Hi. I promised a review. Two main pieces of constructive criticism and one positive compliment. Here you go!

Constructive Criticism:

- I actually see two primary issues with this track which I think you could definitely improve. The first is the dynamics. It doesn't One thing keeping this track at roughly the same dynamic the whole way through is the bass. Rather than varying the intensity of the track through dynamics and adding more subtle details, it seems as if you've used a higher density of notes in order to achieve intensity instead. This is functional, but you can absolutely do better! Try varying the volume, or even automating it in order to express your melodic lines better. You can also do this for things like background arpeggios or harmonic lines that you want to be present, but not overpower the primary melodies and hooks that you want the listener to latch onto.

- Related to the previous issue but a tad different is the composition of this track. I mentioned how you're using density to achieve intensity throughout this track. Well, to be more specific, it sounds as if you're essentially throwing everything you can into the climax. But... that isn't necessarily the best strategy. The percussion seems to clearly use a large amount of varied effects. Many of these would be very compelling if they were synchronized with the music better to emphasize specific points, but as it is they all mesh together and none of it sticks out very much aside from there being "more". In the pitched lines, this 'density' manifests as a large amount of harmonic lines all coming together in... really weird harmonies. I think you might have a lot to learn from classical voice leading techniques - not by following them precisely but by recognizing that typically, the bass and highest notes are what really 'frame' your harmony, with the interior notes supporting it. Listen just to a single second such as 0:22, and you'll see how the bass and lower notes clash intensely with the highest notes in the piece, typically perceived as a 'melody' unless they're substantially lower volume. Classical voice leading isn't the only way to do it, but it does work and seems like it would be an excellent foundation for you.

Complimentary Compliment:

- Now, on the other hand! You have pretty recognizeable theming, and while it's not quite as clean as it could be, there are some lovely melodies. I do love your harmonic lines and how you bring back previous ideas later in the track. I think that once some of the harmonic kinks are worked out, you'll be able to write some really fantastic melodic pieces like this. Weaving elements in and out, back and forth through a track is such a nice way to compose, and makes me look forward to your future music production.

Best of luck with your future endeavors!

Official NGADM 2021 review per request

Since this is made in a famitracker there's not a ton to say about the sound design and the production since there is not a lot of room to play around without leaving the retro chip sound genres. Itg goes without saying but this will be more so looking at the compositional layout and song structure. And since you've linked a pic for inspiration some of that interpretation of the art will be considered as well.

The general feeling I get is happy and nostalgic call to a moment which I'd say is an accurate feel for what could be going through the character near the shop, and with the wobbly and poppy sounds you have I get the sense that the character has eaten something like pop rocks and is enjoying the sensations while waiting either for someone or something. As a whole, I notice that the energy of the song is managed mostly by the amount of notes that take up a space. With stuff like famitrackers, I'm not sure if they can handle and synth having volume dynamic but I wonder how much could be managed or changed with the sounds you're using to get the sense of volume dynamics instead of reducing the amounts of instruments you use. I mention all of this because while you have interesting wobbly synths that I don't mind, there are other sounds that feel flat to me. Yes the sounds are primitive in nature, but you have the bass that when listening to that on it's own is not really that interesting, which I think is my biggest issue (sorry I develop thoughts while I'm writing so I might be rambling lol). The same bassline continues from start to finish. I would love to see the bass try to support the story of the song more instead of really being the ground work of the chord structure. On the flip side I'd also like to see other elements help the bassline or chord progression all in the thinking of 1) bringing things together to help promote the idea of what you're working with 2) more parts that are interesting on their own that also echo the main idea of a section further creates an interesting song. I think you also missed supporting what the chord progression is with everything else bass too. I'm not saying chords are always needed to be they're own separate idea, but I get more of the sense that you have either bass or you have counter melodies. Counter melodies can be a very powerful tool too, but to me sounds more disconnected as the song continues. An extreme example of what I mean is at 1:30, and also a case where song energy just translate to amount of frantic notes lol.

Which while speaking of 1:30, I kinda lose what the main melody/idea/motif is supposed to be. I had to listen to it again to make sure I'm listening to things correctly because you have the first introduced idea right from the start in the lead which I assume is the main melody you want to convey (it's also the slower one which generally leads to a more memorable melody idea that one could theoretically sing along with). Then immediately in 0:07 you have a fun counter melody which honestly I feel like gets repeated more than what the main tune of the song is probably supposed to be. Now this might be some of my own personal bias here, but I think what makes good song development is discovering what is the central theme of your song? It could be a rhythm, it could be a series of notes, it could be sounds you used, or what have you. If you like something, use it, and then, more importantly, expand on it. Play around with it. Experiment. Like in this song I'd take the melody you have in the first 5 seconds and start asking any question I can think of. What if I flip the notes, what if I reverse them, what if I make them faster or slower, what if I make the chord progression those notes, what if I layer it on top of itself in different time intervals, how can I can I make the percussion echo the notes? All sorts of ideas that if you play around with you'll likely end up finding fun ways to progress your song. Not all songs are narrative songs, especially like house, trance, ambient stuff, but I use the word story because when you're developing a theme the same elements I feel are involved. And that's where creating music is so rewarding. You get to be the one that takes an idea and discovers all the fun ways (and likely enjoyable ideas) to fruition, and you get to be the one that leads everyone else on that path too. You get to go on this journey of a creative process and at the end of it all can generate stuff like thoughts, ideas, and emotions, and wrap it all up as entertainment that goes further than what just words can accomplish.

I've probably touched on topics you already know (as I glance and see you've already made more songs than me) but repetition can't hurt right? Honestly if I were supposed to give a short review I really only have two issues with this song and it would be summed up song feels disconnected from itself and the bass feels lonely doing it's own thing lol. Again I like the sounds you used that helped give the song its cheerful atmoshpere and I especially like the percussion too. There was a good sense of progression and I can see where there was effort into energy management. All in all it is rightfully a fun song but just feels like it looses it's way a little bit.

Composition - 7
Production - 8
Sound Design - 9
Structure - 8
Uniqueness - 9

Not bad.