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Blessed Beginning: I only grew more and more unsettled as this went on. This track being so minimal but slowly changing really builds the tension! the detail of the faint, growing static in the background really adds to the ambiance.

A Chill Track to find Keys, etc. To: I was really expecting another horror track here! Glad to hear something more chill-- I'm easily scared, and probably doomed for the rest of this soundtrack. You've created a sound from right out of a PS1 game. Nice work on not doing too much here. This is meant to be a chiller track, and it's not catching to the ears, nor boring and incessantly repetitive.

Theme of Laren: very compelling theme-- the second half has a nice accidental that adds harmonic interest and is very effective. It would've been great to hear the countermelody after the second statement of the theme layered over Laren's theme! I feel like the two would've made great counterpoint. Regardless, nice work here.

Save Room: lovely and simple-- love the pan-flutey melody that comes in over the rolling chords. The choice of synths really makes a cozy vibe.

Reprieve: this track is good, and well-written! I had expected it to be equally or more unsettling as Blessed Beginning, though-- perhaps you could have leaned into the horror more here? It still feels relatively chill.

Obligatory Shooting Game: goofiness is good! This track is lots of fun.

Nobody hears you pray: here's the horror I was waiting for! The repetitive thumping noise that slowly gets louder and more intense is just brilliant. I can imagine an endless chase from the eldritch creature inching closer and closer... Loved the glitchy moment before jumping back into the beat. These synths work really nicely together.

Goodbye Laren: this melancholy theme is a nice way to close out this story. It's plaintive, starting with a pause, before Laren seemingly begins to trudge towards her fate, resigned.

In all, the cohesiveness of the chosen synths and instruments was really the shining star of this soundtrack. I'll have to try and compose in this early-3D-games style, it has such an inherent creepiness to it! Great work, and keep writing!

Morning Light: I'm very delighted by this light-hearted melody, and the light variations of it as the piece goes on! Each new phrase is pleasantly different from the last, with enough transitional material and a contrasting b-section to drum up interest. You've done very well here. My only advice is that some instruments sound a little out of place-- the bell, and the whipping percussion sound, for instance-- and that the mixing is very guitar-heavy, with some instruments drowning out others. Mixing is tough, though... and not everybody has extensive instrumental libraries. So from a purely compositional perspective, I'm very impressed!

Under the Umbrella: another beautiful and well-written melody. The tone switch from gentle piano to whimsical orchestra was also very nice! All the textures you explore are very beautiful, and pleasantly contrasting-- I might even invite you to be more restrictive, as lots of textures and instrumentations don't get revisited after their initial presentation. 

On the Pier Under the Stars: for two seconds there, I was like... 'Spirited Away?' this is a similar melody for sure, but I have no grievances. This track is probably my favorite: another delightful melody, with a good balance of variety and familiarity.

In all, I'm proud of your work here! Between the story, cover art, and music, you've created something cohesive and very enjoyable to listen to. Great work, and keep writing!

I'm honored!!! Glad you're enjoying :)

Electric Sheep: I'm immediately struck by these aggressive arpeggios! It creates a great impression, catching the listener off-guard immediately. The slow, gradual morphing of the low bass into the aggressive beat certainly kept me on my toes. This is how you do a long drone/repetition in an effective way! You've done brilliant work building a harsh, robotic sound. And, even though this track is already full of surprises, you continue to catch me off guard well through the middle of the track with the arpeggios. I did have to move on after about 5 minutes of this track.

Andriod Insomniac: this track really is nightmarish-- nontonal, and unrelenting and unpredictable in its changes. Really distorted and freaky (that's a compliment), but at the same time, if this comes on in the club, we're moshing.

Virotechnics: the idea of a virus causing a computer to grow mentally ill is very brilliant. I haven't touched much on the brilliance of your theme yet, but this piece and the implied battle really brings it to light in a good way. This is how you create a unique idea and embed it into the core of your soundtrack. This track is also just brilliant, and I'm not sure how I would've wrangled my DAW to produce some of this stuff. I'll stick to my pretty woodwinds and strings, I think XD

Nonpracticing Empath: again, very impressive work here. Could I mosh to this? Maybe but it would be a very uncoordinated dance. I would try regardless. This feels like the least interruptive track yet: it's still all over the place, but the more consistent beat makes it seem like we, the player, have perhaps learned our way around and are ready to face this final boss with confidence. It's subtle, but doing this in final-final boss music is definitely has a psychological effect. Love how the piece fragments into nothing towards the end. Seriously brilliant.

