I suppose when I think love song I think of something with a brighter sound, less minor tones/chords, something moving and beautiful, something large and rich... it starts in a way that sounds not much like the love song I was expecting, but as it builds it definitely gets there though. Choice of instrument's key, too. The background strings definitely add in a romantic element to it as well. It feels heartfelt, slow and sincere, as if it takes the time required to really map out and showcase the full range of feeling such a song needs to be true...

Love songs these days may really have been ruined by the radio though. They're false and flat compared to this. Catchy and contagious more so than truly depicting the depth of emotions something like this deserves... exceptions being the occasional musical, or song in a movie, or of course, anything that's not mainstream. There certainly are some lovely tributes out there.

Didn't think I'd find this that captivating either way, as I'm not currently in love, and correlate love songs to typical cheesiness, but this is masterful... magical... feels like something you'd well hear in a movie too. With those Hans Zimmer-like waves. So vibrant.

Would've been interesting with the verse in the song as well, but maybe that wouldn't have fit in. The instruments speak too. This was great. Don't listen much to classical normally but I think I should, makes for a special range of emotion...

-cd-

LucidShadowDreamer just introduced me to this track. I just want to say that I truly believe this is a masterpiece. I'm blown away by the incredible amount of emotion this evokes throughout the entire duration.

Well, I'm honestly very humbled by this. The blend of the instruments, is perfect. I being a symphonic musician can appreciate this very much. The full wind ensemble swells, are something I would Love to be able to participate in performing with an orchestra. The perfect amount of brass that comes through just at the climax, how each note in each chord is balance perfectly as if high level musicians are each playing those chords for you, knowing where they sit in the harmonic series, knowing when to detune the 7th and 3rd of each chord, and how loud to play each note to get that luscious blend you hear from the likes of the Chicago symphony, or even the London Symphony. The Chords, the progression, the tension, the resolution into more tension, the moments of true resolution, that go right back into more tension, this is the kind of symphonic music I live for, HAVE lived for, for as long as I have been involved in symphonic music. For as long as I can remember. With influences of the true classical era of music, YET flowing perfectly with romantic era influences, and even some modern, more complex ideas not heard in the romantic era. But the certain parts of this song that have that strong romantic era feel to it, I'm especially in love with.

The romantic era is my favorite era of music. Soaring french horns, after the days of the non valved french horns, when composers truly discovered the amazing range of tambours the instrument can create. The amazing emotion that it holds. With composers like Richard Strauss, and both Johan Strauss'. brings out such emotion in me.

But i digress, your piece only reminds me most of the romantic era, but it mostly is a very original depiction of human emotion. And I appreciate all that you've done with it.

Is it time to begin this journey? I think it is.
Sorry for the slightly delayed review, I should've been the first to review this, as I'm pretty sure I was the very first to listen. But I didn't have enough time at that point, and I wanted to give this a thorough review, hehhe.

First off, incredibly well pulled off references to "Return". Sometimes these things can accidentally occur subconsciously, but I refuse to believe that's the case here. Especially taking into note the context of "Return", and the name and context of this piece. I know that the violin used for return is real. Is that the case in this piece too? It feels so alive, with its sound, and all the dynamic.

Once again, I was surprised to have heard the entire piece, and I thought it not that long, and then when I look at the time at the end, a good 6 minutes have passed. Something about your tracks really help me live into them, to such an extent that I don't even notice the flow of time, which is otherwise something I'm very conscious about. It's a good feeling, being able to dive so deeply into a piece that the world around you becomes unimportant, if just for a moment in time.

While you say this is not a conventional love song, I'm not entirely sure I agree. Having watched thousands of movies, I've often heard similar themes reflecting several situations when it comes to love. This is not the stereotypical "forbidden" love with all of its cheesy romance and excitement. This is the love, surrounded deep feelings, doubts, perhaps even dangers, and very complex and hard to grasp situations. The only people that really get it are the involved. In some cases, this might even be possible to depict one-sided love gone wrong. Or even worse, the depth or fear for a loved one. Or simply, very complex and unique situations. But as I said, similar themes have been used to depict different kinds of love before. For an example, one could take music by Bernard Herrmann, used in Hitchcock movies. Take a theme from Vertigo as an example (https://www.youtube.com/watch?v=kC5AzFc3coo). While it's a mystery/thriller, it has a lot of romance in it as well. I'm sure you'll notice a few similarities in the theme, and I suspect might even have heard it before, hehhe.

