One listen and I don’t feel I wrote enough, or well enough.
I’ve noticed that with some of Yasunori Nishiki’s compositions is that he’s quite willing to go for the dramatic push after the “lower” section, and it’s interesting until you start noticing it as, even though he generally keeps them brief, they start to feel rote more than they do inspired or interesting. Don’t get me wrong; the compositions are good and they are enjoyable, but what I’m getting is a firm blueprint and some preventing doing enough with it, but perhaps this has to do with what was requested for the soundtrack. I don’t know.
Realistically you could argue that plenty of other bands and artists do the same thing, and I do. However, there’s a difference between, say, Motörhead’s approach and Yasunori Nishiki’s.
Yasunori Nishiki’s (西木 康智) “Seaside Town” (“潮騒の鳴く街”) is from Octopath Traveler II‘s soundtrack, Octopath Traveler II Original Soundtrack.
I hope you enjoy.
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Gentle sounds rattle and draw short in stretches, and guitar plinks a light quiet rhythm. Sound lifts and keeps the jaunty, cosy feel going, and strings rise. Soon it shifts into the grandiose of open spaces, and envelopes all, then suddenly stops as keys take over and descend in steps, keeping some of that energy going, but lower.
The keys then seem to dance a little, happy, but also perhaps a little wistful.
A return to the start and that smallness is still there. It’s cosy and quiet, and once more the sounds stir as the openness approaches, and once more it’s all space and open and grandiose, and there’s a beauty in this stirring and rising and expansion, and it’s all so wonderful.
The sudden switch and the keys lower, bringing everything back to where it once was, stepping down, seemingly swaying back and forth once they reach their lowest.
The sounds move toward their fading out and once they do, the song ends.
Stupidity Hole 