In all, this is far from my preferred genre, but real has to recognize real. You've made something compelling, creative, smart, well thought-out, and sonically stunning. Amazing work, and keep writing!

Thanks so much for listening! Still Life with Plum is my personal favorite from this soundtrack for sure.

Thanks so much for listening! I'm glad the quality of the tracks didn't come off as diminished. I always have high standards, and as I ran out of juice, the last few tracks felt a little stale to me. But if other people don't think so, I shouldn't beat myself up!

It's crazy to think I have someone who looks forward to my submissions I don't even know how to react >w<

You're right, I always encourage people to avoid repetition-- figures I wrote a somewhat minimalist soundtrack! But I did my best to keep it interesting anyways. The notes may have been repeating, but they were dovetailed between 5 string instruments, creating a constantly morphing texture. Then they slowly started to branch out to other notes... so hopefully it didn't feel too boring. Repetition is a powerful tool, but only when used with intention!

Thanks a lot for listening and for shouting me out on discord. I'm going to give your album a look very soon and can't wait to hear :)

Real ones know The Ducks Converse is the best track ;)

And thank you for that :) unlike some former soundtracks I've written, I didn't always feel like the emotional journey was entirely embedded into the music. So it's nice to hear that a set of fresh ears picked them up :)

Thank you! I always enjoy working with chamber instruments to achieve a nice, intimate sound.

Thanks for such an in-depth comment :) I'm glad I could transport you into the world of this game.

Thanks so much! Half the fun for me is coming up with a story for the imaginary game (and then being sad when I realize it's not a real game and I can't go play it XD)

Thank you for listening! This was my first time using my own vocals in a video game soundtrack so I'm relieved they're well-received :)

Imagine a Home: the minor 7th interval with sparse notes in between is instantly compelling. I love the winds peppering in slowly. It's vague, ungrounded, yet clearly leading towards something. There are a few issues with quantization, and I'm only being picky about that because of the quality of the composition!

In the City: when making comments for these jams, I always caution against looping things and simply adding other instruments or lines over time-- it can easily begin to sound really repetitive, to the point where even the added drums and percussion aren't quite enough to make this sound compelling. Maybe have things switch up when the drums come in? New chords, a new drone, or even just a transitional bar where we get away from the arpeggiated synth for a moment?

Floating in Space: the return of the sparse, fluttering woodwinds! These create a really compelling texture, but are somewhat grounded by these unchanging chords. This piece has good roots, and I would've loved to see what you could have done if you shifted away from the loop model.

 By The Ocean: here, the grounded drone works really well. The melody being handed from instrument to instrument as the piece swells, and eventually some counterpoint, combined with this lovely modal harmony, is pretty divine. You clearly have a knack for building tension!

In all, I'm impressed by your opening and closing tracks the most. Good job, and keep writing!

Sunday Funday: this track reminded me a lot of the old Wii and 3DS menu music! It has that calm, animal-crossing vibe to it... perfect for the story point you are trying to convey.

A world of my own: Smart use of the bubble popping sounds to actually tie in the image and the story into the music! For me, I used scribbling noises throughout my soundtrack to convey the doodled fish at the bottom of the picture. Attention to detail like the bubble popping sounds is what distinguishes this from any other synth pop track.

The Nurse Told Me To Be Good And Come Back Tomorrow: I appreciate the emotional affect of this piece. I don't want to say it left something to be desired, but I almost wish there was a more contrasting b-section, perhaps with different chords, to show the depth of the emotional impact this would have had on our main character.

Mommy's A Liar: this superficial, evil-sounding melody is actually perfect: it's not truly evil, but just a fantastical evil created by the mind of the girl. This track also would have benefitted from a more active rate of change. It's largely comprised of one bassline and one percussive countermelody. Perhaps introduce the countermelody sooner, then add a b-section with entirely new material? (Loved the heart monitor at the end-- between that and the car engine sound used earlier, and the bubbles, you're doing a good job of bringing the game material right into the soundtrack.)