Oh no. I got distracted there for a while, and I lost my train of thought and flow. I'll try to get it back...

Well, while I try to get it back, I'll talk about what I've learned simply by listening to this. I've learned the importance and effect that dynamics can bring. I mean, I already use that when I play the piano, automatically. But I notice lsitening to this that I've spent far too little time focusing on dynamics when it comes to orchestral arrangement. The volume dynamics really put an emphasis on the important and notable parts of the track.
If I hadn't just writted an epic piano composition inspired by SoundChris (it'll take a while for it to be uploaded, but look forward to it! It's not as deep as the track inspired by you, but it sure is good), I'd sit down by the piano right now, and start a new journey. I will use what I have learned anyway, and try to use the piano as well in ways that I usually might not, when the time is right.
Ah yes, train of thought. Welcome back.

Depsite the interestic harmony choices in the beginning, this track never gets creepy to me. I've heard similar chords used in "Dining Room", which is a royalty free track that was used in "Ib", but instead of being creepy like they were in that track, the chords and notes here give evoke more a sense of curiosity and mystery in me. I think it's because of the way you play it. I feel no creepiness in the piano seat, especially not hearing chords like 0:59. The short sections with moods like that somehow remind me of the theme "Kathryn", made by David Carney. A pice also about love, cooperation, and whatnot, with a hint of sadness. Sorry for all the references. I think you might enjoy looking up the tracks I mentioned though, as they're all a bit unique in their own way.

Another thing I love is the structure, and the way this track moves. Really makes me think. Sometimes the strings and piano just hint at progressing somewhere, but move back a bit instead. And then, out of nowhere, things start building up, with not only new chord choises, but more instruments, more dynamics, more drama, and clearer melodies. The piano rolls are wonderful. I've heard them used in orchestras from time to time, but you implement them really well.

Moving back a bit, I like how there are not only one climax in this track, but several. And even better, in between, the track gets a bit more reserved again. Wonderful structure. I really ought to learn from this.

Well, I think this is probably it for this track. I won't go so far into this as analyzing the different chords and melodies specifically, as that's not really my thing. Even if I can transcribe the chords and the melodies if I want to, they don't tell me nearly as much written on paper, as they do when I listen to this.
That said, this has still been more of an analysis, than a traditional review. My thoughts, while listening to this track. This is also making up for not reviewing return more properly. I have to say, while I find similarities between the tracks, in the core, they're still very different. Personally, I enjoy Return just a slight bit more (it's a track I just keep returning to). Something about the almost constant unforgiving drama and sorrow in that piece is something that will not easily be topped in my eyes and ears. That said, this tracks works way better with the slower and not as active parts, which instances of real intesity.
That said. As much as I have enjoyed your latest uploads, this is now my second favorite of yours that I have heard. And you said you might not have time to partake fully?
If this doesn't make it to the next round, I don't know what will.
Also, the sfx is very nice, even though it wasn't really in focus of my review.

Sorry for the long read! I don't much care to check my spelling at the moment, so I apologize for that too. Obviously, I have no criticism of this track, or I would've mentioned it long ago. I hope things will continue to develop well between you and said girl :)

I honestly, thoroughly enjoyed listening to this track. You keep surprising us all with great tracks, deeper than the deepest sea. I hope you'll keep that up ;)

I like the rain FX and the pensive piano at the beginning. The progression is really interesting. There's a lot of dissonance, yet in a way that gives it a soothing, jazzy vibe. At times I thought the rain FX was a bit too loud, especially towards the beginning, and I think you needed a stronger transition at 1:19. Otherwise, the strings come in a bit suddenly, and I highly doubt any sort of suddenness would fit with the flowing and emotional mood you were going for here. I love the sense of climax into around 2:10. 2:10 serves as a grand "arrival point," and it's important to have contrast in a piece like this. Another great arrival point was 3:30. I love your efforts to harmonize more at that point, and how you mold the mood towards a darker and more apprehensive sound. The pulsing strings are excellent, and I love how you bring the song full-circle by bringing back the tranquil piano chords at around 5:20. The ending was mysterious, even ominous, yet also conclusive enough. I love how you played with the pacing a bit at the end, as if the rain was slowing down and the sun coming out. :) Overall, this is clearly excellent work. As far as I can tell, the mixing and mastering is solid, and I'm impressed with the emotion, dynamic contrast, and progression. Keep up the good work, Phonometrologist! :D

9.25/10