Your slowly Changing
It seems like your trying to change your style and trying to get more diversity from your other stuff. It still sounds a bit like the other stuff but seems to be more like a race car game drving music :P . Its not my favorite from you but you did a good job on getting away from your other style a bit :)
Nice
Wow...you know I just realized that everyone one of your tracks (bar this one, the newest) has a 2x platinum rating? That's crazy!
But Dimrain, I only have one problem with you - alot of the instruments you use are consistent throughout your songs. There is way too much similarity between most of your songs. While I do love listening to them, when I get tired of one, I get tired of them all.
I think the key is just that you need more harmony in your songs. It seems to me (only an opinion, not to be rude) that you have gotten so incredible with your talent that you don't really have to give much effort to make an amazing song. It seems to me like you forced these songs. Almost all good songs come to the composer. It just sounds to me as if you sat down and decided you wanted to write a song without first having a good idea come to you. And that makes for more boring songs (not to say that your songs are boring).
Just my 2 cents.
Some Suggestions
After listening to all your current and previous work, I found out that the "similarities" that other listeners were hearing were basically the way you use the flat seven chord. Since you always compose in a minor key, going to flat seven from vi or iii sounds good (the brain finds these chord progressions pleasurable...^_^), and hence you go to flat seven quite frequently. Almost all of your songs depend on the flat seven; more specifically, they depend on the one--six--flat seven--one progression for harmony, characteristic in "The Prototype", "Through the Gates", "Forsaken Neon", and "In Dream" (catchy motif!).
This is very understandable, and you have indeed essentially perfected the way you "lift" us to the flat seven on the descending-arpeggio motif in this piece. You went from iii to (b)vii. In "Prototype", you experimented with simply going from six to flat seven, and that can be easily heard from the beginning of the piece where the four-note broken chords were exhibiting the one--six--flat seven--one progression; as well, the basic harmonic structure of the piece revolved around i-vi-(b)vii-i. I daresay it is these very well-constructed variations of the flat seven that made your pieces so popular---it's also the reason I have almost ALL your songs on my iPod. You are very talented at composing with the flat-seven "lift" idea.
I'm glad to hear a somewhat more nontrivial (lol) harmonic structure in "Frozen in Black and Silver". But most of your songs remain in the dark minor keys, except "Confines of a Memory", where a Major key is used. If you are looking for fresh ideas, I would recommend exploring the Major tonality, and using many of ITS brain-pleasing devices. just study Pachelbel's canon in D for an idea, as that piece contains pretty much all the brain-pleasing chord progressions there are. Also, explore different ways to get out of a key (rather than just suddenly switching): modulate using an unexpected accidental to move into a neighbouring key. A good example of this is the famous "Popcorn" motif---it uses an unexpected natural at one point to temporarily go out of the current key. (And then there's the problem of coming back to the home key.)
I think I've rambled on for way too much.... I have never composed techno before, so my opinions are not of much weight. So ignore my comments if they are "noob" (lol).
Keep up the great work!
Wow, nice work. I've neverv really analyzed my music like that, I just..............write. = ).
Yes, I am beginning to experiment with major chords instead of minors a lot more. You'll hear on the album....
Great
Awesome music, although is it just me, or some of this from a Mega Man game? Just curious.
aight
Great tunes :D
I love them :)
Drums are kinda standard though.
Overall sounds pretty FL