I love you, mom: short and sweet. What a sentimental story, and this ending didn't need to be anything but pastoral and melancholic.

Your concept for the visual novel is very fitting for the artwork, and one of my favorite interpretations so far. Great work, and keep writing!

Almost a minute in, and I still can't tell the meter of this piece! Mixed meter works to keep the listener completely compelled, as it doesn't let them get comfortable with a beat. The otherwise straightforward harmony and unchanging accompaniment results in something rather trance-like, which works well for the context of a casino. I wonder what you could have come up with creatively to tie it more into the theme-- yes, most pieces are a glimpse into the composer's personal world. But how could you have tied it together and made a story about 'entering into someone's world' in a unique, personal way? Regardless, nice work, and keep writing!

Pan Flute and Dragon: I was immediately struck by the very modal, off-puttingly dissonant melody that opens this piece... most 'amateur' musicians, as you put it, shy far away from dissonance, aiming to make everything sound clean, if a little bland. This track is impressively gritty, with creative uses of register (low, buzzy synths) and very interesting harmonies.

Take a Rest: this track was short and insignificant-- which is exactly what rest tracks should be. I can tell you have an ear for how music should sound based on its function. The piece is built around a pentatonic scale, which lacks dissonance-- yet we shift and down a half-step, and there are some moments of tension. It's a well-balanced piece.

The nightmare: I love the way these opening synths physically tickle my brain-- it aurally confronts us with what, I'm assuming, is the boss of this game.

The sleepy sleepless village: This opening synth line is like a happy lavender town! I will say, the entrance of the rest of the ensemble was rather abrasive-- perhaps you could have staggered the entrances of the instruments? Also, that 7 chord on the third measure of the loop has a lowered 7th, or 'te', that clashes with the normal, raised 7th, or 'ti', in the synth ostinato (forgive my classical jargon). Always make sure that all of your harmonies are aligned, and that clashes like these really are intentional!

Temple: another piece that makes good use of dissonance! I love the low, rumbling chords and high choir that counteract the ostinato. I've heard it said that using high and low registers is a great way to create fear in music!

Ascension and And to All, a Good Night are both fairly simple tracks, and I have little to say about them, other than, great way to wrap up the soundtrack.

My only wish is to know the story behind these tracks! I wish I knew a little more about Jorwyn, his mission, and the people in the sleepy sleepless village-- among other things. However, it's clear you have lots of promise as a composer. If you can iron out the harmonic errors here and there, you've clearly got a strong understanding of how to translate vibes to music-- fear, rest, magic, etc... bravo, and keep writing!!! 

1. I enjoy the contrast of the first and second sections of this piece! It sounded like something from an early 2000s flash game, weirdly nostalgic in some way.

2. I like the drums in the beginning to add tension! Quick tip-- be sure to quantize things that you input via keyboard. The immersion of the string lines was slightly lost because not every not was exactly on beat. I'm not sure exactly how to do it in garageband/logic, but there should be resources online.

3. Loving the upbeat vibe of this last track, especially the gripping octave synthesizer line. Lots of instruments trade off melodic fragments, which makes for a lovely texture.

In all, I enjoyed these three pieces-- nice work, and keep writing!

Alarm: cool track! If this came on at the club it would be a hit. Love the Phyrgian mode and the stacked 5ths in the bass-- added to a sense of stress.

Chase: very energetic synth motif! I always caution against repeating the same 4 measures of music with different instruments added in/taken out, as it can dull the listener's attention quickly. Loved the panned clock-- way to tie the theme into the music!

Wondering: This one's interesting! It seems to start contemplatively, but the drums bring much more of an intensity. It's a strong contrast of emotions in one song, and it's a little hard to tell what the vibe is. Either way, another solid track.

Nice work, and keep writing!

As long as it was intentional, I don't think it's an issue! And if the goal was so that they could blend together seamlessly during gameplay, I think that enhances my view of the soundtrack even more. All three of those tracks would blend together well.

