This gen has great bugs and I'm always happy to see that.

*Nymble line: Kamen Rider grasshoppers. I don't think I need to explain why that's cool.

*Flittle line: BABY. A LOT of mons this gen are microorganisms, and it doesn't always work but I do love this one. Garrish colors match the psychic type well, and its ostrich evolution is super cool.

*Finizen line: First form is cute and simple and we were late indeed for a dolphin Pokémon... sadly, its evolution kind of sucks, not gonna lie... I don't think anyone in the thread liked it at all. Everyone was saying it has an alternate evolution, but it turned out to be more of a form change that makes its evolved form BECOME the Super Hero Dolphin.

*Gimmighoul line: This is one I don't quite know what to think of yet, but if anything, I admire the creativity to make That what it turns into, even if I'm not personally sure I like it. Certainly one of the more outlandish designs this gen.

*Tinkatink line: VERY fun to have a pink cute creature wielding a huge steel hammer. I like that it's going through its Joker Arc. And with THAT move? Girlboss.

*Flamigo: Guys this is quite literally just the animal. Like, outright. I'm not sure what was the idea, but also I DID hear it looks more fun in motion so who knows.

*Tandemaus line: Just Two Guys. I think they're cute, and the fact that they just have kids when they evolve is cute, but also their individual designs are too simple in my opinion.

*Squawkabilly: VERY good. So good, in fact, that it was also my idea for my own fanregion, so... so much for that! The Rockabilly aesthetic is fun.

*Rellor line: I thought I wasn't going to like what they were doing with the dung beetle 'mon but damn that evolution looks amazing.

*Bombirdier: AAAAUGGGG BOMBER CRANE MY BELOVED.

*Bramblin line: Same deal with Rellor that I think the base form looks whatever but the evolution is great.

*Orthworm: I agree with a friend who said it shouldn't have eyes or mouth (certainly not both bc it looks like a snake otherwise) but I'm more mystified by how it summons pseudofeet from its collar. I dig it though.

*Tatsugiri & Dondozo: VERY FUN. A fish Pokémon who pretends it's a teeny piece of sushi but then commandeers a big catfish from inside? It even comes in different colors.

*Glimmet line: I need 7 of these in my room Thank You.

*Varoom line: The Team Star car engine WAS a Pokémon all along! We were right!!!

*Shroodle line: WHAT IS UP WITH GRAFAIAI'S PRE-EVO LMFAO

*Frigibax line: LOVE it. Classic case of awkward first and second stage dragons who become great, an ice type spinosaurus in their case, let's goooooo.

*Paldean Wooper line: GREAT remix of a great Pokémon. A large plush of Clodsire could fix me.

*Paldean Tauros: I had a feeling we were gonna have less Regional Variants from how they've only shown us 1 officially thus far. This said, I think the base form for it is very boring - it's just a black Tauros with slightly shorter horns and one less tail... LUCKILY, this one has two separate forms. Fire/Fighting and Water/Fighting and I do think both look very cool.

*Annihilape: Primeape got so angry it died oh my god. It looks very badass, too.

*Kingambit: Super cool. Bisharp was a good pick for an evolution. Don't have much to say on it.

*Dudunsparce: While I think Dunsparce getting an evolution will make a lot of people happy, I've seen many disappointed it didn't turn into like a Dragon or whatever. I think the idea of a Big and Bigger Dunsparce is funny. I like this one and think it's a better fit for a tsuchinoko.

*Wiglett line: Wiglett is a funny fella, and Wugtrio turned into pretty much exactly what I imagined it would.

*Toedscool line: The other convergent line, Toedscool is amazing, honestly. A mushroom Pokémon that looks like a Tentacool and Tentacruel is such a cool idea. To see what you assume to be a jellyfish walking on land is great.

*Legendary Quartet: Rapid-fire thoughts but I like the idea that all of these are sealed and their vessels are incorporated in their designs. Individually: Snow Leopard outsold. I don't know what I'm looking at with the Deer. The flame Fish seems like it could use more workshopping. The Snail is an absolute legend (literally) and my friend.

*Paradox Pokémon: REALLY COOL MECHANIC. I like them more than megas tbh. I have no idea why they waited until now to reveal them. I know some are disappointed that Violet's all share a theme of looking robotic, but I still think they look better than other Scarlet ones and I think robots are cool. I understand that they have Titles instead of names and I do think it's cool but I'm gonna refer to them as the Paradox forms of the Pokémon they're based on, even if they're not form changes per se. Individually:

*Paradox Donphan: I think the Scarlet version one looks cooler, because the Violet one kinda doesn't look like an elephant anymore.

*Paradox Volcarona: These are both amazing. I think a Volcarona that takes more after Larvesta is a good idea, and the Violet one looks almost like an angelic robot which rocks, and the Poison type is a plus.

*Paradox Jigglypuff: I do really like how not all Paradoxes are fully evolved Pokémon but I do think this one's a flop.

*Paradox Misdreavus: See above and what I said about Scarlet's.

*Paradox Gallavoir: This one is. Awesome! Essentially an androgynous robot version of a Gallade+Gardevoir fusion who's Fairy/Fighting. Nothing could be cooler.

*Paradox Delibird: HOW they managed to make Delibird cool is beyond me but they sure did do it!

*Paradox Magneton: Magneton with legs is CRAZY. I Iove it.

*Paradox Hariyama: Not my favorite still but it looks much cooler than its OG self.

*Paradox Salamence: The clear favorite and for a good reason, too. It looks amazing. I get why many Violet preorders were canned over it. It's cool how it kinda retroactively explains its Mega too.

*Paradox Hydreigon: I am legit surprised they made a Robot Hydreigon but DIDN'T use its beta design from BW's development, as it was going to be a tank. That said, it still looks dope

*Paradox Amoonguss: I love this thing. Not the most dramatic change from its present self but it's ok by me.

*Paradox Tyranitar: MY personal favorite. It has such a good color scheme with what look like LED spikes on its body. It's also very clearly based on Mecha Godzilla (and the RoboTyranitar from Pokéstar studios) and IIIII adore it.

#can't readmore it now sorry #Pokémon #pokémon scarlet and violet spoilers #Pokémon scarlet and violet

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lemonhead-records · 1 year

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Sobs’ “Friday Night” and the convergence of new and familiar

Album: Air Guitar

Release: 2022

Artist: Sobs

I find myself coming back to the song “Friday Night” from Sobs’ 2022 release; the highest point and most exemplary of the themes of “Air Guitar.” The beginning of said song catapults us into an early 2000s coming of age film.

“Friday nights and we're sickened to the core

Drinking cheap liquor from the corner store

Are we just afraid of passing time?

Everyday's a mess it's all the same

Ears are ringing out trapped in cellophane

When will we start to feel alright?”

The accompanying music is fun, to say the least. Guitar, drum kit, and synth get your head bobbing—unconsciously so. Songs on “Air Guitar” are good at driving themselves forward with a strong sense of rhythm, around which the other instrumentation shines, like ruffles on a dress. The very dress our poor narrator leaves on a bench, preoccupied with monotony and finding fun.

