quonka

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lets be exhausted on mama

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sturgeon

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going for a ride with mama

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YOU GOTTA LOVE IT WHEN FISH PILE UP TOGETHER. WHO'S WITH ME?

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self-restraint

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Snoot ✨🐶

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i'm on a lot of nyquil right now

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Trying out screenprinting

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Heart of the Forest 🍂 - ig | bsky | twitter | commissions | prints

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Jazz Music to Cancel Out the Mundane-- Sort of Like PEMDAS

"Now, You Must Acquire a Taste for Free Form Jazz"

Alright, maybe they're not "free form" Jazz, but Loftys Comet is a gorgeous little "underground indie jazz rock" band, as they describe themselves on their Instagram, that I've discovered semi-recently and fallen in love with. I even got two of my friends to regularly listen to them as well.

I'm still their "#1 listener" on Airbuds though. Not to brag.

I am bragging.

The Numbers

When I say this band is little, I mean it-- with only "14,639 monthly listeners" on Spotify, their top streamed song is Shower Thoughts with 1,299,101 total streams, while their least streamed song, Altunga, lies at mere 1,937 streams.

Both of these songs appear on their most recent album Strung Out, which released back in February on the 29th. Funnily enough, I discovered them on the 15th of February through their single version of Shower Thoughts-- so I really came in at just the right time.

Their first album, The Juveniles of Funk, has been out for almost four whole years now, originally released to Spotify on July 20th, 2020. The songs on this album do have a bit more streams than on Strung Out, but I single handedly am putting in the work to get their numbers up with how often I listen to their music when writing. Similar to last week's post though, I listen to this band outside of studying a lot too.

Variations upon Variations upon Variations

I really didn't even think I liked jazz, but after listening to this band with not a single track that I don't bob my head like a pigeon to, I had to reconsider. Every single song in their discography has something interesting, and new, and fun to offer-- and I truly do like every song. There were a couple that had to grow on me, but oh did they grow.

One of these songs is Late Night Travels off of The Juveniles of Funk. The soft, slower acoustic guitar layers are beautiful, and while there's no saxophone presence in this song like in most the rest of their work, that's what makes it stand out. For a five-minute song, it truly never gets boring. There are a lot of repeated motifs, but each iteration adds something different and plays with the repetition; not so much that it's unrecognizable, but so that each come and go around it feels fresh.

I don't know really how else to say this, but they play the guitar in this song like how they play the saxophones in their other pieces. This track is unpredictable-- even after listening to it over and over again as I do. There's this specific part at the end of the song where the tempo increases, and the volume crescendos, and it catches me by surprise every single time.

Despite this unpredictability, the song is cozy. I can't help but envision a nice warm summer night at a nice campground, the campfire crackling, and fireflies flickering on and off in the distance. It's truly a lovely song, and all its variation makes it easy to have on in the background for hours on end while I write, because it just never gets boring or stale.

A similar song off that same album, in the sense of starting off slow and melodic, and then really kicking it up at the end, is Blackberry; my favorite song included in The Juveniles of Funk. The duality of the lower and higher saxophones throughout the song, almost like they're alternating, already sounds amazing-- but when they play together with their melodies varied but still obviously connected? gorgeous, just absolutely gorgeous.

My favorite part of this song is when a little more than halfway through, that tempo, and volume, and intensity increases and it just grows and grows-- and then it cuts off, gets low and slow again-- before that double symbol hit comes in with both the saxophones on top of it and propels us right back into that energy and intensity. This part of the song is just so bouncy, and it always makes me feel like I'm spinning-- in a good way!

One of Loftys Comet's pieces that start intense and stay intense is 300, my favorite off Strung Out.

This song is everything I like about the two previous songs combined into perfect harmony; it's got the higher and lower saxophones having a conversation with their connected-by-a-thread melodies, it's got intricate variations on motifs-- and right out of the gate, the piece surges forward with a heavier, aggressive mood that just stings, and throughout its entire 6 minute 31 second runtime, it never once loses its momentum.

Just like Late Night Travels, the variations make this song feel fresh every time I hear it, and just like the ending of Blackberry, the electricity and passion behind each note and well-placed pause keeps me entertained while I do my work, which can definitely get monotonous.

"Okay SpongeBob-- You're ready!"

I genuinely adore Loftys Comet; I listen to them all the time, and they really have become a huge part of my taste in music.

