G4 reviews the OST

Ah, G4tv.com points out some interesting and refreshing topics in their Alan Wake OST review and it seems Mr. Rick Damigella has dug a bit deeper into the OST tracks, as his opinions of using music are similar to mine: “Most prevalent are the melancholic piano lines throughout the album, which play with a subtle beauty despite the creepy visuals they were created for.”

Read the whole review here: http://bit.ly/b5kq9J

Well, indeed. If anyone’s ever encountered anything truly horrible or terrifying, frightening sights, the impact is more powerful when one’s not prepared for the strike. The emotional contrast is probably the most important factor, if an ultimate grasp – gameplay or movie action – is desired. Also, the usual human characteristic of adapting the surroundings plays an active role here, as a survival tool.

What really caught my attention was Mr. Damigella‘s final paragraph: “…it could be interesting to hear what he and fellow-Finn and Nightwish mastermind Tuomas Holopainen could potentially co-create together. Especially since they both have creative styles which could sound interesting when combined.”

Hmm. Very, very, very interesting.

W0000t? A 10! 1337!

I couldn’t help myself with the headline, sorry… Soundtrackgeek.com (http://bit.ly/bXsOjd) has reviewed the Alan Wake OST album, and used probably the most lovable sentence, when stating that “(AW OST is) …a truly great score and I hope that Petri Alanko will be flooded with offers from now on.”

Well, what can I say, other that THANK YOU, GUYS and – well, I definitely hope the same, too. 😀

The only problem is that there are a few other guys as well, and some of them have a much longer track record from game music industry than myself. Although I’m easily the most persistent fellow in this galaxy when I’m in that mood, it isn’t worth a sh1t3, as I’m still relatively new to the folks in the development teams and behind the industry tables.

Yes I know, it’s a bit funny to advertise the score, but I just had to take a screenshot of it. It feels damn good to see that, I must admit, but at the same time I feel humbled to the core. The music is reaching people’s hearts, and in the end, that’s the only thing that matters.

Also, I must say with my geekier voice (pun intended), that with a thinner story and less believable characters the result would’ve sounded a lot different – and the review score would’ve been much lower, I’m sure. My train of though goes like this: a strong story feeds the characters that feed the world that feeds the music. Let’s call that an Emotional Value Chain, EVC, in which the minimum link value also provides the absolute average instead of the usual arithmetic (a+b+c…+z)/n average. Sounds illogical, but feelings often are, right, Spock? 😉

The point is: one cannot compensate a delinguency in EVC. It’s as strong as its weakest link, whereas the technical value chain behaves somewhat differently: who cares about aliasing (or whatever) if the story grabs you and the environment puts you always in the mood?

But 10? Happy, happy, joy, joy! Yay! 😀

Wow. Thank you!

Tracksound.com (http://bit.ly/9LOLoN) reviewed Alan Wake OST and gave it a damn nice 9/10. Thank you, sir! Sometimes it feels just so damn nice to read a good review, although a mid-album lengthy track (Taken by the night) didn’t win their hearts over – which I understand damn well. Point taken, no more in-game action cue music included onto soundtracks, heh!

Also, what I appreciate a lot as a composer, was the separate track rating list. For me, that works as a small scale “market research”, although the target group here in question was only one reviewer. Hmm, speaking of which: I’d like to see a larger crowd rating the Alan Wake OST tracks, just to find out how different parts of world valuate certain things. On the other hand, multinational hitmakers have proved that a good melody doesn’t discriminate.

Even though composing is sometimes related to running in the dark with a dimming flashlight (heh), a good review can provide you some bullets and batteries for the next level – in the form of constructive criticism. Thanks, Mr. Masalar.

Orkidea remix – Solarstone: “Touchstone”

Just happened to twinkle some additional keys to Orkidea‘s brilliant remix of Solarstone‘s “Touchstone“. While mixing and adding the final touches, I grabbed my newly rebuilt Oberheim Matrix-12 (thanks to Mikko Köykkä, an electronics wizard and an extremely cool dude) midied to Xpander and damn, it sounds good.

I hope he doesn’t blow his fuses for me being a mix-and-tell guy, but Orkidea‘s Logic sequence layouts are probably the most organized I’ve ever encountered. Myself, I never name any tracks or channels, whereas his are always named appropriately – and even colour coded. All samples always tidily in their appropriate folders… Neat and clean, and most of the time everything necessary is already there, and you just put some SSL or Neve compressor on, add some eq’ing. Easy job.

By the way, a while ago I was bouncing Slusnik Luna‘s “The Sun 2010” (a re-make of a classic year 2000 trance track “The Sun“, by Niko Nyman) and Matrix-12 was still in a state of limbo. Then Mikko recapped most of it, replaced the EPROMs with his patent tricks – and it’s been working ever since. (I think I better have another go with “The Sun” now that it’s working.) See Slusnik‘s web site here: http://bit.ly/9dCL05

Anyway, once you’re surfing, go check Orkidea‘s site here: http://bit.ly/arXISl – and make sure you have a listen to one of his DJ webcasts. His way of mixing tracks together is a form of art. Period. Anyone can use decks and a crossfader or a laptop with controllers, but to make DJing a musically flawless act is a totally different thing, and that’s where Orkidea‘s very good at.

An interview by G4TV online

A slightly more freeform interview was put online a few days ago, this time it was done by G4TV, and the questions weren’t easy at all. http://bit.ly/91Yyg4

I also think I better do something for those promo pictures. Like burn them.

What really amazes me is the sudden depth of some questions – I started answering them and after two sentences I realized I have to open up quite a few other crates as well, not just the one I’m handling. An easy “synth or orchestra” question really became a struggle and I tried to be as short-mouthed as I could. Which, unfortunately isn’t much.

Alan Wake OST officially out now

Alan Wake OST composed by yours truly is finally, officially out – now. Get it from here:

Amazon (as a CD)
Amazon download
iTunes (link to USA iTunes Store)
and straight from Sumthing Digital.

So there. Unfortunately, for us Europeans, it’s Amazon.co.uk only.

Also, I have to notify that iTunes USA quite falsely advertises flute solo recordings also done by a guy with a same name, although we’re not even related. His recordings are top-notch as well, but be warned that it’s not me. I better charge him some royalties for promotion duties. 😀

Ok. While you’re there, try finding some concert organ stuff by Kalevi Kiviniemi as well, with a hint of Osmo Vänskä & Sinfonia Lahti thrown in for some Scandinavian taste. End of promotion.