City in the Clouds: I like the atmospheric quality of this track, though I do find myself desiring a stronger melody a bit sooner. You've definitely created an image of a delicate, beautiful city in the clouds with this instrumentation! There were a handful of harp notes that felt a bit out of place during the second half of the piece, though-- otherwise, not bad.

Timeless: definitely love the use of reversed audio, and the sprinkling in of gestures used in the last track.

Jungle Time: love this stately flute melody! This track has much more of a sense of directionality to it. For next time, perhaps add a countermelody during the repeat? The interplay of the clarinet and flute was great, and you can totally lean into that more.

Ocean Time: not too much to say, this is another solid track.

On the whole, you did well! I enjoyed how you were able to show the same location in multiple states, but also show us other fun, different locations! Good job, and keep writing!

The Cosmic Clock: beautiful little pizzicato melody, and I love the trilling woodwinds. This track is super mystical, and utterly packed with character. I was initially going to caution against having an ever-repeating bassline with different things going on above it, but there is so much character and so many different vignettes, I couldn't possible complain. It has a really mechanical feel to it, and brilliantly orchestrated. Would work great with a live orchestra! The singing was an awesome addition.

Ticky Goes To Town: You've established a quirky, whimsical world, and this piece certainly follows in that vein. It is strikingly similar to the Second Waltz by Shostakovich, though. Definitely be careful-- it sounds like you're dancing around Shostakovich's work. 1:52 is a point where it sounds more like original work. 2:10's flute motive is lovely! Again, 2:30 seems to be a direct rip of his orchestration.

Ticky Goes To Another Dimension: this track, despite the steady drum, feels slightly disoriented because of the offset harp-- brilliant effect. There are some times where the mix feels a bit imbalanced, with certain instruments sounding closer to the ear than others. Again, the addition of vocals is really cool!

Overall, I loved this soundtrack! Your production is really good. I still have mixed feelings about the Shostakovich quote: it's a delicate thing, because I'm sure it's in public domain by now, but you showed that you can compose a fun, playful waltz without needing to copy somebody else (1:52-2:30 all sounded original to me.)

Nice work, and keep writing!

Blackthorne Seamarket: I always applaud the addition of sound effects, like running water and birds, to help submerge us into the actual setting of the game. This is a cute little track, though the harp-mandolin(?) combo feels less steam-punky and more medieval to me. (P.S. definitely consider using Musescore 4's new sound libraries! They are free and a major upgrade from the previous ones.)

Pine Wood's Valley: another lovely track! One thing I noticed with your flute melody is that it lacks a sense of contour: it sort of jumps around freely without a sense of start, end, or a direction along the way. For next time, always take these things into consideration. 

Tenebrae Islands: One of my favorite so far: the haunting tritones, rain, and distant synths definitely give it a sense of mystery. To further create a disorienting and frightening atmosphere, perhaps you could vary the rhythm a bit? All the notes seem to change on the 1 and 3 of every measure.

Ardwen's Village: I love this janky melody with the whining dogs! Fun fun fun.

Nice work, and keep writing!

Taulight Overdrive: immediately, I'm impressed with the production of this track. This synth could kill a Victorian child. Undoubtedly a headbanger of a song.

Curiousity Drives Us: smart use of 6/8 to convey the adventure/exploration that accompanies this track. I normally caution against using the same chords over and over for the bulk of a track, even if instruments are added/taken away, but given this genre, it adds to the grittiness somehow. I wouldn't change it.

Oops You Woke The Machines: One thing I am noticing is that each track is in A. Changing that might be a way to create more interest? Regardless, this track is another real headbanger. 

That Thing Is Huge: another good one! Love the bit at 1:50 where things change up a bit.

Nice job, and keep writing!

Menu: While the ticking clock has been used by maaany of the composers here (me included, in nearly every track...) I like how yours sounds ripped right off an SNES... this is a very cool opening track, and the blend of 16-bit sounding synths with piano, bass, guitar, etc. is very nice!

Save File Select: smart use of the clock here! You've taken the same ticking rhythm and utilized it in a completely different vibe. This track is fantastic-- pure retro vibes here. There's just something about File Select music. It has a certain vibe... teetering the line between chill elevator music and brace-yourself-for-adventure-music. You nailed it.

