diff options
Diffstat (limited to 'album')
| -rw-r--r-- | album/homestuck-vol-7.yaml | 15 | ||||
| -rw-r--r-- | album/homestuck-vol-8.yaml | 40 | ||||
| -rw-r--r-- | album/the-felt.yaml | 13 |
3 files changed, 25 insertions, 43 deletions
diff --git a/album/homestuck-vol-7.yaml b/album/homestuck-vol-7.yaml index fe8544d5..dfe89f9d 100644 --- a/album/homestuck-vol-7.yaml +++ b/album/homestuck-vol-7.yaml @@ -323,21 +323,24 @@ Cover Artists: Art Tags: - The Expatriate Commentary: |- - <i>Thomas Ferkol:</i> - Havoc to be Wrought was spawned from an idea for a short story I had in my mind about a man climbing the old bell tower of an abandoned church investigating strange sounds that had plagued a small town, only to be forced into a confrontation with the "King of Owls" once he reaches the top, and ending with the KoO cutting the bell rope that the man clung to and screeching in the night. - Things changed though. - Once I had actually started writing and refining it, I decided to change its message, from a mad owl thing to the mysterious demon in the troll's session which had been recently mentioned in the comic (I wrote this sometime in Fall 2010). Also, yes, that is why there is distorted owl screeches at the end, although they were more meant to evoke the horrorterrors crying out in pain than owls by the time it was finished. - Contains some very powerful organ and some great chord progressions, but also some structural choices I am not completely proud of, which remained in the piece until its release months and months later because the original Finale file crashed on me before I had a chance to save it. So, rather than attempt reconstructing it, I went with what I had, and it stuck. + <i>Thomas Ferkol:</i> (composer, [Tumblr](https://eidolonorpheus.tumblr.com/post/15715289410/eidolons-other-commentary-whatsits), excerpt) + + Havoc to be Wrought was spawned from an idea for a short story I had in my mind about a man climbing the old bell tower of an abandoned church investigating strange sounds that had plagued a small town, only to be forced into a confrontation with the "King of Owls" once he reaches the top, and ending with the KoO cutting the bell rope that the man clung to and screeching in the night. Things changed though. Once I had actually started writing and refining it, I decided to change its message, from a mad owl thing to the mysterious demon in the troll's session which had been [recently mentioned](https://www.homestuck.com/story/2606) in the comic (I wrote this sometime in Fall 2010). Also, yes, that is why there is distorted owl screeches at the end, although they were more meant to evoke the horrorterrors crying out in pain than owls by the time it was finished. Contains some very powerful organ and some great chord progressions, but also some structural choices I am not completely proud of, which remained in the piece until its release months and months later because the original Finale file crashed on me before I had a chance to save it. So, rather than attempt reconstructing it, I went with what I had, and it stuck. + + <i>Thomas Ferkol:</i> (composer, <a href="https://youtu.be/E7pBfnN7b1w">YouTube comments</a>) - <i>Thomas Ferkol:</i> (<a href="https://youtu.be/E7pBfnN7b1w">YouTube comments</a>) Darkleer had no actual connection to my writing of the piece, was actually a Lord English in the outer ring piece. Someone choosing track art just thought he fit for some reason? + > WHAT IS THAT TERRIFYING SOUND?! The end of this song is freaking me out. Barn Owl put through distortion. Possibly horrorterrors. Who knows, man, who knows.. > Well I have a stud horse (stallion), and this kind of sounds like him whinnying slowed down. + Barn Owl through distortion, was supposed to be horrorterror sounds, but the person gathering art for the album chose this picture. + > <p>considering it was originally written about lord english, i'd assume the vast honk?</p> > <p><i>...(another commenter)...</i></p> > <p>No? We HEAR it, and it's him saying honk, not random screaming that is supposedly a honk</p> + Been a while, but the noises are the horrorterrors being slaughtered --- Track: Play The Wind diff --git a/album/homestuck-vol-8.yaml b/album/homestuck-vol-8.yaml index 684a9bff..48c61256 100644 --- a/album/homestuck-vol-8.yaml +++ b/album/homestuck-vol-8.yaml @@ -272,13 +272,9 @@ Art Tags: - 'cw: blood (abstract)' - 'cw: body horror (abstract)' Commentary: |- - <i>Thomas Ferkol:</i> (composer) + <i>Thomas Ferkol:</i> (composer, [Tumblr](https://eidolonorpheus.tumblr.com/post/15590461411/eidolons-volume-8-hootenanny), excerpt) - What started off as me meandering about with slightly odd chord progressions became a rather meandering piece in general. Originally labeled Nether, at least as the piece began to formulate, the first part quickly developed in what I hoped would be a style reminiscent of Russell Brower's music for Outland in World of Warcraft, primarily the [Outland Suite](https://www.youtube.com/watch?v=o8rcQrqOjaM) and [Netherstorm](https://www.youtube.com/watch?v=yzCLPD9iouE) (what the first name referenced). - - I completed most of the piece without drums or effects at first, but felt something was missing. After messing around with some different bits of drum samples, I found beats that were suitable for what I was going for, and those helped give more definition to the meter of the piece as much of it was long chords that made it hard to distinguish at times, then added some occasional filter effects to increase the overall spacey feel. - - After everything was in place, I listened through it multiple times and just began to imagine [Karkat's monologue](https://www.homestuck.com/story/4003) about how everything was his fault and the phrase "Galactic Cancer" stuck. + First off we have Galactic Cancer. What started off as me meandering about with slightly odd chord progressions became a rather meandering piece in general. Originally labeled Nether, at least as the piece began to formulate, the first part quickly developed in what I hoped would be a style reminiscent of Russell Brower’s music for Outland in World of Warcraft, primarily the [Outland Suite](https://www.youtube.com/watch?v=o8rcQrqOjaM) and [Netherstorm](https://www.youtube.com/watch?v=yzCLPD9iouE) (what the first name referenced). I completed most of the piece without drums or effects at first, but felt something was missing. After messing around with some different bits of drum samples, I found beats that were suitable for what I was going for, and those helped give more definition to the meter of the piece as much of it was long chords that made it hard to distinguish at times, then added some occasional filter effects to increase the overall spacey feel. After everything was in place, I listened through it multiple times and just began to imagine [Karkat’s monologue](https://www.homestuck.com/story/4003) about how everything was his fault and the phrase “Galactic Cancer” stuck. --- Track: Serenade Directory: serenade-vol8 @@ -798,13 +794,9 @@ Art Tags: - Denizens - LoFaF Commentary: |- - <i>Thomas Ferkol:</i> (composer) - - Bargaining With the Beast was a doozy. With little conscious attempts at maintaining structure (other than the section after the intro, which appears a few times to hold things together), it can come off as a wild ride through a bunch of interesting ideas just sort of strung together like a glass mobile made with craft glue and shiny twine. And that is a pretty accurate description. + <i>Thomas Ferkol:</i> (composer, [Tumblr](https://eidolonorpheus.tumblr.com/post/15590461411/eidolons-volume-8-hootenanny), excerpt) - The piece was sort of an experiment for me, filled with a lot of concepts that might even have needed a separate piece to flesh them out properly, but I made this piece with the Volume 8 submissions deadline looming over head (I think it was a little under a week until final decisions on tracks were supposed to be). - - This is also an example of a piece where I set out with a clear mindset for what I wanted. Seeing there was no piece based on Echidna and Jade's encounters ([[artist:toby-fox|Radiation]] didn't show us [[track:frostbite|his tracks]] until around when the order was being decided hehe), I wanted something majestic and regal, something befitting of a monstrous queen in ancient stone halls of a frozen world. Eventually it developed into a sort of audio tour of Echidna's palace and highlighted the conversation, never fully revealed, that took place between Jade and Echidna as they struck a deal. + Bargaining With the Beast was a doozy. With little conscious attempts at maintaining structure (other than the section after the intro, which appears a few times to hold things together), it can come off as a wild ride through a bunch of interesting ideas just sort of strung together like a glass mobile made with craft glue and shiny twine. And that is a pretty accurate description. The piece was sort of an experiment for me, filled with a lot of concepts that might even have needed a separate piece to flesh them out properly, but I made this piece with the Volume 8 submissions deadline looming over head (I think it was a little under a week until final decisions on tracks were supposed to be). This is also an example of a piece where I set out with a clear mindset for what I wanted. Seeing there was no piece based on Echidna and Jade’s encounters ([[artist:toby-fox|Radiation]] didn’t show us [[track:frostbite|his tracks]] until around when the order was being decided hehe), I wanted something majestic and regal, something befitting of a monstrous queen in ancient stone halls of a frozen world. Eventually it developed into a sort of audio tour of Echidna’s palace and highlighted the conversation, never fully revealed, that took place between Jade and Echidna as they struck a deal. <i>Killian Ng:</i> (original artwork crop, as presented [on Bandcamp](https://web.archive.org/web/20160412142102/https://homestuck.bandcamp.com/track/bargaining-with-the-beast)) @@ -862,13 +854,9 @@ Art Tags: - WQ - Ruined Earth Commentary: |- - <i>Thomas Ferkol:</i> (composer) - - Questant's Lament is one of my favorite tracks that I've made. Originally for [[album:the-wanderers|The Wanderers]], because there weren't any WQ tracks and I liked her portrayal in the comic, I wanted something regal, almost stoic, but also forlorn. + <i>Thomas Ferkol:</i> (composer, [Tumblr](https://eidolonorpheus.tumblr.com/post/15590461411/eidolons-volume-8-hootenanny), excerpt) - With the beginning, I imagined her away from the others in their camp, sitting alone on some stone at night and listening to an old music box, one of few possessions that she could have salvaged from Prospit. From there she reminisces, from her perspective, on the progression of the session and her foresight of and departure from the impending devastation of Prospit. - - In the end, she closes the trinket, accepts her new fate, and returns to her fellow exiles. + Questant’s Lament is one of my favorite tracks that I’ve made. Originally for [[album:the-wanderers|The Wanderers]], because there weren’t any WQ tracks and I liked her portrayal in the comic, I wanted something regal, almost stoic, but also forlorn. With the beginning, I imagined her away from the others in their camp, sitting alone on some stone at night and listening to an old music box, one of few possessions that she could have salvaged from Prospit. From there she reminisces, from her perspective, on the progression of the session and her foresight of and departure from the impending devastation of Prospit. In the end, she closes the trinket, accepts her new fate, and returns to her fellow exiles. --- Track: Hussie Hunt Artists: @@ -941,15 +929,9 @@ Art Tags: Referenced Tracks: - Atomyk Ebonpyre Commentary: |- - <i>Thomas Ferkol:</i> (composer) - - Drift Into the Sun started off as me trying to emulate [the opening choir track](https://www.youtube.com/watch?v=3pv2LgRzvKg) of a black metal EP. Soon some big drums and some spacey guitars found their way into the mix (in my attempts to make something on the line of ambient black or doom metal). Finally, I added Dave's "blast off" to help Rose with a metal-ified version of [[Atomyk Ebonpyre]] (which people keep requesting a full version of... maybe). - - This was another track that I had a clear design for, following as best as I could the events surrounding [Rose and Dave's chat on Derse](https://www.homestuck.com/story/3875) before creating the Green Sun, focusing more on the atmosphere surrounding the debacle than what they talked about. + <i>Thomas Ferkol:</i> (composer, [Tumblr](https://eidolonorpheus.tumblr.com/post/15590461411/eidolons-volume-8-hootenanny), excerpt) - After putting the original version up for the team to see, [[artist:clark-powell|Plazmataz]] offered to spruce things up. And they did. And it was awesome. And then [[artist:toby-fox|Radiation]] said he could make some crazy drums for the last section. And he did. And it was awesome too. - - And that was how Virginia was founded! + Drift Into the Sun started off as me trying to emulate [the opening choir track](https://www.youtube.com/watch?v=3pv2LgRzvKg) of a black metal EP. Soon some big drums and some spacey guitars found their way into the mix (in my attempts to make something on the line of ambient black or doom metal). Finally, I added Dave’s “blast off” to help Rose with a metal-ified version of [[Atomyk Ebonpyre]] (which people keep requesting a full version of… maybe). This was another track that I had a clear design for, following as best as I could the events surrounding [Rose and Dave’s chat on Derse](https://www.homestuck.com/story/3875) before creating the Green Sun, focusing more on the atmosphere surrounding the debacle than what they talked about. After putting the original version up for the team to see, [[artist:clark-powell|Plazmataz]] offered to spruce things up. And they did. And it was awesome. And then [[artist:toby-fox|Radiation]] said he could make some crazy drums for the last section. And he did. And it was awesome too. And that was how Virginia was founded! --- Track: Infinity Mechanism Artists: @@ -974,11 +956,9 @@ MIDI Project Files: Files: - 'Infinity Mechanism - Purple1222119.mid' Commentary: |- - <i>Thomas Ferkol:</i> (composer) - - Then we've got Infinity Mechanism. I am not sure what to say about it. I played live guitar and cello on it. It was one of the first full guitar based things I wrote for MSPA and the first that I used my computer to record rather than a Tascam mixing board + studio that I had used on my very old works. + <i>Thomas Ferkol:</i> (composer, [Tumblr](https://eidolonorpheus.tumblr.com/post/15590461411/eidolons-volume-8-hootenanny), excerpt) - Its mechanical sound and return to the beginning at its end reminded me of Beat Mesa, and it kind of became my own sort of theme music for The Scratch. Also it is now the first track written by me to be used in an animation and [[flash:4390|it is amazing]]. + Then we’ve got Infinity Mechanism. I am not sure what to say about it. I played live guitar and cello on it. It was one of the first full guitar based things I wrote for MSPA and the first that I used my computer to record rather than a Tascam mixing board + studio that I had used on my very old works. Its mechanical sound and return to the beginning at its end reminded me of Beat Mesa, and it kind of became my own sort of theme music for The Scratch. Also it is now the first track written by me to be used in an animation and [[flash:4390|it is amazing]]. --- Track: Revered Return Artists: diff --git a/album/the-felt.yaml b/album/the-felt.yaml index 83598e1e..b2c0f73c 100644 --- a/album/the-felt.yaml +++ b/album/the-felt.yaml @@ -155,9 +155,9 @@ URLs: Referenced Tracks: - Clockwork Apocalypse Commentary: |- - <i>Thomas Ferkol:</i> - Clockwork Reversal was my second contribution to the Felt. I love the melody of Endless Climb. I loved the music box-esque remixes on Volume 5 even more. Before I got on the team, I had written Clockwork Apocalypse, an orchestrated version of Clockwork Melody. After realizing Audacity could reverse music, I started experimenting. - Since the Endless Climb melody was so memorable and it had served as good sort of interlude tracks on Volume 5, I decided to try to make something in a similar vein. Oddly enough, I think the reversed version of the Clockwork Reversal sounds even better than both Clockwork Reversal and Clockwork Apocalypse. + <i>Thomas Ferkol:</i> ([Tumblr](https://eidolonorpheus.tumblr.com/post/15715289410/eidolons-other-commentary-whatsits), excerpt) + + Clockwork Reversal was my second contribution to the Felt. I love the melody of [[Endless Climb]]. I loved the [[track:clockwork-melody|music box]]-[[track:clockwork-contrivance|esque]] [[track:clockwork-sorrow|remixes]] on [[album:homestuck-vol-5|Volume 5]] even more. Before I got on the team, I had written [[Clockwork Apocalypse]], an orchestrated version of [[Clockwork Melody]]. After realizing Audacity could reverse music, I started experimenting. Since the Endless Climb melody was so memorable and it had served as good sort of interlude tracks on Volume 5, I decided to try to make something in a similar vein. Oddly enough, I think the reversed version of the Clockwork Reversal sounds even better than both Clockwork Reversal and Clockwork Apocalypse. --- Track: Chartreuse Rewind Artists: @@ -320,10 +320,9 @@ Sheet Music Files: Files: - 'Time Paradox - Thomas Ferkol (piano score).pdf' Commentary: |- - <i>Thomas Ferkol:</i> - This was the first piece I submitted for an album once I got on the team. Basically what happened was: I am visiting somewhere in Chicago with only my phone's connection to the internet, check the MSPA forums and find a message notification waiting for me. Radiation congratulates me on getting on the team. After some moments of sputtering disbelief, I read on. He says if I want to get started on something, the Squiddles was being finished up and the Felt was on the table. So, for the next couple hours I was invigorated, consumed wholly during the car ride and time in the hotel before I finally fell asleep with working on a track for the Felt. Time Paradox was made. - Originally, I made it imagining the recruitment of the Felt, picturing Doc Scratch warping across time and space, assembling the green goons from who knows where, and then witnessing the construction of the Felt manor. - It's a fun track, more energetic than a lot of things I had worked on and definitely influenced by Radiation's style. The last two sections are still some of my favorite phrases that I've written. + <i>Thomas Ferkol:</i> ([Tumblr](https://eidolonorpheus.tumblr.com/post/15715289410/eidolons-other-commentary-whatsits), excerpt) + + Alrighty, first off is Time Paradox. This was the first piece I submitted for an album once I got on the team. Basically what happened was: I am visiting somewhere in Chicago with only my phone’s connection to the internet, check the MSPA forums and find a message notification waiting for me. [[artist:toby-fox|Radiation]] congratulates me on getting on the team. After some moments of sputtering disbelief, I read on. He says if I want to get started on something, the Squiddles was being [[album:squiddles|finished up]] and the Felt was on the table. So, for the next couple hours I was invigorated, consumed wholly during the car ride and time in the hotel before I finally fell asleep with working on a track for the Felt. Time Paradox was made. Originally, I made it imagining the recruitment of the Felt, picturing Doc Scratch warping across time and space, assembling the green goons from who knows where, and then witnessing the construction of the Felt manor. It’s a fun track, more energetic than a lot of things I had worked on and definitely influenced by Radiation’s style. The last two sections are still some of my favorite phrases that I’ve written. --- Track: Eldritch Artists: |