Tantalos

https://vimeo.com/201222765

Not gonna lie, I'm quite excited to release another full-length track. This is meant as an enjoyable experience. So, enjoy

Spoiler:

I am so jealous of how smooth the second fast part was. I'm a sucker for manu-quirk like the beginning, and then the second fast part was crazy and I loved it.

I'm having trouble pinpointing favorite parts of this track because basically everything after 1:43 was so smooth and clean and amazing. Liked the little expanding line at 1:54 as well. Lovely little touch.

Very enjoyable experience.

the highspeed part was my fav!
this track isnt particularly inventive but it is beautifully crafted. your flow and rotation is top notch and everything feels coherent.

Very enjoyable experience.

This reminded me of something Hedge would have made. It had that "classic Line Rider" feel to it with the smooth curves and clean look. It's the natural progression since the 2010 era manuquirk tracks. It looks like instead of making something crazy and new you just focused on mastering the aspects of flow and rotation. The whole track had a feeling of effortlessness as Bosh went from line to line.

Very satisfied with this track, Manuals were very much like those of eden 2. Highspeed had the grolls of blackheart, ocean blue and superluminal motion. The best grolls are the ones where bosh maintains position, with these you can see rotation so clearly and smoothly.

That was tantalizing.
sorry not sorry

Straight up, I loved how smoothly you switched back and forth between quirk, manuals, and flatsled. The sections, speeds, and movement fit the music really well. I don't really know how to say what everyone else has said using more different words, ya get the drift.

Very enjoyable experience.

Fun track! Nothing revolutionary, though I think you treated the flatsled with as much care as everything else, which meant it integrated well into the track and didn't feel out of place. Felt kind of like bits of Afterlife by Raf and Votale.

Again, interesting watch, but doesn't really give me a lot to chew on. Will be interesting to see how I look at this when I go in depth on it in the future.

What i love about this track is how it evolves

This track, whether it was a conscious or unconscious desicion, is divided into three parts, and ill give feedback accordingly.

1st. - 1:07
-Oldschool. Even I, a relatively new person in the line rider scene, got shivers from the throwback vibes.
- Most of the tricks in this part are not in themselves revolutionary:
some asdfs that we dont see again, some tubes, and some short dual flings.
- The manuals in this part are clean and very circular, which makes a great aestethic
- But the balance between manuals, flings and flatsled, is simply unheard of.
- There is something very attractive about the almost repetition-like balance. This part utilizes a relatively small repertoire of tricks (with some diversion, but they are never highlighted and don't make up a large portion of the track), and it gives the viewer an idea of what is about to come, as you shift between manuals, flings, flatsled and tubes, whilst maintaining an element of surprise.
- Music is all about repetition (ofc not all music, but cut me some slack here will ya. Alot of music is all about repetition) and the balance previously mentioned, underlines the syncs, and lessens the gap between the song, and the track
- Rotation is great, except a few hiccups. This goes for the whole track.

I usually say something about technique, but there is no need to even mention as it is pretty much flawless it in this part.

2nd. 1:07 - 1:43
- More experimental. Granuals, integration, some unbalanced manuals, some quirky bits, etc.
- This part is far more liberal with its manuals, and they're no longer as strict as the ones in the first part. Not less clean though; all your manuals in the two first parts are on point
- This part is more fun to watch than the first: it has more variation, and is less predictable. This however, comes at the expense of the overall sync of the part - it doesn't have the same repetitivness that made the first part a gem in terms of syncing. This is not to say this part doesn't sync very well, because it does. I am just saying it doesn't have the element that elevated the relationship between track and song that the first part
had.
- 1:29 i don't know if this was intetional, but bosh seems to slow down, as she sings "slowly", which made for a really nice touch. intentional or not.
- This part has a more relaxed, sort of freestyle aestethic and feel to it, and is overall more creative than the first. Also very clean, like the first one, which I can appreciate


3rd. 1:43 -
- Modern.
- You've added a bunch of tricks to this parts repetoire, and you're using them extremely well. Kramcurves, tight grolls, no rotation syncs, no rotation manuals, lilly pad manuals, high pressure shoulder chains, the list goes on.
- Technique here is not always 100, like the lillypad tail manual, but i know exactly how hard these are to make, so i wouldn't hold that against anyone. this is the weakest part of this part however.
- That being said this part is golden. 1:59 is easily one of the coolest things ive seen in a while and this entire part is extremely creative and simply put: very entertaining. Especially if you have a good eye for technicality.


Some final comments. Before I start, I feel it necessary to state that what you've done with this track, regardless of whether it was conscious or unconscious, is far more intruiging than what it may seem.

This track does something super interesting: It evolves, and it follows the pattern of how tracks have generally evolved (to some extent). If this was intentional, I think the gap between the first and the 2nd part could've been underlined even further. Now that I think of it, the evolution this track undergoes might not be so much focused on tricks, but more on innovation. The track becomes less and less predictable, and increasingly innovative, going from part to part. If anything it displays a journy (if not your journy) from oldschool manuquirk, to modern innovative track making.

The balance and constant, somewhat predictable shift between manuals, flings and flatsled in the first part, is something that deserves to be stated at least twice. It is some next level syncing. the track mirrors the repetitiveness of the song, even if it is not technically synced accurately. This might be entierly coincidental, but is an idea that def needs exploring.


The track became more and more intruiging the farther i looked. nice.







also,

I read OTDE's post and I thought "Hm. Wonder if I missed something."
Read Anton's and I thought "Oh that's what I missed lol the way it all ties in"

I just love that it's clear that you learned how to use the tricks you have at your disposal to make a track that's fairly easy to watch, reminiscent of the times when this sort of style (albeit, not nearly as refined) was overly common, and familiar yet new. It's bold to stay with what you have and work on precision of execution like you have, and it's certainly doing good things for the work you produce.