The Center of Time: very cool effect here with the fading synths-- and the clock effect at the end, leading into the next track? Spot-on.

Time Travelling: it's super smart to repurpose existing material in a new light, and that's just what you've done with the Center of Time chord progression! Now it's upbeat. It was also smart to add a little tag: the same chords repeating again and again can get boring to the ear, so having some new chords after 3 repeats was a good way to keep the music fresh.

Clash: quintessential retro battle music goodness. I can see that you have a good ability to keep the music fresh: while chords do repeat a lot in each given section, you change them enough that things don't get too repetitive.

The Culprit: the way the beat is not quite aligned with the ticking of the clock is so clever! Conveying character through music can be a challenge, and through the little off-beat rhythm, we learn that this culprit doesn't quite obey the rules.

Fateful Duel: another solid track! The synth runs at 1:10 are my favorite bit.

In all, this soundtrack is wonderfully cohesive, with plenty of diverse sounds, and an almost post-retro feel with the synths + traditional instrument combo. Are any of these instruments played live? The guitar sounds like it could be.

Fantastic work, and keep writing!

While the use of a ticking clock was an all-too-frequent appearance on most of the submissions (mine included...), I do quite like how it brings us into the opening!

Loved the entrance of the drums and electric guitar, and the slow buildup of intensity! The panned voices in the next track are really cool, and I love the 7/8.

For this final track, I want to caution you against this all-too-common error. It seems like you've taken the same 2 bars and looped them, then added on/taken away instruments throughout the rest of the track. While eventually the chords and things do change, this repetition can subdue the listener's attention.

All in all, you did an amazing job with this soundtrack, and I enjoyed how you varied each track. Good work, and keep writing!

This is a fun, upbeat track! Right away, I noticed that some of the piano notes clash directly with the atmospheric synth's notes-- be extra careful to avoid this kind of mishap. There are definitely several other points where this occurs, so perhaps this was an intentional effect? One of the guitars almost seem to be in a different key altogether. I do love the way the track's energy is constantly propelled forward, although there are lots of times where so many instruments are playing at once, the music is perhaps too busy. I'm really not sure if you wanted so much dissonance, but a large number of instruments have frequent, direct clashes of a half-tone with each other.

Still, nice work! This is a cool track.

Welcome to your first OST jam! I've been around the block a few times but I'm looking forward to hearing what you put together.

Eclipse: I see you have some really excellent sound libraries-- this track sounds utterly beautiful. I always caution against the repetition of one line while instruments are added to/taken from it (a sizeable chunk of the soundtracks I hear ultimately boil down to that.) What makes this track acceptable in my mind is that the entrances of instruments don't always align with the start and end of the repeated phrase. In the case of the staccato strings, they actually come in on the 4th measure of the phrase.

Soul: love the reversed audio bubbling around. The entrance of this lush cello melody is divine, and I enjoy the tone shift. A beautiful little clip that moves.

Lover's Reunion: I can't lie, the first ten seconds actually gave me chills! What a delightful, delicate little piano-celesta gesture! The cuckoo clock is humorous, and the clarinet over plucked strings in 3/4 is another classic way to symbolize something whimsical. The interplay of woodwinds, and the constant passing-off of the melody is perfection. Another favorite moment is 1:05, when the strings join the bassoon briefly for the melody. In fact, delightful moments keep occurring faster than I can type. I think you've got it figured out...

The Medieval Battlefield: is that really you singing? It sounds like it could be the EW WordBuilder-- or you just have an insane, insane low range. As a baritone myself, I'm envious of this. How did you make that recording? It's so cool and ominous. I love how this track balances sounding almost haunted with having this majestic, somber feeling-- the souls, sad to be dying, perhaps...

The Child: the addition of the heartbeat is a creative way to add emotion, but the piano and string combo is emotional enough! This is the most cinematic of the tracks thus far-- it perfectly captures the feeling of saying goodbye. The icy harmonics are another excellent addition. The pulsating piano certainly sounds like it's imitating the heartbeat as they both fade.

