LogFAQs > #962593564

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It really helps to me that its very easy to get lost in focus on any given specific layer, with each of those specific layers making the whole song sound totally rhythmically different from each other:
1. Those chords on 2 and 4 making it feel like the pulse is in one place (starting on beat 2 rather than 1)
2. The groups of 3 in the triangle at 1:00 or in a few other places on other instruments just barely not jumping into the illusion of a totally different tempo
3. The melodic layers all on the "&" beats basically offsetting the whole song by an eighth note
4. Or taking it in all at once, and feeling beat 1 where it actually is, which id say is something you can only really naturally do if you're not thinking, and completely 'feeling' the groove instead

Maybe the fact that the music itself works this way, something focused much more on an abstract feel at the forefront. And can only be properly comprehended if you shift your perception that way, despite the fact that there Is an unusual intricacy beneath to explore if you wanted to//////....and the fact that that lines up exactly with the much more "the 'feel' is more important than anything else" way I approach this game genre. Maybe that alignment is why this game<->soundtrack combo clicks with me so much. The music is designed for the same mindset I want to put myself in when I am playing this type of game

I'll still never forgive stewart Copeland for his terrible comments about proggy/showy drummers though, even if i appreciate the way he applies that mindset to his own work

wait WHAT THE FUCK stewart copeland was in Curved Air? ? ? EDDIE JOBSON was in that band and i ALMOST linked this eddie jobson song as another example of a song that i like where it's easy to zone out and lose track of beat one because the whole melody is on all the off beats at so many of the parts
(eddie jobson - green face, i nominated this sonf for raetsel this year!)
https://www.youtube.com/watch?v=4JE0g8sUPCQ