Added On The Rox

also made meadowsofmoo properly alphabetical

[QN: Also fixed chromaphantasia -> chromaphasia]

1 files changed, 7 insertions, 7 deletions

diff --git a/album/stlap3.yaml b/album/stlap3.yaml
index 36bfd28..1fc312d 100644
--- a/album/stlap3.yaml
+++ b/album/stlap3.yaml
@@ -37,7 +37,7 @@ Commentary: |-
     [[artist:pascal-van-den-bos]]<br>

     [[artist:caelan-kier]]<br>

     [[artist:rainy]]<br>

-    [[artist:chromaphantasia]]<br>

+    [[artist:chromaphasia]]<br>

     [[artist:rowyn-berlan]]<br>

     [[artist:tee-vee]]<br>

     [[artist:beau-brian]]<br>

@@ -293,7 +293,7 @@ Commentary: |-
 ---

 Track: Cardioscillate

 Artists:

-- Chromaphantasia

+- Chromaphasia

 Duration: 2:52

 URLs:

 - https://pascalpotatovandenbos.bandcamp.com/track/cardioscillate

@@ -305,7 +305,7 @@ Art Tags:
 # - Fluorite Octet

 # - Magic 8 Ball

 Commentary: |-

-    <i>Chromaphantasia:</i> (composer, booklet commentary)

+    <i>Chromaphasia:</i> (composer, booklet commentary)

 

     For starters, this song took absolute ages to create. While writing it, I was listening to a lot of Japanese Alt-Rock/Metal, as well as some of the Homestuck tracks of those genres, like the [[album:strife|Strife]] album and [[artist:david-ellis|David Ellis']] work. Those definitely influenced a lot of the choices I made, especially in reference to the guitar tone and the drums. In terms of the technical theory behind it, I used a Phrygian mode, which is very similar to the Minor mode, which most Rock/Metal uses. The extra flat second from the Phrygian scale really lends a lot of interesting possibilities for resolution, because of the way it clashes with the root note, being only a half step above it. I mostly used a jazz guitar tone for the guitars to keep the sound more clean, however there is definitely a more liberal use of distortion on some of the leads.

 ---

@@ -557,7 +557,7 @@ Commentary: |-
 ---

 Track: The Outer Veil

 Artists:

-- Chromaphantasia

+- Chromaphasia

 Duration: 2:44

 URLs:

 - https://pascalpotatovandenbos.bandcamp.com/track/the-outer-veil

@@ -568,7 +568,7 @@ Cover Art File Extension: jpg
 Art Tags:

 - Meteor # but like. the lab in the meteor

 Commentary: |-

-    <i>Chromaphantasia:</i> (composer, booklet commentary)

+    <i>Chromaphasia:</i> (composer, booklet commentary)

 

     This song was an absolute joy to write, its my favorite song I created for the album. Its heavily inspired by the works of Disasterpeace as well as other ambient style electronic mussic producers. It utilizes two chords, in two similar modes. Those two dual modes, Ionian/Major and Dorian, create an interesting motion for the song, while never actually moving anywhere, because of the lack of any traditional functional harmony. (TL;DR for the non-music nerds, the song feels open and spacey because it lacks the chord-to-chord motion created by a traditional chord structure.) All in all I think this song came out great, and I got a chance to utilize some music principles I've never really experimented with before.

 ---

@@ -860,7 +860,7 @@ Review Points:
 ---

 Track: Forgotten Member of the Lost Weeaboos

 Artists:

-- Chromaphantasia

+- Chromaphasia

 Duration: 3:02

 URLs:

 - https://pascalpotatovandenbos.bandcamp.com/track/forgotten-member-of-the-lost-weeaboos

@@ -872,7 +872,7 @@ Art Tags:
 - Damara

 - 'cw: smoking'

 Commentary: |-

-    <i>Chromaphantasia:</i> (composer, booklet commentary)

+    <i>Chromaphasia:</i> (composer, booklet commentary)

 

     Good lord, this song. This song was an absolute pain to write for, due to the technical limitations that come with this kind of music. I had to do a lot of research for this song, such as what types of melodic structures, and what types of instruments to use. This song utilizes Japanese Tetrachords, which are a pain to write around. There are four of them, and you pick two and stack them upon each other to make a full octave scale. Each tetrachord is three notes, which means a sclae is only six notes, instead of the usual eight. This means you have that many less options when writing chord structures and melodies, hence why this song was such a pain. Hopefully the trouble was worth it, at least I think so.

 ---