To Safe Thy Soul: yes!!! love the energy that this track sparks. When the melody repeats, and it's echoed by an oboe countermelody... loved it. My only complaint (possibly my first and only complain so far?) is that the opening is so intense, but it gets more subdued as the track goes on.  Around 1:45, we almost seem like we're picking up again, but it once again fades. This big, beautiful flowing lines are welcome, but perhaps a percussion instrument would have picked things up a bit. Still, such gorgeous and incredible music!

A Second Chance: I love the return of the opening theme. The solo strings are wonderful (Cinematic Studio Solo Strings, I think? I use the same ones!)

In all, I am glad that you fleshed out your story so much. This soundtrack is incredibly polished, and despite living in a traditional orchestral world, the reversed audio and genuinely exceptional writing keep it from ever sounding remotely mundane. This is undoubtedly one of the best I've heard so far. I can tell you've put your heart into this, and I really hope you'll stick around do these jams again and again. Beyond exceptional work-- keep writing!!!

The Persistence of Memory: this pensive little flute melody against the simple bassline and uncertain string melody establishes a rather uncertain mood. The entrance of the other winds suddenly makes us realize we are in 6/8, not 4/4-- a nice touch. At some point, the repetitive nature of the flute motif and the plucked bass got reduntant in my ear-- or perhaps this was intentional, to warp our perception of time? Repetition used in this fashion (i.e. minimalism) can be very effective if used intentionally. Here I wasn't sure how intentional it was, but this was still a lovely opening piece.

The Sacrament of the Last Supper: as a violinist, my fingers are killing me just thinking of this very high, very long pizzicato passage! Luckily the MIDI violinists don't complain ;) this track is simple and pleasant, certainly a good conclusion track. I think I hear a classic hymnal melody intertwined as well! I actually love stuff like this.

Nice work, keep writing!

First and foremost, this is a very compelling story! I wish each track had an explanation of what was occurring in that moment, but I can use my imagination thanks to your thorough explanation.

Alternate Past: whatever soundmass you've created here, it couldn't have been at the click of a button (and if it was, I am dying to know what sound library it is!). I want to live in this ethereal soundmass. I want to buy a house in it and go stay there when I'm feeling pensive. Really cool-- and the slow sounds of a clock create this sense of something coming...

Forsaken Ruins: beautiful interplay of the cello and synth here. This track has more motion, and an undeniable icyness. I like it, and I want to hear what comes next after listening to it.

Metadimensional Rift: with a name like this, expectations are very high for this track! Fortunately, it did not disappoint! The bright, almost hopeful melody that is consumed by this dark, swirling noise paints a vivid picture of something horrible opening up.

Stream of Impermanence: another cool track that feels right out of an action sequence in a movie! The funky synths almost feel out of place here, but that's nitpicky (which I feel at liberty to do since this soundtrack is thus far very impressive.)

Hourglass Shrine: Not much new to say here! Sometimes it does feel like the piano is out of place with the rest of the mix: the distant synths are utterly cavernous, but the piano sounds right up close. Perhaps adding more wet to the piano could help? Either way, another stellar track.

Palace of the Demiurge: you know it's over when you hear the church bell... love the drama of this opening!

In all, this soundtrack aces the slow, atmospheric sound. I loved it-- good work, and keep writing!

Last Firewells: I believe the soundtrack is in reverse order on SoundCloud? Either way, this is a rather somber theme-- fitting for the story as you described it. I will say, the low thirds in the guitar are rather muddy-- otherwise, good job with this track.

Matchstick: love the synths and the distant, wailing oboe-like instrument! The icy, high synths definitely convey the coldness of the landscape-- and the dissonant ending chords, perhaps, signify the 

Silent Hell: the perpetual eighth-notes in the guitar definitely symbolize the slow trodding around that the protagonist and their wolf friend are doing throughout the day.

Chant Du Loup: a solid, quick track-- I liked it!

Left: definitely think the holwing wind is a good addition to this track-- and the lack of any sort of beat, at least at first, is perfect for conveying the confused, lost state our protagonist is in. I enjoy the low, dramatic guitar line. Certainly conveys that feeling of 'oh crap, what am I gonna do now...' that they must be feeling.

