Jump to content

Follow us:

  • All
  • Notessimo 2
  • Easy Listening
  • Electronic
  • Video Games
  • Metal, Rock
  • Themes
  • Cover
  • Miscellaneous

  • Recent Songs





    - - - - -
    ?.??, 5 ratings
    299 listens

    The Tarrasque Rises

    By Hellstick


    Submitted by Hellstick, Mar 04 2016 11:05 AM | Last updated Mar 07 2016 03:25 AM
    drum n bass drum bass hellstick scriptiul tarrasque rises the end is nigh


    Use V3 StandardUse V2 RemasterUse old playerDownload WAVFullscreen (Press ESC)


    Aight, it's done. Thanks to Star for helping me proofread the lyrics.
    Enjoy!

    (The file is somewhat large so it might take a moment or two to load)

    Thanks for the feature!

    File: http://www.notessimo.net/uploads/56262d227951fb28cd585598efa2b260.note
    Old File:


    13 Comments

    Eh

    I cheated by commenting before Star. This makes it look like I reviewed it first. In all regards, I did review it first. Get reft.

    TL;DR

    Needs more vocals and less repetition in the vocals.

    Intro 1 (m1-17)

    I really think this part needs some sort of atmospheric bass or something to it. It sounds good and all, but it just seems like it is missing something entirely. I do, however, enjoy the added hi-hat effect at the end of this section, which does make it transition better. It’s just hard to get over the fact that it feels like it is missing something.

    Intro 2 (m18-33)

    This is a good continuation of the previous section, especially with the added subbass. This makes this section feel complete, and overall a very good build-up (albeit [the buildup is] a little unintuitive). It makes for a build-up in the song which is not just pitchbending overuse; rather, it is utilizing rhythm to make the song get more energetic.

    Vocals 1 (m34-53)

    This part is really what gives the song character. In reality, this part is what the entire song should’ve been built off of. It’s absolutely amazing in tone. The rhythm of these words is beautifully well-done. The inflection here adds to the overall feel of the song; I especially like how “The Tarrasque Rises” whispers its line.The only complaint I really have on this part is the pronouncing of certain words (“Chaos” is pronounced “Kay-is” instead of “Kay-os”) and that the transition should still be earlier (to be exact, half a measure earlier).

    Verse 1-1 (m53-69)

    This bass should be more… vindictive? I’m not sure of the best word to use here, but it needs a serious attacking bass. The bassline is so awesome here that it should be the focus, and the melody only being an effect until later it comes in to be the main line (in Verse 1-2). Also, it hasn’t really been long enough since “The Tarrasque Rises” was said at m60, so it comes too quick. Maybe at the next phrase transition, but here it’s too early. The change in drumming is not noticeable except in visuals, which makes it get really repetitive. I see stuff happening in the player, but I don't hear any changes. Maybe I'm not supposed to hear it, but if there's supposed to be a big change in drumming, with all the hihats flying everywhere, you'd think I'd hear it? Not really valid criticism, but something to point out.

    Verse 1-2 (m69-85)

    This part, once again, sounds quite exhilarating. What this REALLY could use is a great background sound. You have the strings and whatever it is below them, but they aren’t quite loud enough and don’t have quite enough power. The melody here is good. Yes. Yes, it is. Even though it may not be the usual melody-driven Hellstick song we’ve known—scratch that—it is different from the same Hellstick song we’ve come to know, and that’s good. It’s different. That makes it more interesting in some senses, and to me it sounds good. It just doesn't have a real backing. The only parts that come across as the listener are the melody, bass, and drumming. The strings sound more like an effect rather than a background to the song.

    Post-Verse 1 (m85-101)

    Honestly, this part feels rather bland. I’m not sure exactly where to pinpoint it, but the build-up followed by a quieter sequence just didn’t do it for me. Also, some of the snare off-beats just sound weird and unwelcome. It’s more of a repeat of Pre-Verse 1 (in sound, not in nature). Too much could be going on in this buildup to the silence. It's perplexing because the buildup to a break (quieter part) is much more complex and louder than earlier buildups to the Verse.

    Break 1 (m101-117)

    A nice break from all the noise previously, and some intro revisits as well. A familiar build-up works extremely well here. It's a good time to just sit back and wait for the next part, while being reminded you are of course listening to the tarrasque rises. I really don't have much to say here, this part does its job well -- continue on to the vocals and don't be repetitive.