If you liked any of the songs above, I cannot recommend enough to go check out the rest of their music on Spotify or YouTube; Maybe even give them a follow over on Instagram. They deserve so much more attention and love then they are getting, and it would be awesome to see them get bigger.

Which was y'all's favorite song of the three I talked about here? or if you decided to listen to more of their songs than just these three, that's awesome, and feel free to tell me in general what your favorite song of theirs is.

[quonka]

"Hey, this pretty much universally beloved video game OST actually kind of hits-- why is no one else talking about this?"

Sometime last year in September while looking for more background music to study and write to other than the Neopets: The Darkest Faerie OST, I looked up the Minecraft OST on YouTube.

Then that same December, my personal 2023 Spotify Wrapped released with C418 as my number one artist, who produced the Minecraft Volume Alpha album in 2011 and the Minecraft Volume Beta album in 2013; along with his three 2018 singles for the OST Axolotl, Dragon Fish, and Shuniji.

with a total of 2,518 minutes listened to, in the span of a little less than four months; I was put in his top 1% of listeners-- something I had definitely felt a little embarrassed about at the time.

My number three artist then was Lena Raine, who also worked on the later entries into the OST, with Minecraft: Nether Update in 2020; Minecraft: Caves and Cliffs in 2021; Minecraft: The Wild Update in 2022; and also has a fair number of tracks in the most recent addition to the OST, 2024 Minecraft: Tricky Trials.

Mine-Craft

I can't even say that the reason why I can focus so well to this soundtrack is because I have a nostalgia for the game like in my Darkest Faerie Post. While I did absolutely play the game a lot when I was younger like every other twelve-year-old with computer access; for as long as I can remember, I've specifically turned off the in-game music so I could listen to my own.

That's why for so long, I never really had any palpable attachment to the music.

However, due to that whim in September, I have discovered probably my favorite Video Game OST ever-- one that I listen to for schoolwork yes-- but also one that I often listen to when walking around my college campus between classes, or when biking around my neighborhood, or reading a book for fun-- or when I just need to calm down.

Variety Hour

I think the one of the main reasons why it's so versatile is just the number of artists that have produced songs towards its collection. There's C418 and Lena Raine, but there's also Kumi Tanioka, Samuel Åberg, and Adam Cherof.

This could have been a drawback, where so many different contributors to the same project might've lead to some discordance in the whole sound of the OST-- but none of the artist's sounds really clash with each other all too much, which is incredibly impressive considering the time gap from the release of the first album to the most current album.

Probably one of the most different songs I've heard on the soundtrack so far is Adam Cherof 's 2024 Precipice -- and honestly, I couldn't care less because this song is genuinely incredible. There's so much passion, and energy, and it really feels like you're standing atop a precipice, with the faster tempo of the song and the airy echoing of chimes and keys acting to simulate the wind whipping past your ears-- it's fun, and adventurous, and different and I adore it.

Back to the Beginning

Because Minecraft: Tricky Trials released so recently, it was not in my 2023 wrapped, but with just how many great and repeatable songs are on that album, I fully except to see both Precipice and Creator in my 2024 wrapped.

The song that did take my number one spot though was Équinoxe, off that original album, with Ancestry off of Minecraft: Caves and Cliffs taking my second spot and Moog City again from that original album taking my third spot.

While both Moog City and Équinoxe are beautiful pieces that I could go on and on about, I specifically want to talk about Ancestry.

This song is this beautiful and unnerving atmospheric piece that specifically was designed to play in the Deep Dark Biome, which as the name suggests, is a haunting little area deep underground with little to no light.

I love all the echoing in this song, the crispy static just under the pulsating higher tones, the glitchy wind instrument sounds-- it all contributes to this gorgeous "mysterious and unknown scary" ambiance that the dev team was aiming for.

There are a couple songs like this one too, full of a darker, more somber atmosphere-- another one of my favorites being from C418's Minecraft Volume Beta, The End, or from his Minecraft Volume Alpha, Thirteen.

I guess I'm a sucker for a darker soundtrack because the Minecraft OST has more than its fair share of cold and heavy ambiance.

Looking Forward

I could genuinely talk at length for at least half of this soundtrack. There are so many rich pieces, and motifs, and melodies that I've grown incredibly found of. There are still songs on the OST that I feel like I'm discovering for the first time, where they might not have caught my ear the first couple listens-- but after a while I've started to really hear the intricacies in their scores and gain a new appreciation for them.