“Spent all of my pay check on a dress

Got so high I left it on a bench

Guess that I'm not going out tonight”

At their core, the motifs of “Air Guitar” are relatable. Lyrics much like those in “Friday Night,” about love and heartbreak, ups and downs, passing of time and pursuit of happiness. The instrumentation is a perfect cradle for these lyrical motifs, making for a very enjoyable listening experience.

However, “Air Guitar” also surprised me. The last half of the song “Friday Night,” for example, is devoted to a glittery, breakcore-like instrumental segment. The rhythm that was once a heartbeat for the first half gets a sugar rush, with synths bubbling over like fruit-flavored soda. The last half of this song is sweet, fast, and fun, as well as very experimental. This segment is fresh and new, strongly contrasting the early 2000s poppier bits, which charmingly harken back to a nostalgic period in music for many listeners. Sobs do not settle into one sound, though their soundfont is consistent, allowing for their experimentation to remain justified. The same type of drums backing the first half of “Friday Night” are simply used very differently in the second half.

In this way, Sobs have crafted something timeless and relatable to many, but new and fresh. This release easily passes for both an early 2000s release, as well as a 2020s release. The cover of “Cool” by Gwen Stefani is not only top-notch, but also serves to solidify the themes of “Air Guitar” by pulling an early 2000s pop tune into a new, sugar-coated, fizzy light.

“Air Guitar” is delectable to the ears, with plenty of tasty moments to be savored, and I enjoyed every minute.

#album review #album #sobs #2022 #musicblr #music

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austencello · 2 years

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The Sound of Bridgerton and the musical journey of Kate and Anthony

Welcome back to all those reading! It’s been over two years since I wrote any Music Notes analyses and reviews here on the jungle of Tumblr. While I have started a Soundtrack podcast (World of Soundtracks) and taught a few classes and lectures on soundtracks, particularly for Jane Austen adaptations, it is fun to come back to where it all started.

This will primarily focus on what makes the musical world of Bridgerton unique as well as taking us through all 8 episodes of Kathony’s journey. They have a fantastic theme which is used beautifully throughout and I was already geeking out about it before I received a request to write about it.

The initial sound is similar to other Regency dramas: strings, piano, harp, with a few wind instruments such as the clarinet and oboe. Yet, the primary focus is the string ensemble in a way that is unusual from the other drams set in that time period. It sits front and center, telling the story instead of being backdrop to the piano or other instruments. Kris Becker and his orchestration team really know how to use strings in all their facilities, harkening to great string pieces such as Grieg’s Holberg Suite, Edward Elgar’s Serenade for Strings, and especially Samuel Coleridge-Taylor’s 4 Noveletten for Strings and Percussion. They can make the music playful, dramatic, romantic, and know how to use the range of all the instruments.

In many ways, the sound was created out of necessity. Since the first season was recorded during lockdown, they had 8-9 players record numerous parts. Many props not only to the musicians but to the music editors who made it sound like a full string orchestra instead of going the chamber music route. In a similar way to Coleridge-Taylor’s piece with strings and percussion which my orchestra recorded during lockdown, using mostly strings and percussion gives the drama an unique sound. The other unique aspect of course is the choice to use both string arrangements of pop songs or to start to emulate that style in the second series. Using the talented Vitamin String Quartet (and other groups in the second season) who have already been arranging pop and rock covers for over a decade or two was a way to set it apart from other period dramas musically and connect to the audience who would know the songs being covered and what the words are saying for that moment.

While the sound is a bit fuller in the second season, it remains focused on the string ensemble orchestra with percussion as well as using even more tunes either arranged or written in the style of pop music. Lady Whistledown’s theme ”The Latest Whistledown” and “Sharpening My Knives” - biting with the harpsichord (an instrument usually associated with the 1700s and being old-fashioned but also having a unique sound that lends to the sharpness of Lady Whistledown) and violins, with the delightful alternating accents between being in two and three in the lower parts return right at the beginning to help bring the audience back into the world of Bridgerton. Her theme is one of the most memorable especially with the voice of Julie Andrews narrating over it.

Each season, the main couple gets their own theme that changes to help tell their journey. In Season 1, Daphne and Simon’s theme was unusual in that had shades of Ravel (a French impressionist composer of the early 1900s) - it was more atmospheric, magical, and almost sensual in colors and harmonies. In contrast, Kate and Anthony’s theme was more dance-like: biting, witty, or full of tension depending on the occasion.

One of the fun parts about a well-written theme is that often composers will take the first few notes as a motif and use it when there isn’t time for the whole theme or to give hints of what is to come or hearken back to what has happened before. In this case, the first few notes of Kate and Anthony’s theme appear in the violins when they begin to race on their first meeting in the park. While the original theme is in minor, it remains playful and exciting also ending with a major chord. It is a little hint, played again in the first 3 notes by the oboe when Anthony sees Kate’s face for the first time. It is not much but an acknowledgement and musical hint that this is important. In a similar manner, more of the melody plays in the violins as Kate leaves, Anthony asks her name, and they both are smiling after this encounter.

Their theme (which will be fully heard in Episode 2) is usually in minor. It leaps down and then up to leading tones or the dissonant notes before resolving. This works well for tension, drama, and angst but that does mean that some episodes will use it much more than others.

When they next see each other, Kate is seeing Anthony awkwardly dancing with a girl at the first ball to the track “Accidental Eavesdropping” - one of the few music moments designed like a pop cover but in fact written by the composer and therefore, more melodic. The dance music usually are either covers for specific reasons or classical music to remain more in the background. But here, it begins to highlight dance as a theme for them musically while very much in the musical sound of Bridgerton. A lot of their interactions are a dance, a play and movement between them, both being drawn towards each other and pushed away, and much of their music reflects that push and pull.

“The real work begins” reminds me of a tango - except in 6 instead of 4. It plays after Edwina is named the diamond and Anthony asks her for a dance, while Kate and Lady Danbury acknowledge that the work begins at that point. It will returns in Episode 7 as the Bridgertons, Sharmas, and Lady Danbury enter the art gallery to work on the ton. Working the ton is another aspect of a a well-choreographed dance or a chess game in moving pieces.

Kate and Anthony’s theme plays once more in Episode 1 in the violins over minor moving chords (a syncopation used often in pop songs and to add drama) in the strings as Anthony tells his mother he shall marry Edwina as Kate looks back taking Edwina away. Again, it is bit of foreshadowing both for their tension and fighting, and whom it is that Anthony will in fact marry in the end.

We return to their theme in the lower violin range in Episode 2 as Anthony arrives to court Edwina and Kate bars him from the door, especially now that she has read more about him. The violin moves higher over moving clarinets and switches time signatures as the lower strings play a waltz pattern as she slams the door in his face. She has won that round as it ends in major. Ending it in major reflects her triumph but also gives amusement to the audience as they watch these two try to out-maneuver each other.