    Vocals 2 (m117-127)

    I don’t know why, but I really like these vocals (more so than the first). It’s strange because these make less sense and are less cleverly written (“for it is written” and the later lyrics to that are especially dumb). I just wish…there were more, honestly. They leave a little early. This is what puts it below the first vocals -- it sounds better, but leaves early. Also, did you know you were listening to the Tarrasque Rises? Well, "The Tarra-ra-ra-r-r-ar-ar-a-r".

    Pre-Verse 2 (m127-135)

    This works well. Really well. This is by far the best build-up in the entire song. Can’t really say exactly why except for the rather stereotypical bassline, which is extremely effective. This is the only time where "The Tarrasque Rises" lyric can be seen as not overused, and instead, utilized. And here, it makes sense that the buildup is loud and complex: you are building up to the climax of the song!

    Verse 2-1 (m135-159)

    The sudden changes here make this easily the best "Line" of the entire song. Similar complaints, however. I truly do wish the melody was a better sample. The synth is just too weak here. Maybe. It feels like the melody is just below amazing. Perhaps it just needs to be louder? It's difficult to tell, but I just wish it had been more than it is. The sudden drumming change is possibly the best thing you could’ve done, because at this point the drumming felt rather repetitive, and the drumming transition works to make it less repetitive, but it's just not enough. Did you know you were listening to "The Tarrasque Rises"? "The Tarrasque Rises."

    Verse 2-2 (m159-169)

    Here it gets a little repetitive. Utilizing the same “meh” build-ups of before, this part essentially is here to get out of the verse, rather than actually build-up. That “Tarra-ra-ra-ra-ra” thing is a little overused, which is apparent here. Did you know you were listening to "The Tarrasque Rises"?

    Outro (m169+)

    Being essentially the same but quintessentially the entire song (I use big words to sound smart), the outro is perfect in all regards. It is the intro, but with parts taken from the rest of the song, while at the same time building down for the final hit. The bass sounds awesome here.

     

    Final Notes:

    This song itself is amazing, but it suffers from repetition sickness. To fix this, using vocals more (especially more lyrics) would’ve made this sound much better, as well as not just repeating “The Tarrasque Rises.” We know the tarrasque rised. But is death inevitable? Tell us again! It sounds really cool when it’s said! Use vocals to truly make this song an amazing listen. That is mainly what is holding this song back from being absolutely fantastic. Did you know you were listening to "The Tarrasque Rises"?

     

    Note: Colors

    Red = Poor

    Green = Decent

    Blue = Amazing

    Final Score: 7/10* - Above Average

    *5/10 is average

    Falls short of being amazing due to a lack of using its best tool - its vocals.

    Eh

    Alright, I'm reviewing this song first, just because it's so big that I probably will require 7 pages and a whole day just to pick it apart.
    Seriously you know you are putting in a sufficient amount of effort when your song looks like this:Screenshot%202016-03-04%2014.43.59.png

     

    By comparison, this is what my Melsol Remix looks like on this inside:

    Screenshot%202016-03-04%2014.47.43.png
     
    The Tarrasque Rises - Star
    Rating: 3.9/4.5 or 4.3/5 or 8.6/10

     
    Overview (tl:dr edition):
    Overall I felt the song had much of the Hellstick signature in it, but the drums (in particular the cymbals) overpowered a lot and left the drop feeling somewhat bland, despite it being anything but. It was repetitive, but, as anyone who will download the file and look into it knows, enough care was put in so that repetition was mitigated and justified, which is not something as obvious on a first listen. The bassline and build-ups are the clear winners in my mind, those parts being the most creative and interesting to listen to. The drum work throughout was good and bad, on one hand it got kinda same-y, but on the other, the fills and the kick/snare sheets were all very well done. The atmosphere is also a strong point in this song. If there's one thing I'd say I didn't like, it would be the mixing. To me, the song is very much as good as many a song I've listened to on youtube or elsewhere, and I kinda judge it by that standard (I do the same for my own music as well). A lot of people say that Hellstick songs are great showings of what Notessimo is capable of, but the software itself is the limiting factor (that is to say, Hellstick songs would sound better if they were made in a real DAW). I disagree. When you use samples from outside the software, you can incorporate all of the effects you have access to in a DAW within Notessimo, essentially using them in tandem. I think there's no reason we couldn't be making music just as professional sounding as anyone else, so long as we put the effort into it. So, while the bulk of this review may seem overly harsh in tone, know that I judge it by a different standard than I do most (since I and Hellstick's styles tend more towards production value, and less towards composition value).
     