I'm honestly considering making a tier list for the soundtrack, or maybe even doing a couple posts at the very least.

I genuinely think that if anyone hasn't listened to the Minecraft OST, they should give it a shot, whether it just be for fun, or to study and write to. You really don't need to have an overwhelming sense of nostalgia to enjoy the music-- and I'm proof.

Here is the entire, currently up-to-date Minecraft OST playlist on Spotify neatly organized in chronological order by user Darra (Everybody say thank you Darra). If you don't have Spotify though, here is the similarly organized playlist by user NightBunny8 on Youtube (Everybody say thank you NightBunny8).

To anyone who is familiar with soundtrack though, what are your favorite songs? or the opposite; if anyone hates any of the songs off the OST, I'd love to hear which ones. I can't say I really Hate any of the songs... maybe one... but that can wait for the tier list or a subsequent post.

[quonka]

The Lasting Effects on Writing Concentration That an Aggressive, Near Insatiable Childhood Obsession with Neopets: The Darkest Faerie Can Inflict on a Man

The first console that I ever owned was the PlayStation 2, and while we had many games, most of them were nearly and completely unplayable. Mostly because I was like, eight.

That's why I made my sister play them.

Maybe "made" is a strong word, it was technically her console-- her games-- but I definitely begged her to play certain games more than others, just so I could sit and watch on the teeny tiny little box television, its frame decorated with neon orange and white acrylic paint, and SpongeBob stickers.

I had a couple favorites I liked to cycle through, Spyro: Enter the Dragonfly, SpongeBob SquarePants: Battle For Bikini Bottom, and Madagascar: Escape 2 Africa -- but no game was I more annoying about than Neopets: The Darkest Faerie.

Just a Bit of Background Research

Neopets: The Darkest Faerie is a third person, single player action-adventure game released in 2005 and developed by Idol Minds Digital Entertainment for publishment on the PlayStation®2 system.

The console game is based off Neopets.com, which was an extremely popular fantastical pet collection and care browser game published to the internet all the way back in 1999. While still active today, it has gone through multiple dubious changes and similarly perhaps questionable owners. However, the current owner of the site, Dominic Law, is looking to really dig in and overhaul the site for a modern era, with a budget of four million dollars.

I did play on the Neopets website when I was younger, but not as much, or as well as my sister knew how to. I more just played the minigames to earn Neopoints for my sister's account-- Neopoints being the sites currency.

Nostalgia Brained

despite my lack of relative interest to the site, I was completely enamored as a child with Neopets: The Darkest Faerie.

The game was, and still is, fantastic.

The graphics are... well. PlayStation®2 graphics, with the console's technological limitations making for a better experience when played on a much smaller, less detail-oriented television screen in the early 2000's than the ones we have today.

But despite the game generally being a little blurry, in my nostalgia-coated opinion, it still holds up pretty well. With its characters and semi-open world all being taken and expanded on directly from the Neopets website and put into 3D; there's a lot of gorgeous design and color and creativity given to the environments and the anthropomorphic Neopets inhabiting them.

You can even switch between the two main characters, a knight named Tor and a sorceress named Roberta whenever you want, only having to press two buttons at the same time once you get to the third act of the game where they meet. This allows you to instantly be able to change between their respective brute melee sword attacks and ranged magic attacks.

There's magic, and monsters, and multiple heroes and villains, all thrown into a medieval fantasy setting-- and despite how many video games I've either played myself or watched others play over the years, I really can't think of a single other game like it, in both gameplay and soundtrack.

"I'll Do it Myself"

Being a game made in 2005, there is nowhere to buy the official Neopets: The Darkest Faerie soundtrack like you can with many modern-day games. The cinematic scoring producer of the game, Jack Wall, doesn't even have the soundtrack listed on his website with his other projects, or on his Spotify. The In-Game music producer Keith Leary doesn't even appear to have a website or Spotify.

This has left the creatives of YouTube to render their own easily accessible versions of the music.

In 2019, user monster860 uploaded their three-hour seven-minute render of the OST to YouTube, "This music was rendered using the tool I wrote, so it might not be totally accurate."

Then, in 2021, they uploaded an eight-hour five-minute render of the soundtrack, "This is the new and improved Neopets: TDF soundtrack video! Now featuring all of the variations, adding up to 8 hours, and also in stereo. In addition, certain issues are fixed, such as the flute part in the Bazaar District music not having the trills."

