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Reviews for "Your Father's Blade"

Great intro. Soft, intense, emotional.
I felt throughout the song that I was waiting for something to happen. Nothing particularly spectacular happened, but this is an excellent cinematic piece, and I can totally picture the scene here.
I felt you could have used some more backing strings in the beginning, prior to 2:22. The melody kind of droned on after a bit and some lower harmonies might have given flavor to the “death of a beloved character” sequence.
And then wow, never mind, 2:22 is freakin’ beautiful. I love the vox you have overlaying everything. Very pretty and ethereal; gives us a sense of sadness, but perseverance as well. Most of your tracks are like this. You start off with a story, a main character that has forged his/her way through trials, and eventually we get to the conclusion that ends much like the intro started. Chords are beautiful here, but I would have liked to hear more of you going off the main path progression-wise, rather than “D, then C, then B flat, then C again”. It left me wanting more from the instruments.
Awesome emotes from the male choir here. Is this character training to be a samurai? Sounds like they’re grunting in another language. Might be obvious, actually – considering this person had a father who gave them a blade, I’m guessing samurai. Maybe wizard.
Very nostalgic and evocative. Would have liked more deviation from the normal chord progression; spot-on mixing.

NGADM Round 3 Score: 8.5

This is a NGADM review.

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Holy. Crap. Peter. This is so beautiful! :')

I'm just waiting for the day when I see your name on the big screen. Honestly, you are a professional. Anyway, this piece was alive with emotion. It has an awe-inspiring build-up, a great theme, and solid tension that keeps things interesting. I LOVED the ethnic influence that you incorporated here. You really gave off a Hans Zimmer sound in this track; have you ever heard his score for 'The Last Samurai'? Well, this is what I was reminded of (one of my all-time favourite film scores). It has an almost traditional Japanese vibe that I adore. Okay, I'll stop rambling now. The production quality is amazing, with the instrument execution being top-notch. The female vocals are hauntingly beautiful, and the support male choir is excellent. They really add a great deal of emotion to the piece – the human voice works wonders in tapping into our feelings! The hard-hitting percussion keeps everything tied together as it echoes throughout the track. What else is there to say? I loved pretty much everything about this song. As it currently stands, this is my favourite track that you have written.

I don't mean to echo what others have said, but I have two small complaints: the male choir (shouts) towards the end (2:56 – 3:29) are a tad too loud, and the build-up, while amazing, is rather long and drawn-out. As I stated above, this piece is full of emotion. However, the longer you draw out the emotion, the less it means to the listener. I found that by 3:20, the song held far less influence. That being said, the second half of the track is, in my opinion, superior to the first half.

I feel as if all of my reviews for your tracks are the same! That's your fault for making such great music though, so I have to recycle my words and try to spit them out in new ways haha! Great work Peter...no, this is astounding work. I'm eagerly looking forward to whatever you write next. I could definitely learn a thing or two from you, heck, just by listening I have. All the best! :)

Score: 9.5/10

This is a NGADM Quater-Final Review!
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You've done it again! From a softer and yet moving story-telling atmosphere to a huge final build-up, I can defnitely see a trend in your work that I would perhaps call your vibe or your style. It's very modern film-score indeed, and I'm sure you could make this work with many an on-screen tale.

Having said that, my honest opinion on this piece is that it has an incredible final section but the build up to it was too laborious to justify the time I spent waiting for the pay-off. It's similar in that respect to your previous submission where the outro gave me chills but I got bored before reaching that conclusion.

Maybe a way for you to move forward with this would be to include two build-ups in a song rather than just the one in the final section. Such is the way a story is told; context - tension - release - tension -release; instead of a single plot-line that lasts throughout the story.

I definitely enjoyed how it came together in the end, I hope you continue to make some awesome music!

9.1/10

Wonderful progression. Amazing track.

"You're father's not dead; He's right here," the man said as he tapped the boy's chest twice.

My one complaint: To me, something sounds strange about the shouts that start at 02:56. I think to my ears they sound too loud, with perhaps too much high frequency. They don't even quite sound human to my ears. Is there a percussive instrument layered over them? I don't know.

This is an NGADM Round 3 Review.

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You know how much of a fan I am of your music, but it seems like with each new track I hear from you, it feels less and less like I'm hearing music from a Newgrounds artist, and more like music from a Hollywood composer. Your competitive edge lies, without a doubt, in your absolutely faultless execution. This sounds enveloping, captivating, and gripping, partially because of your wonderful motif and partially because, once again, your sound design choices and mixing thereof is simply ON POINT, and leagues above what I aspire to hopefully be able to do myself in the future.

In both your Round 1 and this track, there's a point where the track opens up gloriously. In "Revelation", it was 3:05. Here, it's 2:55. These moments are, in my opinion, what really sell your pieces. Your masterful control over the sound and levelling of your instruments gives you the ability to create such jaw-dropping transitions like those, which can be appreciated in their entire grandeur and splendour at high volumes. My favourite aspect of that transition is actually how you nailed a balance between abruptness and smoothness. It sounds abrupt enough to really hit home with its sudden change, but still smooth to keep the listener enthralled by the experience. It was both understated and hard-hitting, whereas the standard route would be to have an obvious buildup to that section (which is what I would have done). Your approach, while fairly bold and daring, is an approach I personally love.

I have to also commend you on your excellent choice of instruments. There's a slight ethnic influence which isn't needlessly in-your-face but still present to give this a unique flavour compared to what you've made thus far. One aspect I think you excelled particularly in would be the percussion. All throughout the track, your percussion fits beautifully. It provides subtle rhythmic taps for the first half which give this track a good sense of forward motion, and then the percussion seamlessly morphs into a huge driving force, with mighty thumps and booms serving as the backbone of the emotional and uplifting climax. The only issue I have with the instruments is the vocal section that starts at 1:10... I don't know what exactly is annoying me about it, but I'm not feeling it. It sounds kind of artificial/synthy. Did you use Voices of Passion for it? Because that might explain it - I hate Voices of Passion with a passion (pun unintended)! I think the vocals sound more at home later on in the track, though.

I have one minor complaint with your otherwise flawless production. After many careful listens of the climax at 3:05, I think it slightly lacks mid frequencies. This might be because the brass is slightly too understated. Turning it up a little, and maybe boosting more of its mid range, will fill up that gap that I think I'm hearing in the frequency spectrum of that climax. On a more composition-related complaint, I felt like the first half of the track needs more complex composition to retain interest. Before I listened to this, some of the other judges had already told me that they preferred the second half to the first. Nevertheless, during my first listen I tried my hardest to enjoy the first half, but I have to agree it could be a bit more interesting. While I think the mood and atmosphere you portray over there is simply spectacular, I can't help but wish for more interesting compositional aspects beyond long, sustained notes and a consistent drumming rhythm.

The overall listening experience of this track, despite any flaws I might have mentioned, is simply glorious. Mind-blowing work, Peter. Plsteachme.

SCORE: 9.6/10