    Thoughts on First Listen:
    Okay so the first listen doesn't really do the song justice, you only really get a taste of the depth to which this song goes, and really only focus on things that are present (the toms in the intro, the voice track in the build-up, etc.) That said, I do like the initial drop, it has a bite to it that really fits the idea behind a monster, along with sounding great. Two things I felt were done well on my first listen were the up and downlifters, and the drum fills. Thus, transitioning in this song is actually quite fun and builds both tension and expectation. Especially the build-up to the second drop, starting at 2:49 or halfway through measure 127. Throughout the song, however, I felt that there was a certain lack of energy, despite the fast tempo and drum and bass beat. In fact, I think it may be due to how overshadowing the drum beat is to the excellent bass work, a real shame. I may be wrong though, as this is just my first listen. Time to dive into the meat of this review!
    Intro 1 - Measures 1-17 (Rating: 4/5):
    I'm sure everyone has heard about the filtered fill to kick things off, a real hook which showcases your work ethic in V3 mixed with a good bit of creativity, which really is just a foreshadowing of basically the entire song really. A LOT of work and some interesting ideas come together in this song to make it what it is. So anyway, this section is pretty straightforward (at least compared to the rest of the song), a simple beat combined with a melancholic bell melody, with a few hard-hitting toms and the low brass to signify anticipation for something big and large, or powerful maybe. All in all, a good way to instill dread in the listener early on. I also liked the fast cymbals at the end, which I took to be a nod towards Crowbar, with the same similar type of sound, but in V3.
    Intro 2 - Measures 18-33 (Rating: 3.5/5):
    Alright so now we have a much higher amount of energy being injected in, the bell melody has doubled it's pace, and the hi-hats are much more skittish, and the familiar dnb beat is introduced. Basically these two sections of the intro are effective at spelling out how the song with be, if a little contrasting. Whereas the first half of the intro is great, I think that with the introduction of the faster beat and melody, the song is starting to become more wild and harder to grasp (which, again, is a theme of the song itself, not necessarily a bad thing). But, where I could easily identify everything in the other part, here I find myself clinging to the familiar, which is really only the toms. Everything else has kinda melded together.
    Pre-Drop 1 - Measures 34-53 1/2 (Rating: 4/5):
    I really liked the return to the slower bell melody behind the talking. In fact, because there's nothing here to distract the listener, you can appreciate the details a lot more, such as the low, long, biting synth, and the movie soundtrack strings that fade in before the growl. This is where all the work comes together well to create a great atmosphere for the coming drop. One minor thing I didn't like is how, without anything in front of it, you can hear the weakness of v3's white noise drops at the beginning of the section, though this is more of a failure of Notessimo than anything else. As for the lyrics themselves, they do a good job in terms of a song, using terminology like "awakens," "inevitable," and "imminent." All these come together to spell out a sense of "it's coming." The wording choice towards destruction and power is a little ham-handed, though it really is necessary. The only real gripe I have is the repeating of the word "awakening," after "awakens." That, and *insert Dark Knight Rises joke here*
    Drop 1 - Measures 53 1/2-61 1/2 (Rating: 4.5/5):
    So, I just want to get this out of the way, but I LOVE the bass sheet in this section. This is probably one of the few parts of the song you can really enjoy it too, with less of the drumming overpowering it. The layering is very well done, and the rhythm, while being a bit overused, is nonetheless wonderful. It begs to be used at a lower tempo, or maybe at half-time beat at some point in the song. It's more of a dubstep-ish bassline to me than a dnb one, lacking the energetic dance-y speed and rhythm (such as in Viperfish). Also loved the downpitching synth, that effect is one of the more brilliant ones in this song (alongside the low-passed drums, that is). Overall, the first measures of the drop are my personal favorites, possessing a clarity and brevity the rest of the song lacks.
    Drop 2 Measures 61 1/2-69 1/2 (Rating: 3/5):
    Hmm, well, I do also really like the bass in the first few measures here. I was originally put off because I really liked what I thought was a rhode or piano sample on top of the bass, wondering why it never returns, but upon closer inspection, it's the bass itself up an octave. Fantastic. However, here is where the excessive hi-hattage really starts to overwhelm the listener. It really does get pretty ridiculous here with the drums being so over-the-top energetic and jittery while combined with a slow and plodding bassline. As the listener, I just feel like the drums are trying to prop up the bass, which doesn't work because they don't compliment each other well enough. And since I lean towards the bassline being better than the drums, I feel the song lacking the energy it is trying to have. The fill is alright, but the snare is a bit too high-up, rather distracting I think.
    Drop 3/4 - Measures 69 1/2-85 1/2 (Rating: 4/5):