While not being technically official, it sounds very much like how it does in-game, and the inclusion of all the minor variants, as well as any cut and discarded tracks make this cataloguing of the game's OST perfect to study to for me.

Cause and Effect

In last week's post about Darkwood, I talked about how the horror game's OST was such an essential part to the horror atmosphere, that the intense focus I carried in-game, transferred out of the game when simply just listening to the soundtrack, and that it helped me with concentrating on my work.

Neopets: The Darkest Faerie OST has a similar effect, but in a different manner.

I have kept my PlayStation®2 specifically for the purpose of playing this game every couple years or so, with my oldest save on the disc being from 2014, and my newest being just from last month, 2024. I have beaten the game in entirety at least three or four times, and created a new save file much more than that.

Because I have played the game so incredibly often since childhood, whenever I have the soundtrack on, I can remember exactly where each song plays in the game.

It of course helps that monster860's video has its chapters titled with song currently playing, which is where it is found in the game-- but most of the time as I'm writing in a different tab, just through memory I am able to recognize the specific area, what its main color palette is and what character is available to play, and how far that specific song is in the game.

Instead of the soundtrack promoting a bit of healthy fear in order to get me working, the Darkest Faerie OST is calming, comforting really.

Don't get me wrong though, there are a lot of really fun and intense tracks in the game, my favorite specifically being "Brightvale Battle" at 4:39:32. Just starting off with that call and response melody at the beginning, on what I assume to be some sort of keyboard, is immediately effective at grabbing one's attention, which is apt for fight music. Then a little later into the song at 4:40:05, when the flute comes in on top of all the lower instruments, it sounds pretty and adds a bit of contrast while still feeling just as powerful as the heavier drums.

My absolute favorite piece of that song, however, is when the piccolo comes in at 4:40:41. It immediately pierces through the other instruments, sharp and passionate, and extremely impactful for how little time it actually stays in the song.

There are so many songs on the soundtrack just like this one that definitely don't inspire the horror that Darkwood's does but are comparably exciting-- and I think this drive that I get from more of the battle tracks, in combination with the calmer, atmospheric tracks-- in further combination with the nostalgic familiarity I have with the game and its idiosyncrasies-- leads to the Darkest Faerie OST promoting a similar concentration on the direct task at hand for me.

Recommendations

Honestly, I definitely would recommend for anyone struggling with concentrating when writing to try listening to the soundtrack of a beloved childhood videogame, or one that just meant a lot to you at some point. I'm not certain it will work like it does for me, but it'd be interesting to see more people talk about what their specific "work music" is and the story behind it.

Unfortunately, with the game being so old and so niche, the only way to play Neopets: The Darkest Faerie legally now is through buying a PlayStation®2 that works, and then also the disc. This is a lot to ask, I recognize.

If anyone is interested though, there are countless playthroughs on YouTube, so just find a commentator that doesn't annoy you and enjoy!

With the 25th anniversary of Neopets coming up, along with Dominic Law's aforementioned four-million-dollar plan to renovate the site, hopefully there is at least a miniscule possibility for a remaster of the game. I realize this is incredibly unlikely but considering both Spyro and SpongeBob: Battle For Bikini Bottom got their remasters semi-recently, maybe it's not completely out of the cards.

[quonka]

The Art of Putting on Horror Ambiance in Order to Emulate Getting Hunted for Sport, in Hopes that the Adrenaline Produced Forces You to Lock In

Not to brag, but my attention span is pretty miserable. Even things I genuinely enjoy doing are shoved to the side and neglected in the favor of doing actually, literally nothing.

Knowing this fact about me then, it may come as no surprise that getting myself to do schoolwork is an actual herculean task that I either have to trick myself into doing somehow; or as it ends up being in most cases, have to be forced into doing by my own debilitating fear of the due date, now only one night's sleep away, and its consequences on my GPA.

Maybe this sense of fear, this sense of myself in direct opposition to an impending aftermath, is why having horror game OST's playing in my ears when I'm writing is so effective. Misery loves company.

"Anyone else hiding in the comments right now?"

I don't actually have an extensive history of playing horror games-- instead, my knowledge comes from watching them at probably too young an age on YouTube.

My main sources of horror game content came from Markiplier-- of course-- and a much smaller youtuber that at the time when I first watched him eleven years ago, went by Harshly Critical, but now goes by John Wolfe. Both men have played an extensive amount of indie horror games-- some good, and some really, really bad, and some just completely mediocre and forgettable-- and I watched them all. Or at least my fair share of them.