The Lone and the Wolf: as the first track, I enjoy that it introduces many of the instruments that will appear throughout the soundtrack, including the synthesizers and guitar (which are really the main two.)

In all, this is a solid soundtrack, and I'm impressed. Good job, and keep writing!

Minute Man: What a fun, cheery opening soundtrack! Love love love this retro chiptune vibe-- and thanks for keeping the chords varied and interesting. Also-- props to whomever made that fantastic album artwork!

Secondhand's Shop: what a unique track! It's better to have shorter tracks that are packed with unique sounds, as opposed to a long track with frequent repetition, in my opinion. Using Lydian inflections to denote whimsy is classic-- you've clearly got a sense for what musical elements convey certain characteristics.

Cogwheel Plains: another fun, bouncy melody! Here I see a skill exhibited that's very crucial: the melody passes from one voice to another. That's an effortless way to create more interest in a track. Well done! Not to mention, a really cool ending progression to propel the listener into the repeat.

Cuckoo Forest: fun use of non-chiptune instruments here! When I compose video game music, I usually will have one or two chiptune lines over orchestral stuff, so adding the bells over otherwise chiptune-only sounds was a cool touch.

The Hour Tower: fun, subdued melody-- I heard some Phyrgian inflections there, along with some unexpected modulations. Way to keep things fresh! I am impressed beyond words.

Battle with A Timeless Foe: this is quintessential battle music right here! Love the funky bassline. 

My comments may have become sparse as the soundtrack goes on, but that's mostly because things I wanted to say would have become redundant. All of the tracks were short, but feature-packed, and often had really exciting melodies, harmonies, transitions, contrasting sections, etc. etc. etc. Undoubtedly my favorite soundtrack I've reviewed so far. Excellent work, and keep writing!

Last Stop: while beautiful, this track feels less negative and somber as it does melancholic and bittersweet in my opinion! I always caution against repeating the same 4 bars of music with different instruments added or removed-- perhaps a B section would have benefitted this piece? Either way, beautiful and certainly emotional music.

They Are Here: clock, or heartbeat? Taking the classic clock chime sound and putting it low in the bass is a cool touch. Again, the chipper guitar melody and general major quality of the chords doesn't really capture a sense of death or urgency-- more of a dancey quality? For next time, try experimenting with darker harmonies?

The End: Definitely my favorite of the three tracks. The low, dramatic piano progression is the most unique in the soundtrack. Again, I wish they wouldn't have repeated verbatim for the full length of the piece-- and there are times where the melody has clashing notes with the chords. Ignoring harmony, though, this track is pleasantly atmospheric and has a sense of rest to it.

Nice work, and keep writing!

Dejavu: I love the sound of this reversed guitar! Very cool, yet after the third or fourth repeat, the ear desires a bit of a change. In essence, this is 8 bars of music repeating again and again.

Main Theme: this guitar sounds similar to the one from Dejavu-- perhaps you took it, tuned it up, and reversed it? Either way, once again my ear craves a bit more variety-- and variety is delivered with the really cool breakdown section.

Nice work, and keep writing!

Save the Space Time: all of the synths you used are really cool, and I love the echoing sounds of the clocks! It's a cool piece, though I always caution against repeating the same chords for such a long time. The B section at 1:55 could have come even sooner, I think!

Time Goes Slower: immediately, I love the daunting feeling this track has. The slowed down clock is a nice touch. This slow 10/4 is a cool meter to be in! Definitely my favorite of the two tracks.

Good work, and keep writing!

The opening, immediately, is eerie and unsettling. For next time, try adding a B section to your piece! Instead of repeating the same piano part, and just adding new things to it, try introducing a new instrument, new harmonies, etc.

Great job, and keep writing!

Cool use of the clock sound! Definitely a funky track that I could see playing at a club as much as in a game. Not too much else to say about this one, as the same chords repeat so much that it sort of fades into the background... though not always a bad thing for a game soundtrack.

Going to the Olympics 2020: what a fascinating opening! Love to hear live instruments used. The reverse sounds are cool. I do always caution against the method of composing where one repeats the same 2 or 4 bars with changing instrumentation, as it can get redundant quickly. While it does eventually return to the same chord progression again, the break around the 1:10 marker was a cool way to spice things up momentarily!