Using the solo violin, especially in the lower range, reminds me of a tango. It is a dance and a seductive dance at that but yet also one that seems to show a bit fight in it as well. That sound is highlighted at this stage of their relationship, as Kate seeks to block Anthony at every turn from courting Edwina and taking pride in it. This version returns combined with the tambourine as Anthony approaches them at the race stands but then turns major in the accompaniment as he shows that he is attending with his charming family. This major version also plays as he sits down next to Edwina. It is Anthony that won this round.

As they argue about the horses, the harp plays the melody. It is a more refined instrument, usually for drawing rooms or romance, but it seems to provide a bit of quiet irony at this stage of a lord and lady arguing about which is the best horse. The piano takes the melody at this stage with pauses similar to a tango rhythm in the pizzicato (strings that are plucking) as well as a bit of tremolo providing tension in the violins (very fast strings that provide a shimmer) as Kate explains why Nectar won’t win in increasing animation. The violins continue their theme as the race begins reflecting their battle over this issue before moving into exciting horse racing music including snare drum.

This “Tango” version of their theme is played in full in “A gift for Edwina” as he tries to give a horse to Edwina only to discover that Edwina does not love horses and Kate smugly explains they were talking about a fictional horse. While the use of the violin and tambourine reflect a tango, the time signature (6/8) is not one used for that particular dance. The piano and flute joins in the second time to add a bit more color being exactly in the same octave range.

Anthony is determined not to let Kate deter him to the point of asking Benedict to teach him poetry to share at Lady Danbury’s party. As Benedict begins to share his own creation of poetry, a major version of their theme plays in higher cello over piano and romantic strings. It is soft and romantic as Anthony hears: “To honor her being with your deeds and words.” While Anthony is planning on sharing these words for Edwina, the music is showing that this will indeed be Anthony’s heart at the end for Kate.

What follows are two moments hearkening back to Season 1, musically beginning with the track “Come with Me.” It first played at the end of Season 1 when Anthony invited Sienna to Daphne’s ball and into his life, the last time he had acted from his heart before choosing to shut down love entirely. Now, Anthony speaks honestly to Edwina that he offers not passion and poetry but action and duty. It is romantic and yet sad as it hearkens back to when he was ignoring duty and now has determined to put feelings aside for duty. In both cases, he was only offering a part of himself. Later on, string patterns intensify as Kate and Anthony hold their first tension filled stare.

The theme “All is Fair in Love and War” plays in the piano as Kate then talks to Lady Danbury. Lady Danbury suggests focusing on herself rather han trying to change things and influence things for Edwina. She finds that Kate refusing to be open to find love for herself very sad. The theme plays as Lady Danbury tells Kate that she cannot be like herself for she has lived a life of both love and loss. This theme is like Ravel, a theme of mystery and a quiet sadness. Loss of love and betrayal for Simon and Daphne, now a refusal to let herself love while focusing completely on her sister for Kate.

The mood shifts as they go to Aubrey Hall. There is cheerful music in the strings for the Bridgerton family throughout the series particularly when seeing them arrive or leave their home which returns as the family welcomes Lady Danbury and the Sharmas. The flute and clarinet adds some lightness as Anthony greets Kate (and Newton) to his home. The music ends abruptly as Daphne assumes Kate is Edwina and Anthony has to deal with the awkwardness. Later on, this music continues light hearted, and almost cheeky as the families play Pall Mall. While not using their theme, the music does reflect a change in mood for the characters as they start to see each other in a new light. As they get the balls out of the mud, a new melody in the style of a waltz plays in the strings. They are still dancing around each other in friendly competition but also helping each other before landing in the mud.

The dinner begins cheerful with pizzicato and tambourine since Benedict is high but changes as everyone expects Anthony to propose. The violins hold a chord while the harp repeats the same note holding everything in suspense but switches to a more melancholy theme used for Anthony this season before ending in dissonance when he doesn’t propose, failing at that moment, leaving some in relief and others in disappointment.

Things begin to change for Kate and Anthony with the bee sting. As Anthony starts to have a panic attack, the strings play col legno (the wood of the sticks playing a percussive tick-tock), the violins play a repeated pattern, and a heartbeat is heard as well in the same way that was used for Anthony right after his father died of a bee sting. The underlying pattern and chords change to a similar one that had been used for Daphne and Simon being the more romantic tension sound, once Kate seeks to calm him down, putting their hands on their chests and then the violins play their motif as she says again: “it was just a bee.” The music goes up as it looks like they might kiss and then stops as they hear a horse, bringing them out of their bubble. As they race away, minor string patterns increase with piano as they are both overcome by emotion, reflecting the swirling and confusion inside.

Both the fun music and tension returns for the hunt while the conversations are given space with silence: upbeat strings in major including a little pizzicato as the party are on horseback for the hunt setting a cheerful mood and then slow string chords with the violins very slowly going up reflecting their tension as Anthony “helps” Kate on how to hold the gun properly and the closeness they were feeling before interrupted.

As they both have trouble sleeping that night during the storm, the piano plays a variety of moving arpeggios with female vocals as Kate gets up. The solo piano is used quite a bit in Bridgerton for intimate moments. What makes this unusual for Bridgeton are the vocals which are rarely heard. It is haunting and fitting for the storm outside and inside for Kate, bringing back of memories of her father and as well as everything she is feeling regarding Anthony. Cello briefly joins the piano as she goes to the library. I will admit I was a bit disappointed this wasn’t on the soundtrack because of how unique it is. Suspended chords in the strings along with the cello and piano return as they stare at each other, having shared about their fathers in a moment of vulnerability before the storm breaks their focus and Kate leaves abruptly.

The Hearts and Flowers ball begin with a delightful track by Kris Bowers similar in nature to the music in the first Ball: souring melodies in violins and cellos accompanied by harp and rhythmic motion in the other strings similar to the other pop songs. Here, Anthony asks Edwina for a dance while Kate looks on with Lady Danbury asking how they have been getting along after the hunt. The actual dance between Anthony and Edwina is a classical string quartet sounding like Mozart or Haydn, a piece signifying that this is not an important moment, that these two are not supposed to be together. Instead, the important song is for Kate and Anthony’s dance: “Dancing on my own” by Robyn. While it is a song about a guy pining away, watching the girl he loves leave with someone else, the lyrics reflect more of Kate’s journey.

“I’m in the corner, watching you kiss her,

I’m right over here, why can’t you see me?

And I’m giving it my all

I’m not the guy you’re taking home

I keep dancing on my own.”

The dance also goes into slow-motion part-way through, another indication of how important this is in their journey of falling in love and being in a close proximity. There is a quote from Jane Austen: “to be fond of dancing was a certain step towards falling in love” and while neither seem to be overly fond of dancing, it is a step towards falling in love and being aware of the others’ presence. However, Kate’s comment that she is returning to India set Anthony off on edge to the library. They continue their discussion of this in the library, letting out their feelings of frustration and vexation. Low held chords in the strings enter as Anthony steps closer stating that Kate hates him. The heartbeat sound enters again with the tension chords (minor and suspensions) moving very slowly as it reflects their close tension, and a timpani roll as he comes close asking if she feels nothing to heighten everything.

