Hello! This is a review for the NGUAC competition.

I've gone over one or two general categories of issues specific to your song, and one section of things I think also deserve complimenting. I prefer being very direct with my critique, none of it is meant to offend. Thank you for your understanding!

Constructive Criticism:

- So, I'd like to comment on the tonality of this just like CHGangBoy05 did. The tonality of this actually isn't bad and I kinda like it. The blend of major and minor is mildly off-putting but each of the major chord changes DOES land with functional harmony, just very odd passing tones that don't quite work with the second chord in your progression. This could be fixed by changing that chord just a bit. The first bass note descends by a minor third, but if you add a harmony just a half-step above the first bass note as well, everything should work without as much dissonance. THAT SAID, I think there is a function of the current non-functional harmony as a point of contrast. Try using it narratively in the music, perhaps such as changing to the consonant harmony halfway through the piece or even just during the climactic sections. This would also serve the purpose of reducing how repetitive the piece is, since at the moment it essentially is just the one chord progression and one melody without any substantial variation.

- Secondly, let's look at the mixing. It sounds an awful lot like you have a lowpass filter on the actual MASTER and are automating it to open up during the climax sections such as 0:51. This is a very bad idea, as it makes mixing far harder while additionally keeping you from using ambience in the high frequencies or having anything crisp in your quieter sections to contrast with the lower frequency sound. Your snare suffers as a result of this and high hat work will be effectively impossible with this approach. Try automating filters on specific instruments - you can send multiple instruments to the same mixing bus with a filter on it to do this more efficiently while leaving other instruments intact to keep your higher frequencies available for things like cymbals, high hats, ambient white noise or wind, and high-frequency reverb.

Compliments to the Composer:

- Like I said, I honestly really like the contrast between the melody and chord harmonies. It takes a little bit to have that feeling click at first due to how uncommon it is, but this is a technique that can ABSOLUTELY be used to great effect if it is used with clear, deliberate intent. The general mix during the climactic sections isn't too bad either, and this is a perfectly fine effort. I think with more thought put into how you're applying your existing methods, you'll be making some really interesting and engaging music.

Final score: 6

The comments are the same as for the "Majestosphere". By the way, mixing major and minor keys works perfectly only if they are consonant. For example, the key of "G Minor" is consonant with the key of "B-flat Major". Or, as I like to call it, "A-sharp major." You mixed completely different keys here, because of this, the sound of the track, although not much, but suffered. 7 points.