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Judging for Music Contest #9 by RED BARON
First I would like to state that I loved every entry on their own, and I have been hearing them all on a fairly regular basis for almost a week. Steampunk is a tough genre to define for music and often comes down more to the way the musicians dress and slight noises than any clear genre definition. Therefore I have for my judgment about theme focused on the description for the contest and as always with those subjects, it is very much my interpretation of it.
There was some amazing variation in the entries and it is, to an extend, unfair that they are compared side-to-side, as if similar in nature.
There was some amazing variation in the entries and it is, to an extend, unfair that they are compared side-to-side, as if similar in nature.
Desert Machine - by AditTechno (4:48):
The beat is amazing, truly engaging and with the right mix to convey cogs or other machine parts in it. The piece does however rely on this a bit too much, and there is a tendency for it to get stuck on the beat, with little variation, although the variation there is, is quite good and the high pitches work well together with the rest. I do however lack something more, a true high note of the music where it stands out and separates itself from the background beat. It is a music piece that works well in the background and I can easily see it fitting into a steam punk or similar themed game to set the scene.
| Theme | It fits with parts of the theme, however it convoys more of the futuristic aspect than the retro, and as such I arrive at about 8 for this. |
| Creativity/Originality | AditTechno is quite the master of beats, however if I am to ignore the added mechanical noises, this does not stand out as something unique. It is an original piece, but I cannot score it full for that and there is in this specific context a lack of creativity in the sense that I have heard similar from both AditTechno and others before, as such this scores 5. |
| Production | Production and flow in this can hardly be questioned, this is a very efficient piece that makes good use of everything it includes without going overboard (rather the opposite if anything). Changes are logical and without being too abrupt. I could have wished for some more, but that goes more in line with composition. Hence this is a 10 |
| Composition | Overall it is not at all bad, but I feel that with a reduction in length this could have a been an even tighter piece, where the beat would have gone “unnoticed” while being the primary to create flow and rhythm, without reaching the point of being noticeably repeated. Doing so would also have pulled the varied portions together, all in all creating a composition that would truly shine. Hence I am giving it a 10 |
| In total: 33/50 |
Siege on Compoundville - by obie (2:34):
A fitting name for this entry without a doubt, as this piece manages to invoke the feeling of a battle and it could work itself right in as both the build-up and background music for a boss fight or similar hectic moments of activity, where the good use of tempo switching and the use of some lighter notes near the finish, I assume to convoy hope work, is well thought out, although I would have loved if there had been an even bigger climax to the “story”. As it is I must imagine an ending and gives a somewhat hollow feeling. There is little doubt that mechanical devices are involved in the battle, and while my mind wanders to Doctor Eggman when the laugh arrives, it works well as a transition and builds excitement. Nothing really remains for too long, however as opposed to the previous entry I wished you had made it slightly longer, which could have allowed you to play around more with the metal part, making it more unique. I do however have little doubt that if this was placed as the boss music, before a final cut-scene or something the above would likely go unnoticed.
| Theme | There are plenty of mechanical sounds, and the metal combined with the atmospheric beginning works to set the scene for both a retro and somewhat futuristic piece. The two parts aren’t equal in impact though, and as such I arrive at 11. |
| Creativity/Originality | It is a creative and effective move to go from the somewhat gentle to metal, but given the contest theme I applaud the use. However, the first part of the piece is feels much more original and creative as opposed to the latter half, which is a shame. This results in a 7, with 5 from the first part, 1 for the laugh and 1 from finish of the latter. |
| Production | As previously mentioned the piece feels split into two, where the latter part doesn’t really have the same finesse as the first. Production for the last part is looser, with reputations which makes the metal less lively and results in a loss of “excitement”, besides a tempo increase. The guitar should have been given more power, and instead of the big change for a great climax, I find myself wishing for more force and variation. As such this scores a 5. |
| Composition | There are some solid ideas in this, and it works well with what it set out to do. I just believe it could do even more. The climax and build-up for isn’t given enough time vary and it fizzles out almost as if every participant in the fight fell into a sink-hole. It is a shame, but I can only really give this an 7. |
