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<blockquote data-quote="SowiesoGroyp" data-source="post: 20634" data-attributes="member: 6">before going in, i was thinking pretty strongly &quot;this is gonna be boring as fuck,&quot; then those pipes hit and i was like <img src="/forum/data/assets/smilies/icon_eek.gif"&nbsp; class="smilie" loading="lazy" alt=":eek:" title="eek&nbsp; &nbsp; :eek:" data-shortname=":eek:" />then my foot started to tap and before i knew it i was doin a lil' jig [spoiler]<img src="https://media1.tenor.com/m/Kk9S77uW3J0AAAAC/valet-dancing.gif" alt="" class="fr-fic fr-dii fr-draggable " style="" />[/spoiler]the softness of the harp pairs very naturally with the slightly shrill timbre of the uilleann pipes. surprisingly not repetitive at all! there are sort of 2 main modes for the piper: virtuosic melodies and slower soundscaping with drones. there was a good balance of both. i would probably like the album more if they decided to digitally layer different drones atop one another and create something heavier and more intense, or if they'd have used different microphone setups and recording environments to zoom in or out, but it's not that kind of album. there were many sections wherein the harpist took center stage, which made the album feel much more three-dimensional than it would've if the harpist was playing accompaniment the entire time. the opener to the album's closer and the latter part of Puck's Wedding were some of the finest moments on the album, and the delicate back-and-forth of &quot;7 Minutes!&quot; was executed perfectly.the ending of ほいっすりーる* is the melody to the traditional japanese folk song &quot;sakura sakura&quot; -- you may recognize this, you may not. an unexpected transition from western to eastern, very aurally exciting and what makes these &quot;Thing, Japan&quot; albums worthwhile! aside from the fact that they're just really good at this <img src="/forum/data/assets/smilies/fresse.png"&nbsp; class="smilie" loading="lazy" alt=":fresse:" title="fresse&nbsp; &nbsp; :fresse:" data-shortname=":fresse:" />*nvm see addendum in next post :/</blockquote>

[QUOTE="SowiesoGroyp, post: 20634, member: 6"] before going in, i was thinking pretty strongly "this is gonna be boring as fuck," then those pipes hit and i was like :eek: then my foot started to tap and before i knew it i was doin a lil' jig [spoiler][IMG]https://media1.tenor.com/m/Kk9S77uW3J0AAAAC/valet-dancing.gif[/IMG][/spoiler] the softness of the harp pairs very naturally with the slightly shrill timbre of the uilleann pipes. surprisingly not repetitive at all! there are sort of 2 main modes for the piper: virtuosic melodies and slower soundscaping with drones. there was a good balance of both. i would probably like the album more if they decided to digitally layer different drones atop one another and create something heavier and more intense, or if they'd have used different microphone setups and recording environments to zoom in or out, but it's not that kind of album. there were many sections wherein the harpist took center stage, which made the album feel much more three-dimensional than it would've if the harpist was playing accompaniment the entire time. the opener to the album's closer and the latter part of Puck's Wedding were some of the finest moments on the album, and the delicate back-and-forth of "7 Minutes!" was executed perfectly. the ending of ほいっすりーる* is the melody to the traditional japanese folk song "sakura sakura" -- you may recognize this, you may not. an unexpected transition from western to eastern, very aurally exciting and what makes these "Thing, Japan" albums worthwhile! aside from the fact that they're just really good at this :fresse: *nvm see addendum in next post :/ [/QUOTE]

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