    Ah, there's a word I haven't used yet in this review, let me fix that: REPETITION. Now, with that out of the way, I did really like this section of the drop, as it tends more melodic, thus making it more interesting. I still don't really care for the hi-hats (though now I think it might just be a volume issue, rather than having too much of them), but with the strings, along with the constant synth melody, you kinda hit a nice compromise between the drums and the bassline, but only because now the bassline is no longer the main melodic content, and therefore is even further back in the mix. With more for the drums to compete against, they tend towards a more supportive role than before and fit more nicely into the song. Also, here, we have more details :D The drums breaking down at the end of measures 71 1/2 and 80 1/2 are great, along with the missed start beat at the beginning of measure 81 1/2. All these bring a freshness to the drop, which is what lets it go on for so long without truly becoming repetitive (interesting note to this effect, not one of the bassline sheets is a repeat, all of them have some sort of minor change to them).
    Break 1 - Measures 85 1/2-101 1/2 (Rating: 3/5):
    This anti-breakdown is good, if a little long. It does drag quite a bit, and is the only part of the drop that has a repeat sheet of the bassline (which has REALLY taken a backseat by this point). Really, I would have said you might cut this section in half and accomplish the same effect, just a bridge to the next vocal line. The kick roll is really nice, probably one of the few parts of this I really enjoyed. The rest is kinda meh to me. The return of the bell melody doesn't really add anything to it, and the drums have gotten tiresome by this point. The loss of energy is too much of a relief and not as much a release as it should be.
    Bridge 1 - Measures 101 1/2-117 1/2 (Rating: 4/5):
    There aren't a whole lot of new ideas here, which I'll give a pass since we as listeners are just recovering from the chorus anyway and the slowness and atmospheric feel here are welcome feelings. Really, a lot I said about the intro applies to these sheets as well, though I'm glad the bell melody stays constant throughout. That is really helpful here in the song especially with the further lowering of energy in the coming parts. While this section lacks real creativity and separate character from the rest of the song, it does what it was meant to do well.
    Pre-Drop 3 - Measures 117 1/2-135 1/2 (Rating: 4.5/5):
    This is, without a doubt, one of the high-points of the song for me. The low-passed drums are perfect with the lyrics, along with the tom-fill work in between the two lines. The downpitching of "The Tarrasque Rises" is both funny and refreshing, and leads well into what may be the best buildup I've ever heard, literally bar-none. I don't know what or how or who or why, but I just can't listen to this rise without getting excited for the drop. Incredible work there.
    Drop 5/6 - Measures 135 1/2-151 1/2 (Rating: 4.5/5):
    Ah the second drop is always one of those things in these types of songs, how do you even do a second drop? You don't want it to be a simple repeat of the first drop (unless your first drop is so literally awesome that you could have played it on loop for 6 minutes anyway), but a lot of songs tend to screw up this drop with a major change that makes a listener compare the two drops, which is death for a song. If your listener only likes one drop, that's all they'll be around for. I've seen this in pretty much every dubstep, dnb, and trap song I've ever listened to. So, with that in mind, I find this song's approach to be moderately good, but rather conservative I'd say. I certainly like it a lot more than the first drop, in that it doesn't beat around the bush with the background and drumming, (along with some seriously good fills this time around, <3 measure 142 1/2). One thing I do think this drop does nicely is incorporating a more melodic feel for this first half, which was the strong point (and therefore more memorable point) of the first drop. The ending break is brilliant too, really love downpitching the bass alongside the reintroduction of lyrics.
    Drop 7/8 - Measures 151 1/2-169 1/2 (Rating: 4/5):
    The second half of the drop is where the song falls down a bit for me, since at this point it really is the fourth repetition of the same basic drop with minor alterations as the other three have been. This is where I think a halftime beat or some other major change would have really been cool, some way of sending of the listener with one last bit of creative talent. The only real new idea here (on a song that thrives on new ideas like a pig) is the total removal of most of the beat in measure 159 1/2. Other then that, the snare/kick rolls, downpitch moan, reverse cymbals and even the bridge are all reused here, just for some extra length, which IS what it feels like. For the most part, the song avoids that pitfall by having some new idea presented ever other renewal of the beat to keep things fresh. Even so, I can't really give this part a low rating, as even being a repeat, it still has amazing sound and is ultimately fun to listen to.
    Outro - Measures 169 1/2-End (Rating: 4/5):
    Nothing much to say here, the outro does almost the exact same thing as the intro. One of the things I really noticed one further inspection is the sub bass, still soldiering away at the bassline here at the end, which is something I've heard in other songs and loved to bits (maybe it's somewhat quiet though). Ending fill is good, the uplifters are good, if re-used, and the ending repeat of the main vocal alongside the growl has a good finality to it. Kinda like a signature on the end of a long letter.