| In total: 30/50 |
Clockwork Madness - by Brambleclaw (4:14):
I expected the epic journey before I even began listening to this piece, and I was not disappointed. Brambleclaw is a master at painting with the epic brush, but this piece suffers from what I’ve seen previously. It almost begs for a climax that matches the tale of adventure that the music evoke. It becomes a journey without a proper ending, but the journey itself is still incredibly well composed
| Theme | There is little doubt about the steampunk aspects of this epic. I love how the ticking of gears and horns intermingle. It becomes what I imagine as to be both retro and futuristic. It tends towards the latter part to be more of a fantasy tale of adventure, yet I still arrive at a 12 for this, due to the genre of steampunk being so loose as it is. |
| Creativity/Originality | This is in a way a fairly generic epic fantasy piece, but that is also why I find it both creative and original in its sound. I started listening to this and was not in doubt about the creator nor did I feel it was something I have heard before. Just that it was similar. The use of horns, combined with a gear ticking for rhythm and the blend of all the various orchestral components are creative and as such I am giving it a 8. |
| Production | This is a competent piece and I am mostly noticing something off with the ticks in the background for the latter part. I like the grounding gears, but they come off as wooden, not metal groans and the guitar could have been more impactful, especially to create the climax I find myself missing. It is a 7 for me. |
| Composition | If this had the climax to really end this epic journey, I would have no qualms about giving this a 15, but I am missing a proper ending for this and while this is fantasy game music that I could listen to repeatedly (already have), this needs more to truly shine. 13 is what I end up with. |
| In total: 40/50 |
Sphere of the Architect - by deepstrasz (7:23):
I have little doubt that you had a lot of ideas for this contest, and it feels like you couldn’t really limit yourself to just one of those. It is a very long piece, which can be split into atmospheric and music. I would love to go through a game scene with the first part of this as background noise, it paints a picture of exactly where you are and the machines that must be all around you. However as this is compared to music pieces the build-up is far too slow and just having elements on their own with a vast reduction in time, would have helped immensely. I do in the same vain feel that the title is extremely fitting, it is truly like being in the mind of a creative architect who can’t really focus on one thing at a time, but is also constantly building something complex and elegant.
| Theme | There is a constant machine vibe from this and while I find problems with this as one collected musical entry, I have no problem with how well it matches the theme. Near the end it loses some of the steam, and instead becomes more of a planet, where plants are growing, and life are re-emerging. I am very much reminded about fantasia and I am getting their typical cartoon scenes inserted directly into my head. The opening enters the interesting area of what music is, like how György Ligeti used metronomes as an instrument, and it is a tough job to call. It results in a 10. |
| Creativity/Originality | This is both a truly original blend and with a lot of creativity in the use of sounds. Combining gears, ticks, metal and steam into a very interesting musical segment, that I wished you had focused more on, compared to the overall length of the entry. A 9 for me. |
| Production | I am glad that I have a very good headset, which manages to convey even the smaller sounds, while also keeping everything nicely balanced. However, testing on other devices, I get the impression that more is going on that is easily lost with a less effective speaker, as things are fairly low and the sounds are stacked tightly together, obscuring each other’s individual characteristics. This plays a part in how effective the atmospheric nature of it is, however for that to truly work in that context I find myself missing some sonic space. As such this is an 8 for me. |
| Composition | As already mentioned the piece is far too long for its own good. The intro keeps going, without any buildup and while it is an interesting sound mix, I found myself just waiting for things to kick up in gear. At around the half way point, things do pick-up and I love everything from about 4.50 or so, and I could dearly wish that the strings, flutes and everything was moved forward, and a lot of the intro just cut. This would allow you to have a buildup that the latter part deserve, and damn would it make for a nice listen. I am giving it a 5 for this. |
| In total: 32/50 |
The Grand Tour - by Donut78 (3:24):
It is such a refreshing upbeat opening that immediately put a smile on my face. Its relaxing and it brings me above the plains, through a valley and into a medium sized village, past the church and surrounded by revelry, with a hint of something bittersweet. This could easily keep going, and I feel that it kind of wanted to. I don’t really want it to end when it does, and my biggest pet peeve is that it doesn’t stand out more.