It is in the next episode (episode 5) that their theme comes back several times, almost making up for the two episode that it didn’t appear. What was formally a dance of antagonism or a play for beating the other, has come back as angsty longing, a dance of the forbidden looks and remembrances beginning as Anthony walks by Kate going to see the Queen and their hands almost touch as Kate remembering their encounters at Aubrey Hall. The theme is in the piano over strings holding chords, intimate and quiet, reflecting the inner self turmoil while trying to stay calm at the Palace. “Nothing Could Keep Me Away”

The same music returns as Kate is trying on the ring and Anthony holds her hand before switching more to the more dance-like version in the clarinet and pizzicato as the ring gets stuck and Kate has trouble taking it off, both providing humor and emphasizing the awkwardness of the situation.

Once again, the Kathony piano version plays over minor strings and accompanying harp arpeggios as Lady Danbury reminds Kate that Edwina and Anthony are betrothed. That it would be both a scandal and foolish decision to mess things up at that stage. Kate must bottle up her own feelings to protect her family as the melody is spread out, having a few more pauses. “They are Betrothed.”

Violins hold suspensions (tension) as Anthony watches Kate laugh with Mr. Dorsett in slow motion, once again reflecting the tension both in music and the slowing down, making it seem like no-one else is present. Later on, as he offers his hand to her in the boat, the violins again seem suspended with a repeated note before going into the more angsty theme (reminiscent of Season 1) before they realize that they are holding hands, ending abruptly as they land in the water with a drum roll and humorous music as they come out of the water.

After the disastrous dinner with the Shefields, Anthony wants to break off the engagement, very aware that his feelings for Kate could prove disastrous for both of them. As he tells her: “you are the bane of my existence and the object of my desires,” the tension strings return while the cello plays their theme as they almost kiss, recognizing that she has feelings that she never asked for. The cello then repeats a descending minor scale over and over in contrast to the violins going up building up the tension and angst even more as he is worried that he will lose his honor while married to Edwina and then the cellos play their motif over harp as he leaves. “Not far enough”

The motif returns once more in violin and piano over minor strings as Edwina asks Kate if Anthony will forgive them, after telling her that she loves Anthony, breaking Kate’s heart even more as she does not know what Anthony will do.

Kate is determined to make Edwina happy and so is denying both her feelings and Anthony, telling him in the park that she doesn’t want him to break off his engagement both for Edwina’s sake and for his honor. Leading up to this moment is an arrangement of Alanis Morrissette’s song “you oughta know” which also finishes off the episode as Kate says that the feelings will pass because they have to. It’s a messy break-up song for a messy break-up:

“Well I'm here, to remind you

Of the mess you left when you went away

It's not fair, to deny me

Of the cross I bear that you gave to me

You, you, you oughta know”

The sixth episode begins with the contrast of the Bachelor party of the Bridgerton brothers and the Haldi ceremony of the Sharma women to an arrangement of a song from a Bollywood movie “Kabhi Khushi Kabhie Gham” made in 2001. It is a lovely tribute both in seeing part of the Indian heritage for the women in this ceremony before the wedding but also for those watching the series who have Indian heritage and are familiar with the movie and song.

There are many pivotal moments around the wedding beginning with the song “Sign of the Times” by Harry Styles as everyone walks down the aisle:

“Just stop your crying

It’s a sign of the times

Welcome to the final show

Hope you’re wearing your best clothes…

We gotta get away from here.

Just stop your crying

It’s be alright

They told me that the end is near

We gotta get away from here”

Anthony has his breath taken away by Kate as she walks down and they stare at each other for a moment before Edwina and Mary walk down together. It is the end for Kate and Anthony as the wedding begins.

Anthony briefly goes into a romantic dream sequence staring at Kate and imaging that she is his bride instead accompanied by romantic strings (much more what one would expect at a wedding). As the bangle falls and Anthony picks it up, high electronics mixed with violin tremolo and slow moving cellos hold the tension before moving minor patterns begin in the strings as Edwina pieces it altogether in horror and then runs out.

Low cello patterns play as Kate is sent out after confronted by Edwina and Mary, with harp entering as she sees Anthony, and violins play their theme over a rhythmic syncopated pattern (similar to a pop song) over dissonant and minor chords as she runs to hide and hide from him. There is a drive and a desperation to this version as Kate then throws the bangles on the floor in grief and frustration.

Anthony finds Kate after she briefly emerges from the closet and seeks to talk to her to convince Edwina to continue with the wedding. Kate states that she has ruined Edwina’s life and tries to leave, Anthony grabs her hand and asks her to wait. Their theme is passed by different instruments from the violins to the piano to the cello over strings and violin patterns as she pulls away and says goodbye. The music has movement as there is much inner and outer tension between them and yet still seems intimate.

As they receive their letters from Edwina to meet in the chapel (but thinking it is from the other) and Lady Whistledown has a voice-over about marriage, strings and harp play both a sweet and yet sad melody. As she leaves them alone, the song “What about us” by Pink begins as Whistledown speaks again while watching the ton gossip around Lady Bridgerton and Daphne, Theo and Eloise meeting asking about their feelings, and then ending back with Anthony and Kate.

“What about us?

What about all the broken happy ever afters?

What about us?

What about all the plans that ended in disaster?

Oh, what about love? What about trust?

What about us?”

Their tension strings return as Kate says goodbye to Anthony once again but then strings swell, playing their theme as they kiss. It is beautiful but still over minor chords with the cellos playing rolling chords, moving back and forth. It is the kiss that both the audience and the couple have been waiting for and yet, it still feels forbidden, coming off the heels of the failed wedding and potential scandal. It is both a finally yet still full of angst and heartbreak. “To Wait”

As Kate remembers the kiss in bed, it begins with some of the tension strings before playing the piano music from S1 “When You are alone.” This is another part resembling Ravel and is much more of a dreamlike state, used for both Daphne and now Kate as they imagine and remember while in bed. For Kate, it is also accompanied by the sound of a heartbeat again.

Both the Sharmas and Bridgertons try to promenade and show the ton that there is nothing scandalous about the wedding being called off. The harpsichord, often used for Lady Whisteldown’s gossip sheets, play with the cellos as the Bridgerton family walks along and then see the Sharmas, while the violin plays their theme as Kate and Anthony lock eyes. It is a dance again but mixed with gossip and angst with the dissonant string notes underneath, a repeated bass note adding a weight amidst the swirling harpsichord.

Humor does return with the clarinet, strings and tambourine as Newton enters the room as the families try to find a solution and then Edwina exclaims how blind she must have been seeing the two of them gravitate towards each other.

Music used for the Bridgerton family throughout the series returns as they arrive at the art gallery to change the tons mind with the Sharmas while the tango-like theme “The Real Work begins” returns as Lady Danbury catches Anthony noticing Kate’s scent before walking around the gallery. Now, the dance and work is to change minds about their families by inviting them to a ball.