Koriyama Skyline: I love the use of chatter sounds in this track! These little extra-musical additions are what really make a track unique. This track really would have benefitted, I think, from a melody a bit sooner: the piano melody was cool, but waiting so long to finally bring in a melody detracted from the opening: also, having the piano chords so low and tightly voiced muddied those chords for me.

Grand Escape: loved how it went right from one track to the next! Loved the little clock sound. Be careful, because the piano is clipping.

Nice job altogether, and keep writing!

Title Theme: smart contrast of high and low registers to create a creepy vibe! This melody is almost Wagnerian in length, or I'd suggest a repeat with an altered orchestration.

Puzzle Theme: loved the polyrhythm here. Once you layered in all the instruments, I'm glad you changed the harmonies instead of leaving it static on the i chord.

Safe Room: not too much to say about this track-- a nice, simple break from the action.

Battle Theme: while definitely very intense, I think this track could have benefitted from further percussion to really ramp up the intensity of the strings.

Game Over: loved the use of solo strings here, perhaps to imitate the sounds of a funeral dirge. (the Musescore solo strings really do sound good!)

While using clock sounds to tie in the tick-tock theme was smart, I'd have loved to see more creative uses of it instead of just having it on the first beat of each measure, or on the 1 and 3. Perhaps having it in a polyrhythm, or keeping it in 4 over a mixed meter, would've shaken things up? That's my only real criticism: otherwise, you did a great job, and keep writing!

I am thrilled to hear something recorded live!

Hush My Child: an effective, simple, lilting melody is a difficult thing to achieve while still sounding fresh. You've managed to succeed with an utterly pastoral little tune... I was dying for a repeat!

World of Wonder: by the time I reached this track, after hearing only two measures, I immediately knew this was going to be one of the top soundtracks. The playful use of meter is brilliant when trying to portray children's experiences, and it sounds like this recorder melody (brilliantly played) fits the contour of the Hush my Child melody, almost like a variation. A knack for good melodic writing is on display here. Having a definitive A and B section was also smart. Again, I wish the music had looped! But I understand limited recording time.

Teenage Battlecry: still a very lighthearted track, I don't have too much to say about this one. It's very cheery, and the brass/organ combo reminds me of carnivals, marching bands, etc...

A Slower Life: A beautiful, gentle track (that piano motive sounds so much like the opening to Defying Gravity!) I'm so happy to hear these live instrumentals, which truly add such a warmth. There were two times in this track where there were contrasting natural 6ths and flat 6ths played, which did pull me out of it a bit-- but again, given these are live recordings and time was limited, I can't protest too mcuh!

Dreams and Memories: smart use of the crackling effect to portray the aging that has occurred. A somber ending indeed.

Hush My Child (credits): excellent and sweet conclusion to this utterly adorable soundtrack :)

On the whole, I feel that World of Wonder was the most lovely track here, and it felt really innovative and exciting. I think some of the later tracks could have used similar levels of fun and creativity, but they all undeniably matched the vibe of the life stage they were meant to represent. You should be immensely proud of your work, and I hope your girlfriend is feeling better (you sang beautifully!) Good job, and keep writing!

tick tock: what a bright, fun track! It's important, in competitions like this, to rely on the theme in order to stand out. The sounds of people counting, as well as the metronome, are smart ways to tie in that theme and win some extra creativity points ;)

I'm super impressed by the way you keep this track sounding fresh. Lots of fun melodies and constant changes in the beat. This track belongs right up there with other sonic tracks.

gameover: love the chillhop vibe here! Another smart way to establish unity between tracks, especially those which have such contrasting vibes, is to borrow elements like chord progressions and melodies-- which you do beautifully here. It almost feels like a variation of the previous track. The oscillating pitch bend is a hair too wide for me, and it just confuses my ear instead of sounding like an old-timey piece of machinery. Also, the bass drum is really forward in the mix.

In all, these two short tracks are bursting with personality and energy, and sound very unified despite their contrasting vibes. Great work, and keep writing!