| Theme | Hmm it’s a tough one. The opening clock doesn’t do enough for me. I find myself closer to the medieval era, with the choir and the strings. It is an organic piece, with very few mechanical noises. While I adore it, I am not getting any steampunk from this, and as such I can only see this as a 4 for theme. |
| Creativity/Originality | It is not far from similar background tracks that I’ve encountered in movies and games. However the refreshing feel, the use of flutes, bells and slight choir works incredibly well and while it had been done to some degree before, I am still as the overall criteria being creative and originality going with an 7 here. |
| Production | Out of all of the entries this one feels so professional and complete that I can only say 10 here. |
| Composition | Other than wishing for more, I cannot really point at anything I would have liked to see differently. It is incredibly pleasant to listen to and I had some good times working with this on repeat. Quality work without a doubt and while I really do love myself an epic climax, this doesn’t need it and as such I don’t really have any complaints, 15 it is. |
| In total: 36/50 |
Machine Heart - by HappyTauren (3:44):
Without being able to recall the name, I am reminded of a Christmas song that I once had the pleasure of hearing a heavy metal cover of. This unique opening immediately got me hooked and the piece does a fair job at keeping the pace up without becoming stale, with a slight exception near the end where it ever so slightly manages to become too repetitive.
| Theme | Metal is par for the course here, and machines are clearly playing their part, for example in use of the clock underneath the riff. Steampunk is present, and with more balance between the metal and the rest, I would have come very close to giving full marks. As it stands I am going with 12 here. |
| Creativity/Originality | This entry differs greatly from the rest, leaving little doubt about it being a machine heart that is beating fast and strong for metal. The riffs are however generic in tone and the music loses some of its unique flavor as a result. Your own? guitar segments are used to good effect, and it is a shame that they aren’t more visible. It gets a 8 for creativity. |
| Production | The sounds are a bit of a mess, with noticeable clipping and sounds that either doesn’t really match with the rest or imparts the feeling that they shouldn’t be as noticeable as they are. It is a mix of sounds that are a bit overboard, more so when the guitar is limited and does not get enough space, with some very similar riffs. A 6 is the result. |
| Composition | The intro is great and is as mentioned an effective attention grabber, however the riffs become extremely repetitive and there is little to distract from them, as they are the main focus. They do convoy something mechanical, but they become too much. If they were more varied and other instruments got a little more spot light, this would be something I could easily listen to several times. As it is I am lead down the problem of generic metal, where it is okay and functions, but isn’t truly interesting. I will however compliment your thoughts behind the harmonics in the riff, the contrast between the first part and the second part work well together. It gets another 6 from me. |
| In total: 32/50 |
Locomaction - by GhostOfPast (2:50):
A different take from the rest, with good old bit music to brighten the day. It works well to give the gear grinding metal steampunk that we like, with lots of noises to further kickstart the engine. I am seeing a steam driven Mario running across the screen, ready take on the tricky jumps and stomp the enemy to the ground. I have half a notion that it reminds me of an old PlayStation platformer, with a magician and a jester as the main characters, but the name of it escapes me.
| Theme | This is a brilliant entry for its use of “retro” music, while being a very futuristic piece at the same time. While I applaud the joke, I must consider the retro aspect in a more historical sense, and say that this is only a 8 for me. |
| Creativity/Originality | Great and truly creative use of bit sounds, likely as a reference to the retro aspect of the contest, check. The use of synths and noises to match the bit music and at the same time also being very self-aware, check. Addition of the odd “oh shit”, is funny – though for me it should have arrived a few seconds earlier to match the somewhat abrupt change in pace and thus making the joke work (if that is even the intention with that voice sample). At any rate this is creative without a doubt and deserves its 10. |
| Production | Everything is clear, well made and works – with a minor exception for me being at about 1:06 where the sounds are sounding somewhat muffled. The voice sample, with the glass being destroyed works okay, but given the building pitch leading up to it, I don’t feel that the glass sound matches that well. I believe it would feel more “correct” if the glass sound was adjusted to integrate itself better. It is some minor issues and as such this is a 9. |
| Composition | This is without a doubt the song I have listened the most to out of all the entries, and it comes down to how entertaining and joyful it is. Like how you can listen to super Mario and other well composed 8bit game music almost forever without getting tired of them, this does almost the same and there are only two things holding it back. One is the inclusion of the voice sample that isn’t really a part of it and if it was to be a great piece of background game music, a little more on it wouldn’t hurt. Still this is well thought out and I can hardly find any faults. An end result of 14 with a reduction for how the voice line “Oh shit” doesn’t work with the rest. |
| In total: 41/50 |
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