3:13

3:07

3:34

3:22

2:48

CROSSING
v5
Hiphop, argentine tango/BIG BEAT, Avant garde
Lush polyphonic layered soundscape, sub-bass pulses (40-80Hz), Cathedral Reverb on vocals(flat) and strings ONLY, Dry close-mic mix for guitar and percussion, fuga range, Progressive Bmore
slide +8ms ghost notes
edge is subtle dissonance 432hz
IDM fill on behalf of hamming, wide studio feel, each gap humidity
[FEW : 11th and 13th chord clusters, argentine tango-influenced Modal Harmony, Lydian and Dorian inflections, ], ‑sequenced, ‑pluck synth, ‑minimal techno, ‑ambient
3:18

3:33

MODS rockabilly, experimental rock, jungle, j-pop, garage rock, rockabilly, rock and roll, gospel, experimental rockabilly, big beat, britpop, j-pop blues, jungle (breakbeat)
4:11

3:28

2:56

3:40

genre: jungle/brit-pop
stereo: Chario Amelia
MOOD: Resilience, river-SCAPE
texture: Transparent
melodic Stave Gap/ slide
avoid Accumulation of symbols
some melody-line coexisting accompanies main
two arch Stave
[DRUMS: closed roll enter(linear change-up)→ open roll → gospel chops
using rotator cuff
linear phrase
smooth impact orchestra-hit]
VOCAL: 60s pre-pschedelic-raw-rock
backing: aretha-like
Articulation: french, firm glottal closure
phaser: slumbering, ethereal distort
ensemble modulation fill(continuation groove and ensemble)
[Rhythm Guitar: Acoustic, shifting accents across 2 bars]
[Overtone: shamisen IDM]
IMPRESSIVE BEND and modulation long trailing
difficult crossing segments-9 grand resolution, ‑Wantonness, ‑kawaii
3:03

1:56

2:31

avant-pop, wet synth, eclectic samples, innovative beats, radio ready, progression in Heuristic
rhythm in Heuristic Hallucination
Instrument selection rule in school-yard
Auditory hallucination, time-change-rearrange, hair resonance, doppel dominant
barbaric tail of syllable, ‑Algorithmic