Anthony later sees Edwina leave Kate grieved and alone after she tells her that happy endings don’t exist. Their theme is played in the harp over minor chords as Kate is the one now saying that nothing happened between them, ashamed of how they acted. It hearkens back to their beautiful kiss but over tragic strings as they feel almost farther away, Kate being weighed down by guilt and shame. “Happy Endings don’t exist”

The ball turns out to be a disaster thanks to no-one showing up but the families have a lovely moment of happiness together as Anthony invites Hyacinth and Gregory to dance, bringing back the theme of harmony that Violet was aiming for. It is one of the truly joyful moments for the entire family, bringing back laughter and smiles even for a little bit as Kate and Anthony finishing dancing together. The music itself is a joyful piece in the style of Bridgerton, mixing the sound of a country dance with the movement of the series.

The scandal of Eloise’s choices and Edwina’s hurtful words send Anthony and Kate out separately to the garden and gazebo. Most of their conversation is over silence to help their words and tension speak for itself. High violins hold a single note as Anthony asks: “ what if we do something for ourselves?” instead of for their families. To give in to their feelings and desires. It continues to hold as he asks her to go inside and then the song “How Deep is Your Love” by Calvin Harris and Disciples begins in the viola as she responds that she does not listen to orders. As they give in, kissing each other, removing clothes, and then making love in the gazebo, the song continues:

“I want you to breathe me in

Let me be your air…

How deep is your love?

Is it like the ocean?

What devotion are you?

How deep is your love?”

Anthony awakens to find Kate gone and as she runs into her room, she is hit with flashbacks of their encounter that night, accompanied by drums, col legno, tremolo, and low violins playing their theme, growing in a crescendo. Cellos play their theme as Anthony pulls out the engagement ring, intending to propose, and piano then takes over while he waits for her. Underneath all of this, there is an energy in the middle strings building up to the fact that Kate has gone out on her horse in the storm. The feeling changes to become much more intense as they are both racing on their horses, with the meter changing (less playful) and even a few low brass accents with the drums. It is similar music to the Duel in Season 1 which shows how serious it is. Cellos and clarinet play their theme as Anthony is trying to find her. The music grows and then stops as she falls in slow motion off her horse to Anthony’s horror. A new melody but similar angsty melody plays in the cellos as he runs to her side.

This music continues as he covers her with his jacket, goes up a key (raises the stakes and emotions) as he sees blood from her head, and their theme returns in the cellos and horn as he carries her. Things get a bit quieter as the doctor sees her but as Anthony comes to the conclusion that it is his fault, he leaves over tremolo and drums beats, lost in his shock and trauma. This music is also very similar to the parallel moment right after his Father dies and he is in grief and shock. Musically, it is tying these two events together. “It’s my fault” and “Lord Bridgerton Stung”

Violet later tells Anthony that she is worried for him when she learns he hasn’t visited Kate over minor strings after he snaps at his family, sending them away. The music transitions to higher electronic music (almost like an organ) as Kate is shown still asleep. When she does awake and asks about the Viscount, both strings and oboe play when she hears that he rescued her but turns to minor chord when she realizes he hasn’t visited since. The last chord transitions to Anthony as Violet tells him that Kate has woken up. While most of this heart-breaking scene is in silence, high violins hold a single note as he admits that he doesn’t think he can see Kate. Quiet piano chords play with a few changing chords in the strings as Violet tells him that true love is worth it and not to lose Kate.

Anthony chooses to listen to this and propose to Kate. By the way, if you ever watch enough period dramas, you will note that the proposals that fail are often in silence which is true in this case. It is not until Anthony accuses Kate of running away that minor strings and harp enter and she tells him to go.

The synth music returns (the same when the Sharma family was waiting for Kate to wake up) as Kate and Mary have a very important talk. Mary explains that Kate did not have to earn her love and that she deserves all the love in the world. This musical instrument and sound is also used for key moments with Violet and Daphne in S1 and then in one or two moments with Anthony in S2. Heartfelt and yet hard conversations between Mothers and their adult children. Strings enter playing the same music as Kate shares that Anthony proposed and she refused because she believed that he doesn’t love her.

Everything changes at the Ball (I still can’t get over the turning ensemble in the center) as Anthony dances with Kate to “Wrecking Ball” by Miley Cyrus. It becomes a risk as everyone else comes off the dance floor but as the Queen (and Edwina) gives her approval of the two of them, they become fixed on each other, thinking this could be their last dance.

“Don’t you ever say I just walked away

I will always want you…

I came in like a wrecking ball

I never hit so hard in love

All I wanted was to break your walls

All you ever did was wreck me

Yeah, you, you wreck me”

Mrs Fetherington throws a big fireworks display outside and Anthony finds Kate alone in the gardens waiting for the display after the dance. The piano (remember intimate moments) and strings come in as he tells her that he loves her, the cellos play as she answers back that she loves him as well and then their theme returns as they kiss, this time in major as it soars in the violins with a beautiful harmony line in the cellos. All the dancing, the fighting, the angst has been transformed into a deep, passionate love now transformed into this beautiful version of their theme. It is a theme that begins from their old one but continues into something new. “I love you”

This transformed major motif of their theme carries on in the cellos over a theme for the show heard in extravagant balls and gatherings such as Season 1’s Ball where Simon and Daphne pretend to be courting “We Could Form an Attachment.” Here, Penelope has a voice-over for Lady Whistledown as we see everyone’s current endings, intermixed with the party and fireworks. While we see a mixture of happy endings and sad, the new and old love theme carries through as Penelope says that in silence, one has to listen for truth. Trumpet and brass joins in as Lady Whistledown announces that she is not kept silent. “It has been said”

The music turns from the big and full to a smaller string ensemble but yet very joyful as Anthony and Kate are kissing and staying in bed instead of joining the family, having recently returned home from their honeymoon. As we see the family outside Aubrey Hall waiting to play Pall Mall again, a fuller orchestra mixed with piano again reflects the joy and ease of the family being happy and playful together. The music slightly shifts in tempo as the scene focuses more on the couple bantering back and forth about Newton, a timpani roll plays as he swings her into a hug and kiss before the cellos once again play the happy motif of their theme, the music crescendoing with flute and piano chords until the violins take their new full love theme, soaring again as they kiss each other, ending with the piano and harp in unison going up, culminating with a quiet, intimate, happy ending as they gaze into each others eyes. “Newlyweds”

It is a beautiful theme and motif to go through so many variations as their journey changing from antagonistic, to a dance of wits, to angst and tension, to hurt and grief, to life and death, to love fulfilled. One can hear their emotional journey through the music and feel what they feel. A beautiful job by Kris Bowers and his team for telling their journey so beautifully.

@herskirtsarentthatshort @latinasmoak @jedichick04

#bridgerton season 2 #bridgerton soundtrack #kris bowers #kate sharma #anthony bridgerton

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luuurien · 2 years

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Ginger Root - Nisemono

(City Pop, Sophisti-Pop, Hypnagogic Pop)

Continuing in the conceptual direction of 2021's City Slicker, Cameron Lew doesn't tread much new ground but expands upon his staple sound just enough to keep Nisemono a constant delight. Short, sweet, and marvelously composed, Lew's Ginger Root project yet again brings a delightful new flavor to his city pop worship.