Please continue to gracefully assault Bosh. Gracefully.

ScrungleBlumpkus wrote:Please continue to gracefully assault Bosh. Gracefully.

lmao this

TBH, I was scared to release this track because it doesn't fit in the crazy postmodern movement. I'm glad this is received so well. I had forgotten how good it feels to release a track and get feedback

Apple wrote:I am so jealous of how smooth the second fast part was. I'm a sucker for manu-quirk like the beginning, and then the second fast part was crazy and I loved it.

I'm having trouble pinpointing favorite parts of this track because basically everything after 1:43 was so smooth and clean and amazing. Liked the little expanding line at 1:54 as well. Lovely little touch.

Very enjoyable experience.

Thanks apple! Your work is the reason I made the highspeed part as it is

Lukking wrote:the highspeed part was my fav!
this track isnt particularly inventive but it is beautifully crafted. your flow and rotation is top notch and everything feels coherent.

Very enjoyable experience.

The last part is also my favorite. Thanks for the compliments.

theacp127 wrote:This reminded me of something Hedge would have made. It had that "classic Line Rider" feel to it with the smooth curves and clean look. It's the natural progression since the 2010 era manuquirk tracks. It looks like instead of making something crazy and new you just focused on mastering the aspects of flow and rotation. The whole track had a feeling of effortlessness as Bosh went from line to line.

Hedge was definitely a big inspiration for the first parts. I've always admired the structure of his tracks. And that's spot on: I've always focused on getting better at quirk but pretty much skipped the manuquirk step. After I was unable to finish Eden 3 I felt kinda lost and it feels good to be back with new stuff.

Sheldon wrote:Very satisfied with this track, Manuals were very much like those of eden 2. Highspeed had the grolls of blackheart, ocean blue and superluminal motion. The best grolls are the ones where bosh maintains position, with these you can see rotation so clearly and smoothly.

Thank you sheldon. Much of the technical stuff in the last part is inspired by your and Chuggers' work.

Orthuss wrote:That was tantalizing.
sorry not sorry

Straight up, I loved how smoothly you switched back and forth between quirk, manuals, and flatsled. The sections, speeds, and movement fit the music really well. I don't really know how to say what everyone else has said using more different words, ya get the drift.

Very enjoyable experience.

I always appreciate your comments Orthuss. Thanks

OTDE wrote:Fun track! Nothing revolutionary, though I think you treated the flatsled with as much care as everything else, which meant it integrated well into the track and didn't feel out of place. Felt kind of like bits of Afterlife by Raf and Votale.

Again, interesting watch, but doesn't really give me a lot to chew on. Will be interesting to see how I look at this when I go in depth on it in the future.

Funny you say that. Haven't watched Afterlife in forever. Please do, I love your feedback!

Anton wrote:very good words from a very good man.

I love and appreciate analyses like these. Thank you. I suppose it's time for me to talk a little about this track. So as I said, I had skipped the manuquirk step and I wanted to make a proper synced manuquirk. I started the track in kevan's v3 and switched to LRA around 1:26. I was surprised to see how much this affected my trackmaking methods and so I decided to make the last part more modern. In general, much of what I decide to make is unconscious. First, I listen to the song a bunch of times to get a sense of how I want to make the track look like and play out. So with this basic plan in mind, I start drawing them lines. I don't know if anyone else has this, but as I'm making the track I 'sense' what tricks to make and how to transition between them. I think this is a result of how many times I play the track from the beginning. It's borderline ridiculous. I'm rarely stuck thinking what to do next. It just comes... organically? Like, after a certain manual of a certain period comes a certain fling of a certain period and this (unconscious) thought process repeats itself a lot. I think Kramwood understood this as well. A big con of this method is that it takes time. And sometimes it takes away the fun because I know what to make and when to make it beforehand. It's times when I am most impulsive/creative and least calculated (the end of Eden 2; the animation in Yo; Odyssey; the butt stall after you mentioned it to me) that I enjoy the game the most. It drives me to keep exploring my mind. As you know, the last 10 seconds were made in a few hours. I would also like to say that I often have no idea what I'm making. Examples: ''slowly'', the track sort of matches the background ''ha''s in the 2nd section, the track repeats itself but in opposite directions with ''make up your mind'' in the last part, the track matches the lyric of ''guillotine'' at 1:59. These are things I'm not aware of until someone mentions it or I watch the track a few times. Then again, there are also conscious decisions like grolls at ''make up, make up'' and whatnot. So this was my dev commentary I guess lol. Your analysis is very interesting cuz I don't consciously make the track that way.

ScrungleBlumpkus wrote:I read OTDE's post and I thought "Hm. Wonder if I missed something."
Read Anton's and I thought "Oh that's what I missed lol the way it all ties in"

I just love that it's clear that you learned how to use the tricks you have at your disposal to make a track that's fairly easy to watch, reminiscent of the times when this sort of style (albeit, not nearly as refined) was overly common, and familiar yet new. It's bold to stay with what you have and work on precision of execution like you have, and it's certainly doing good things for the work you produce.

Please continue to gracefully assault Bosh. Gracefully.

Thank you! Definitely thinking about doing more of this in the future.

I really loved this, most entertaining track I've seen in a while! You made me wonder if we've actually gotten that much better from an artistic perspective since, say, 2015. Your tracks always feel really alive and fluid even though they're complex. I think your human touch is a key element in there, which I miss in many tracks nowadays. Our ideas are definitely better, but I feel modern tracks have gotten very robotic and stale. /endramble

This felt like a really nice track from 2010 (I mean that in a good way). It's nice and refreshing to have something like this once in a while.