Baby's First Horror Game

The first horror game that I ever personally played, and actually beat instead of turning it off at the first sign of terror, was a game called Darkwood, officially released in 2017 by Acid Wizard Studio.

I didn't even play it off one of their recommendations either-- I had no idea this game existed in any capacity until one day in 2020 when I was scrolling through the Play Station Store, specifically looking for interesting horror games to try.

The first thing about the game that grabbed me was the horrific (in the best way) cover art, but what got me to actually buy the game and play it was its insistence on the minimal presence of jump scares--

At the time, and after the commercial success of Five Nights at Freddy's and its multiple sequels, a series whose staple was the jump scare; many horror game consumers became soured to that convention of the genre-- often calling them out as "cheap" and "out of nowhere lazy bullshit". This sentiment among the community was evidently common enough to be able to market one's game off of. I do remember thinking it was a bit pretentious-- giving off a major "I'm different from other horror games" feel-- but I guess it worked. because I did in fact purchase the game.

And they were absolutely in their right to claim their game as "an atmospheric horror experience that creates a feeling of tension without cheap horror tricks."

Dull of One Sense Sharpens Another

Despite the art on the cover, the actual game itself is pixelated-- for the most part. In fact, the only times when you aren't in immediate danger is when you're sat across from characters that look like this:

That is exactly what makes the sound and music design so genius though; it's that importance of it, that necessity. When the gameplay looks like this--

-- that is to say in a Top-Down perspective with generally dark and muddy, muffled colors; You have to listen for the threats, instead of just normally being able to see them in HD.

That's another thing too, as seen in the photo, there is a specific, defined area that is lit up where enemies can be seen. However, in the game, anything outside of that sliver of light-- anything behind you-- will not be visible until you turn around and shine your light on it. This leads to a lot of enemies inevitably sneaking up on you, and in this game's case where you have extremely limited health and stamina reserves (the red and silver bars in the top left corner), you have to learn to listen for them or else they will easily kill you.

I think then that the intense amount of focus I put into listening for sticks around me breaking, or for sounds of shuffling and growling, all on top of the general game's ambiance and soundtrack, conditioned my brain into focusing whenever the game's music plays.

The Buzzword

Darkwood, authored by Artur Kordas who had a large part in the development of the entire game, has a fantastic assortment of songs that all flow smoothly into each other-- and just they are designed to in the game, they fade into the background, providing a consistent atmosphere so that you can focus on the task at hand-- or at least so that I can.

There are also one or two songs that refuse to wash away into mood music. My favorite song on the album, "Underground", is a perfect example of this. It comes in with this slow and consistent, almost pulsating type of ragged noise, one that makes me picture an ugly, broken and dented, rusted, barely working trumpet, with an underneath layer that sounds like dragging stone against stone. Then around halfway through the song, an aggressive and exciting drum beat with hints of a metallic sound crescendos and crescendos, chasing the original set of sounds until it's all that's left-- completely overriding the grinding stone and leaving a thicker horn blare in replacement of the old one. This of course eventually fades into one of the common buzzing motifs found in many placing of the game's soundtrack, that's meant to signify safety, or hope.

This hasty, thrilling song provides a really nice break up and into the rest of the album, that is an even nicer subconscious reminder to my brain that there is danger if I do not promptly "pick up the pace" of my writing-- and further that there is safety on the "other side" of finishing my work.

Recommendations?

I have played many video games; some that have required a lot of my focus that aren't necessarily horror, but whose soundtracks really help me to concentrate; and I've played other horror games where the soundtracks end up more distracting than helpful. I've also played some games that are my favorites of all time, and I've put many, many hours into, where their soundtracks do absolutely nothing because they're just a little boring.

Darkwood is special in that way, where it lies in a neat, cohesive little combination that ends up perfectly suiting my need for background music when I write.

And I thought it was pretentious.

Does anyone else have specific videogame OST's that work like this for them? I'm always looking to discover new music, especially music that's ideal for studying and schoolwork-- and it definitely doesn't have to be horror; like I've said, I use multiple different genres of OST's to help me out.

Also, I feel like this goes without saying, but if you are looking for a horror game to play, I do recommend trying out Darkwood.

Or if you'd rather just listen to the soundtrack, I understand.