☆☆☆☆

Cameron Lew's projects rarely vary much in their sound, but he delivers them with such liveliness and personality every time to where it doesn't matter in the slightest. His brand of hazy, lo-fi city pop revivalism is one dominated by a worship of the past without losing sight of its uniquely modern characteristics: you can hear the deep influences of Tatsuro Yamashita's disco grooves and Taeko Ohnuki's gleaming choruses, but the work of bands like Yellow Magic Orchestra with their glittery synthpop and modern indie from Kero Kero Bonito's twee indie rock to Toro y Moi's chillout neo-soul, Lew's music less about emulating the sounds of the past as it is using them to bring about a certain mood and aesthetic he bends with fuzzy synth pads and shimmering orchestration. His latest EP Nisemono - translating roughly to fake or fraud - is no different, built around the idea of Lew as a songwriter/producer character who has to fill in for a singer after she storms off the set before her late night debut as a vehicle for songs about imposter syndrome and the new commitments that come with fame and artistic recognition. But what's most important about Nisemono is just how good it sounds - with thicker orchestration, more playful synth work than City Slicker's more elegant compositions, and a faster energy than its predecessor, Lew yet again begins a delightful new flavor to his city pop worship. Though only five songs and a short intro track, Nisemono makes a massive first impression the second it kicks into gear, EP single Loneliness a fantastic way to open things with the cutesy call and response between Lew's voice and a plucky synth lead supported by a rumbling bassline and sturdy violin chords adding richer harmonies to the darker middle tones taken on by the rest of the instrumentation, and the rest of Nisemono has a similar affinity for bringing a fun acidic twist to Lew's gummy pop tunes: Over the Hill's exotica-style hand drums and flute-esque synth lead that somehow both sounds organic and digital at once, Holy Hell's fluttering electric guitars and well-placed key modulation at the end; even when the title track brings back the melodic motif from Loneliness it doesn't feel cheesy or overly self-referential because of how well Lew sells it all: it's bright, jubilant retro-pop with an anxious undercurrent of self-doubt and worries about the future packed into 18 marvelous minutes. Nisemono's short length again means its relatively unable to expand on its ideas past a certain point - there's only so much you can fit in a three minute pop song - and it leaves the four-minute closing track Everything's Alright (Meet You in the Galaxy Ending Theme) with its extended outro and looser progression feeling ill-placed next to songs as tightly woven as Over the Hill or Loneliness; it's easy to imagine Everything's Alright working great as the last extended ride through paradise on a longer project, but it's just not built for the compact EP format Lew places it within, but even then the song is still a grand time all around. Lew's music for the past few years has relied on shorter narratives and standard pop structures, and even if his EP's leave you in agony wanting to see what he could do with more space to fill, Nisemono is near spotless for what it is and another fantastic showing of what makes Lew's music so precious in the current indie landscape. Nisemono is everything you'd expect and more from Ginger Root at this point, but Lew's magnificent fusion of vintage pop with the similarly vintage sounds of old funk, soul, disco and electronica keeps his music singular and exciting even when he's playing off the same tropes. If anything he's done in the past has piqued your interest, Nisemono will hit all the same marks while raising the bar with gorgeous instrumental embellishments, thicker orchestration, and songwriting that's both thoughtful and unfathomably catchy; those being introduced to Ginger Root through Nisemono are treated to all of that and a refreshing twist on indie pop, too. It's not a lot of music, but it's just enough to make you fall in love again with Lew and Ginger Root once again, Nisemono another stepping stone to something even bigger, bolder and lovelier in the future. Above anything, it's more Ginger Root, and it's impossible to go wrong with that.

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pridewon · 2 years

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(musical nothings) before i make dinner and hop on discord to actually catch up with things, writing will wait until tomorrow or wednesday.

- konoha “jack of all trades” akinori absolutely, at one point in his life, decided that learning how to play the theremin was a good idea. he didn’t stop until he actually succeeded, only to spite komi and saru who naturally made fun of him for his weird new hobby. he learnt to play two or three tunes really well and called it enough, and never touched a theremin again. - in the same vein, but more consistently, he has been picking up the guitar a few times over the years, before abandoning it, and picking it up again. he has gotten pretty decent at it after going through those weird cycles of interest. - not exactly music, but sound-related: did you know that after we see shimada telling yamaguchi he has eight seconds to serve and we switch back to him, you can hear a heartbeat after the whistle? and that if you count them, there is exactly seven beats between the whistle and yamaguchi’s serve. me neither, i just discovered it. - i know yamaguchi has a musical theme for his successful seijoh serves but i like making arbitrary musical association and will not/cannot explain why i have decided that the instrumentals from eric clapton’s layla are my go-to yamaguchi inspiration music. - similarly, i’m picky by shaka ponk, timeskip atsumu vibes to my brain but the lyrics kinda fit on a weird spiritual level (it’s the chronic loser with a severe case of ego vibe of it). - one of my favourite song in my teenage rocker phase was titled “le chat” by telephone and the way the instruments mimick feline sounds and associated musical motifs is immaculate for any nekoma by.

speaking of which and totally unrelated, i realise i don’t know any japanese musicians, so if you guys have recommendations, especially for rock bands (of any kind), i’m all ears :eyes:

#(konoha; headcanons)#(yamaguchi; aesthetics)#i have literally no explanation as to why layla is a song that screams yamaguchi in my brain it just does

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veilder · 2 years

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For the ask thing you reblogged: 11, 20, 31, 39. No stress if you can't answer all of them! Even picking one out of the four is fine!

