We all know why the gaming community has gathered here but I have to say, the title of this video makes it even better, some would even call it hilarious, but for me there's only one word: Legendary.
@AethernalVoid cmon man, she isnt that bad Its at least a little understandable why shes annoyed with everyone just calling her music speedrunning music (Although she was rude to just call it dumb)
Bruv, literally was listening to this while rushing to the train to Paris. It was essential I had to get it, otherwise I’d have to wait three hours and I’d miss the first day pf school, got there with literally only a few seconds to spare. The whistle had already been blown, front doors were shut, sprinted to the back and slipped in, doors shut and train started moving. Hell yeah.
@@Lofidelity27 The dubstep parts feel way out of touch with this song, it just doesn't fit at all. I don't mind some dubstep but it has to blend in better than this
@@lobster-strawbe2410 I agree. It feels so weird switching between them when they don’t fit together. And plus the non-dubstep parts in this song are just better.
I'll be the one to disagree. The dubstep parts are jarring at first, but once they combine with the more melodic parts, they work so well together that the pay off is worth it.
@@christiandale4428 I personally believe this combination only really comes together at the very end when the two parts work in tandem. Now it’s not particularly uncommon for people to have A type melody B type melody, and then combine them at the end to create motivic harmony. And that kinda works if you like the dubstep parts by themselves. But I think for most people, myself included. The A part by itself sounds better than the B part by itself. So when they come together at the end, it’s more like the B part is finally being completed, rather than combining to create a wholly unique experience. tl;dr only sounds good at the end
Isn't that weird? When a composer hits upon a real banger, but somehow doesn't recognize how alternating it with a thoroughly different flavor just brings it down a few notches. You're used to this phenomenon in a complete album-not every track is going to be just as good as the best-but it's rare in an individual tune. I think what happened is they reckoned they couldn't just use the one 64-beat pattern for a full five minutes, but fumbled in developing a palate cleanser. Oh well. This upload is appreciated because it saved me having to boot up Audition.
The weird part is that when the dubstep synth joins in with the 64 beat, it all fits together. For some reason though, the dubstep alone just doesn’t fit with it. I assume Patricia Taxxon was trying to introduce the dubstep theme so it wouldn’t just come out of nowhere but I think she should have slowly built it through the song and not use the hard cuts to the different style because together, the two parts slap.
@S V the best example of this that I know of is probably Brain Power. The drop is hard and intense but the lyric sections are pretty melodic. That being said, I don’t think the drop is bad at all.
LOL I was editing this myslef. In my version, the song finished on the minute 1:52, cutting the last part because I dont like the last dupstep part but good edit :D
This song haunts me and evokes a large scope of emotions from me. I don't know why it pulls at my feels but there is something about the progression that really gets to me.
i have seen a lot of people saying that the ending does not have enough payoff without the dubstep like parts but i think it still sounds great and pretty epic and that there is some great payoff at the end
Here is the Jelly for that PB. Your limit is still unknown. It's not here. It's out there, on the horizon, both thousands abd maybe one run away. Don't quit now, Speedrunner! LET'S GOOOOOOOO