    ~Star~ is dumb -___-
    Mar 04 2016 02:52 PM

    EH? SERIOUSLY?

     

    THIS IS AWESOME!

    Alright, I'm reviewing this song first, just because it's so big that I probably will require 7 pages and a whole day just to pick it apart.
    Seriously you know you are putting in a sufficient amount of effort when your song looks like THIS
    By comparison, THIS is what my Melsol Remix looks like on this inside.

    The links redirect me to a drop box page telling me to log in. I'm assuming they show the song tabs for each of the songs mentioned?

    Super awesome! Congrats on the well-deserved feature!

    Wait, this wasn't finished until today?


    ~Star~ is dumb -___-
    Mar 04 2016 04:42 PM

    Wait, this wasn't finished until today?

     

    Yee

    Sorry about the broken links earlier, I moved the images to my photobucket instead. review = done

    Thank you so much for the review man, I truly do appreciate it and can relate to a lot of what you said. The bass/percussion volume issues in particular. I think I might go back and fiddle a bit with that and see what I can do to fix it. Maybe spice up some o dem beats as well if i can find the motivation.

    Thanks again and mad props on how quick you were to write the review:)

     

    Edit - Thanks to Krawkys as well for the review! Your critique will also be kept in mind when/if I go back to fix it. Who knows? I might even try n' think up some more vocals!

    I've listened to the song a few times, admittedly while reading the reviews above (except the first time of course). 
     
    Measures 115.5-151.5 were amazing (especially 127.5-143.5 which hearing by themselves without previous context are just about perfect).
    Unfortunately, the repetition makes it harder to listen to.
     
    The biggest problem in my opinion (turning a blind eye to the repetition, and this may even be causing it) with the song is the mess that is the hi-hats.  Now before i continue i'd like to point out that this may just be a personal opinion, or conflict of interests with the genre.
     
    The hi-hats seem to me to be unnecessary clutter added into the song, that or it sorta covers up a melodic line i felt i desperately needed to hear among the flood of percussion. Sure you can have this stuff in there, but it's like two notches too far?  The hi-hats also made the whole thing just seem like 'hihathihathihathihathihat'
     
    I honestly got the file and removed the hi-hats (well, the spammy ones anyways) in the drops to see the difference.  I finally heard the melodic section i felt the song needed so much.  That being said, it still felt slightly empty, that may have been because of the contrast though, idk.
    Don't get me wrong, i'm all about percussion in songs, but i felt like the hi-hats were used a *little* too liberally.
     
    Back to the genre thing, i felt it needed a more prominent/overlying melody, maybe even towards the end, but this is most likely just my personal opinion OR it may have just been that it was too quiet for me to hear...i've been told i'm pretty deaf haha.
     
    Overall the song is mind-blowing -- even more so knowing it came from Notessimo; the production value is bloody insane -- but it was unfortunately let down by the repetition.
     
    Fantastic job!

    I'm gonna say one thing, there's a big coincidence in this song right now that the duration is 14:16.66. But look closely...
     
    14:16.66
     
    Hellstick is the devil confirmed.
     

    (well not really)