For the Fanfic Writer Ask Game! Thanks for the questions! I absolutely will answer all of them! :D 11. How do you come up with your fic titles? Ah, great question! Okay, broadly, all my fic titles go into one of three categories: quote/song lyric, a word of phrase directly tied to the narrative, or something themed. In the case of the quote/song titles, I usually will carry through that naming throughout the entire piece if it's chaptered/part of a series? Those ones, there's always a certain vibe I'm going for. The ones tied to the narrative I try to make evocative. Whether they're a one word theme or a play on words or the main idea I built the fic on, I try to make them interesting enough to take a second glance and go in for the summary. And the themed ones, those usually have a repeating word/phrase/motif attached to them? For example, I have a whole series of fics where every title starts with "In." Don't ask me why, lol. But it establishes a sort of continuity I suppose. 20. What’s your favorite part about the fanfiction writing process? Damn, this is tough... I mean, actually conceptualizing and brainstorming an idea is always great? I love coming up with ideas and giving them a hard think and imagining the possibilities. Only a small fraction of those ever actually make it to paper, but it's still a very important step y'know? But if we're talking actually writing, then... Well, there are moments... Moments when I get swept away, especially when writing big, emotional scenes. And I'll write something that just kinda knocks me sideways for a moment. Tuning in to my own writing to see I just cracked out some banger line is just the best fuckin feeling, I swear. Especially if it's enough to make me actually squeal or gasp or vocalize at the screen, lol! That's definitely up there along with coming up with the perfect chapter ending, lol. 31. Of the characters you write for, which is your favorite? Has that choice been swayed at all by your followers/readers’ reactions to certain ones? Omg, this is such a hard question!!!! Because everyone I write for has such a distinct flair! Omggggg... Like, how am I supposed to choose between Hank's sarcasm and Gavin's feistiness? Between Connor's levelheadedness and Sixty's ridiculousness? Or Nines or North or Amanda or Kamski or... anyone? (And that's just DBH, too. I've written a few other things for other fandoms that are just as engaging, omg.) Guh... Okay, just on basis of ease, I guess I'll go with Hank. Hank is so fuckin great to write, he is very easy for me to slip into. We have such a similar sense of humor, it's always a great time writing him. (Although I think Sixty is a very close second, just because he's so fuckin insane, omg!!! He's a fuckin blast to write! XD) And also, no, I don't think this has been swayed by readers at all? I mean, Hank certainly provokes some fandom engagement, he's a fave character for the fandom. But that's not why I like writing him? (And if we look at Sixty, too, it's like the opposite reaction, lol. He's not very popular in the fandom, especially in the rarepair I love him in, but I still have a blast doing it anyway. XD) Yeah, I don't think my readers have swayed me whatsoever here. 39. What’s something about your writing that you pride yourself on? Oh gosh... Got me right in my Achilles' heel, didn't ya? Man, I don't know... My pacing maybe? I feel like I always have a pretty tight narrative with no superfluity. Mostly cuz writing exhausts me, lol, but my plots tend to be short and sweet and to the point. Simple but brisk, lol. But yeah, thank you for these questions! This was fun! Been a long time since I've did an ask game like this, lol. Cheers! :D

#ask games #fanfic

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hoodie-prince-kid · 4 months

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me rn, so me rn

me seeing one cool fanart: resisting making a character named hollow

i think it's more of the vibes anyway, like i need to make a character to fulfill the vibes in my brain

like for some reason my brain wants to make a more silly character, in the almost gets killed in a bar bc everyone there fucking hates them but they manage to scurry away way. the kind that is somehow charming and has people after their head

Oh. You want an affable menace. I love affable menaces, let me give you a little bit of what I do when I make them.

Step one: pick a "career". I flip between dramatic villain, local jester, cheeky thief, and daring outlaw, this will determine the character's general aesthetic- note that the career doesn't necessarily have to align with what they are, and you can mix and match. For example, a cheeky thief type could simply be a flirtatious and outgoing little shit who likes to start drama, or the dramatic villain could be combined with the local jester for a chaotic and destructive but silly character (cough cough Dimentio cough cough). I think I have one OC in each category if you want to hear about those.

Step two: general DND alignment. Doesn't have to be uber specific, just enough to get their morals organized. Generally an affable menace will fall under the chaotic alignments, but feel free to be creative and use something unexpected. A lawful good affable menace could be a great case of malicious compliance, for example.

Step three: gimmick. What are they here to do? What's their Thing™️? What theme song plays when they enter a room? Gimmicks are fun to play with for affable menaces because they can literally be whatever you want. This affects the aesthetic too, but also adds to their character development and establishes a motif for them to have that leaves a lasting impression on both the other characters and the audience. And speaking of which...

Step four: decide who's watching. Does only the audience find them charming, while the character is universally hated in-universe? Or can their charms affect the people and world around them? From there, you can fine-tune their morals and personality traits to align with what needs to be accomplished.

.......im sorry i know you werent asking for a rant. But im posting it anyway because talking is nice sometimes

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tenobelisk · 7 months

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Minor Things about Garfield (Starfield)

The primary musical motif of this game is almost identical to the first few notes of the theme tune of a UK TV show called This Is Your Life. I find this hilarious and now I cannot unhear it. If you look this up, you have been warned.

B. Much of the equipment is locked away until you get to higher levels and takes a lot of grinding that I just don't care for. So I resign myself to run into it eventually. Plus that's my fault for having eight different characters, so yeah.

III. Gunrunning for Denis (hey, friendo!) is one of my favourite pastimes. I did this very early on one run and ended up in a ridiculously high level area that gave me a disgustingly powerful weapon that still wipes out everything twenty levels later. I renamed it Blur Tool.

Square. I get what people are saying about this game being hollow and empty and flimsy and thinned out. There is not enough variety and diversity of locations, dialogue, music and just.. stuff.. basically. Maybe they will add this over time. Meanwhile I am boarding and retrofitting ships because it is The Most Fun.

Funf. Manaaki is the only reason i don't hate the trade authority.

#starfield #sorry about all these starfield posts but i am playing it because i like slow space games with conversation mechanics and loot systems

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s0ckh3adstudios · 2 years

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They’re fresh! They’re dead! They’re ghost kids ruling over a forest! It’s the Haunted Hats Subcon Squad! Woo!

Redrawn refs ready for 2022 babbyyy. Do reblog and show, introduce more ppl to the squad and the AU >:3

Look down here for info, music ideas, and idk stuff. I’m mostly copy pasting stuff from old posts and google docs, but I’m editing some stuff.

THE HERO

She believes she’s a hero, anyway. The princess of Subcon Kingdom, Hero is a ghost with a temper who doesn’t appreciate trespassers in her forest kingdom! Do that crime, you gotta do some time.

When Beta enters Subcon Kingdom, Mu forces her to sign a contract to agree that she’ll help out with chores and other tasks around the forest as punishment for trespassing into the forest and causing a bit of damage by accident. Hero is doing her best to make Subcon Kingdom a better place (though is failing) and now Beta needs to help. Unfortunately, she should have read the fine print of that contract, because now she lost ownership of her soul for awhile. Peck.

Music (underlined words have links to music):

So, Hero’s got several different motifs to go by, but with the role she’s in she only needs like a couple songs so let’s go in order.

1: Snatcher’s Contractual Obligations! This counts yes it does. When you meet Hero, it goes similar to how you meet Mu in the game. You see her, you start going in her direction to follow her, then suddenly you get into her version of Snatcher’s purple vine area as she says “HEY I SAW YOU STALKING ME YKNOW”. Hers wouldn’t sound as intense? Because she’s not necessarily trying to be evil? It might sound a little condescending, she means business. You trespassed into her forest which is a crime, now you’ve gotta make up for it.

I feel like with that song... I first thought hers could be made with A New Friend In Mafia Town, but after thinking about it, I honestly think with Snatcher’s Contractual Obligations it would work better with the tune of Judge, Jury, and Executioner. I was thinking about this earlier and I honestly think this song could be really cool, even if the song isn’t used often.

2: Okay, so remember So, What’s The Plan? HERO COULD GET HER OWN SPOOKIFIED VERSION OF THIS WHEN SHE’S MAKING YOU SIGN CONTRACTS AND TELLING YOU WHAT TO DO… That’d be cool. I guess it could keep the tune it already has but just sound spookier for Subcon?? idk man.

3: Let’s talk about the theme of Subcon Forest itself! Sure it could be the same but I think it’d be fun if it had more Mu motifs since she’s (1) the main leader of Subcon and (2) the one who actually has lived there all her life. I think it could have several different motifs, BUT THE MAIN ONE WOULD DEFINITELY BE Judge, Jury, And Executioner . Judge, Jury and Executioner my beloved… It’s one of my top favourite AHIT songs, if you didn’t know. Anywho yeah the HH Subcon Kingdom theme would def still contain some of it’s og themes, but also Mu ones.…honestly, no no, it would also include themes relating to the other ghosts :0 some Her Spaceship motifs for Collector and Hoarder, and… idk, something for Haunter. Timmy doesn’t have music.

4: Oh, It’s You! Oh yeah. Maybe Hero’s would be a lil more triumphant, a little royal since she’s acting as the “Queen/Princess” of Subcon? Not sure which of her songs would fit best with it.. But I’d be interested in hearing something like it. Maybe A New Friend In Mafia Town since that’s her most chill theme, with hints of like Judge, Jury, Executioner in there.

5: NOW FOR HERO’S BOSS FIGHT. Mu literally has 3 separate battle themes, mix one or all of them into Your Contract Has Expired and you’re good. Probably Segment 2, it’s the best. I guess some segment 3 could be in there but like... that one is more like for Hat Kid having the rush and triumph and almost saving the world. Ofc the battle theme could also have all her other themes thrown around in there too.

THE HAUNTER

The spooky, coat wearing spirit who haunts the abandoned manor within Subcon Kingdom! It’s said that he took it over shortly after he got here and turned it into the most haunted building in the land, with over a hundred rooms and maze-like corridors. It’s also said you can hear the rave music from the ghost parties that go on in there from miles away. He’s not exactly the most intimidating ghost, but he tries to be!

You don’t get to fight this ghost, nope! He’s just not into that kind of activity. Instead, he gives you the challenge of getting through his haunted manor in order to get a Time Piece reward! Not only that, but there may or may not be a couple more hidden rewards within the many halls and rooms of the manor. More Time Pieces? Stickers? Remixes? Dyes? They’re all hidden somewhere! But the place is a maze of rooms, how are you supposed to find anything in there, especially your way out?

Music (underlined words have links to music):

just KIDDING I GUESS I CAN’T REALLY DO THAT THERE IS NO MUSIC RELATED TO HIIIIMM…

Well, he can have an Oh, It’s You ofc. Again, really not sure about his motifs.

Maybe since he was cut co-op he has some similar motifs to Coco and Hoarder? Ooh, that’d make sense... the three other ghosts having similar motifs. Maybe stuff like the title screen. Oh, and also Tim’s unused theme. Honestly? Something like that could be fun with an Oh, It’s You. Would make sense since he’s Tim’s kid.

The only other theme Haunter would have is for his haunted manor. Basically how it works is you have to go through it to get a Time Piece from Haunter if you manage to get out of the maze of a haunted house. Inside are lots of rooms, puzzles, parkour, etc. It’s bigger on the inside. You can find stickers in there, yarn, more time pieces, coins, secrets ;).

So the mansion theme would be of similar instrument and vibe to the usual theme for Vanessa’s manor, but not AS creepy, yknow? A little fun spooky? Mysterious? What’s around that next corner? What’s in the next room? What’s gonna pop out next? Maybe a song similar to that of Gloucester Carousel from Mad Rat Dead. Not AS upbeat, way more spooky and curious, but it has that goofy vibe as if this is a game.

THE COLLECTOR AND THE HOARDER

This hat-wearing ghost may just be the smuggest ghost of them all! What’s her and Hoarder’s goal? To collect! Collect what? ...Well, everything! Originally, it was just Time Pieces, but their ghostly corruption and boring afterlife led them to want so much more!

As her name suggests, she collects things! She enlists in Beta to help her collect Time Pieces, much to the kid’s dismay. You do end up fighting her to get all the Time Pieces back for yourself, and Collector has all the different hat abilities. Yes, EVEN Time-Stop. She’s a tough foe. When she’s not being smug and laid-back evil, she can be devastating to your HP.

The Collector’s ghostly little sister and helper, the Hoarder, is a shy spirit who doesn’t do as much collecting as her sister. She does more of the organizing. Everything has to be in its place! Her presence in Subcon Kingdom isn’t as well known as the other ruler ghosts, and her existence is often forgotten as a whole. But, don’t be fooled! She can be just as smug and frustrated as her sister!

After finishing up the tasks with Collector, Beta goes into Collector and Hoarder’s abandoned spaceship hide-out to retrieve the Time Pieces that have been put there. Just when you think Hoarder isn’t gonna be a threat to you, just wait! She’s the obstacle you’ve got to watch out for in that hide-out. She’s doing some organizing and cleaning as usual, and you have to sneak past in order to get to the room the Time Pieces are being kept in. In order to distract her, you’ll have to use the brewing hat to knock down items from shelves so Hoarder will be focused on fixing and putting the item back for a few seconds. If you’re spotted however, you have to hide quickly, or else Hoarder will call Collector back to the hide-out for her to give you a game-over.

Music (underlined words have links to music):

Honestly? They have more of the Vanessa’s manor activity than Haunter does. So, for these two, they love to collect things, especially time pieces. So you have to go collect that stuff for them. Now, you wanna go and get that stuff back in the end.

C and H live in their crashed spaceship which they use as a house. It’s full to the brim with shelves of collected items, and you have to sneak through it and get all your belongings while heading to the room full of Time Pieces. (There’s actually two variations of Time Pieces so Beta knows which are hers.) But as you’re sneaking through their hide out while Collector is away, Hoarder is there to guard their treasure. So you have to be careful for her to not see you. If she does, Hoarder will call Collector, and they’ll both give you a game over. Which nobody wants. So you’ll have to distract her by making sounds in different spots to distract her, sneak around, etc.

SO. SO. Since this is in their spaceship. Maybe the music there would be like… Her Spaceship sounding creepy and sounding like the manor music? :0 Oh that would be so cool.

They both have an Oh, It’s You! of course. They’d probably share one, but that’s... boring. Idk. Collector’s would be smugger, Hoarder’s would be softer. Probably would have elements from Peace and Tranquility, maybe the menu theme. Coco and Hoarder have a lot of motifs to choose from as the protagonists of AHIT algkjkglh.

Then there IS boss fight with Collector, and she has access to all the hats so that also makes her tough. Again, lots of motifs for what her song could be. Of course it would also sound like Your Contract Has Expired, but there’s a lot of Hat Kid themes. Maybe hers would have the Segment 3 from You Are All Bad Guys mixed with her other themes like the spaceship theme, menu theme.

#ahit #a hat in time #ahit au #a hat in time au #ahit haunted hats au #ahit hat kid #ahit bow kid #ahit timmy #ahit mu #ahit mustache girl #ahit the hero #ahit the haunter #ahit the collector #ahit the hoarder

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