チームの個性が色濃く出たミドルテンポのダンスミュージック、という印象！
ややシンプルながらも全体的に堅実な作りで楽しかったです！曲変更もあって二度美味しい！

インプレありがとうございます。
合作曲というのは何かと要素が増えやすいので、あえてアレンジは薄味に仕上げてコード進行で変化をつけることにしました。

thank you for your hard work~

played:[7K NORMAL][7K HYPER][7K ANOTHER][7K ANOTHER2]
オシャレ＆渋いHouse！大好き！
中盤のオルガンパートからの展開がそれまでとガラッと変わったムーディーで煌びやかな大人の夜を感じさせてくれてとても好き！
BGAも連番で美味しい！

[7K NORMAL]
BPM120なら許される。叩き心地演奏感共に抜群でプレイヤーニーズを満たせている！

[7K HYPER]
確かにたくさんの種類の音を叩いている、のにも関わらずしっかり譜面構成や配置に統一感があって纏まっているのが面白いなぁと思いました！
打鍵的にも美味しい配置が多くて個人的推し譜面かも！

[7K ANOTHER1] [7K ANOTHER2]
どちらもテクニックの要求される面白譜面で楽しめました！
ANOTHER2の方は結構様々な傾向で攻めながらも曲とのシナジーが高く打鍵感が強く感じられて楽しめましたし、ANOTHER1のLNと皿も良い感じに作用していてやりごたえが抜群でした！

[5K Rave Remix]
この時代に曲変更、しかも5鍵盤！ありがとうございます…
ドッシリとしていて渋COOLな路線に激変していて大変カッコ良かったです！
こちらも中盤からの展開が最高に好きです！
元とは違う夜の味わいを感じました！
譜面内容もしっかり充実していて楽しく遊べました！

制作お疲れ様でした！

楽曲制作時には、各自以下のような単語をイメージしていました。
Quint: パレード、祝祭
RykSeb: 夜、面影

譜面については、私のほかのBMSでもそうですが、各表記難度の範囲内で「ちゃんと難しくすること」を意識して作っています。また、低難易度を保ちつつ多くの音を譜面に入れ込むことが出来たのは、BPM125という楽曲特性のお陰かなと思います。
曲変化差分は私個人が気休めに作っただけのギミックで、故に真剣な評価を受けるほどのものではないのですが、この曲は本当に多様な音が鳴っていて、それらを一個ずつ取り出すだけで全く別の音楽が作れるのですよね。やはりBMSは面白いと思います。

5Kは私がQuint氏に無断で追加したちょっとしたイースターエッグのつもりでしたが、皮肉にも5Kを好んでくれる人が何人かいました。ということは、私の共作相手によるサウンドデザインの完成度の高さを示唆するでしょう。5Kの着想元は、BOF2008の楽曲「TOKYO-RHYTHM No.524」に同封されているリミックス「124」にあります。オリジナルよりも高いBPM、メロディーをドラムのように切り刻む手法、チャートへのジャックの多用、そして曲全体の短さ自体もオマージュによるものです。

EN
5K was meant to be a little Easter egg I added without Quint's permission, but ironically, a few people actually liked 5K. That probably speaks to the high quality of the sound design by my collaborator. The inspiration for 5K comes from the remix “124” included with the BOF2008 track “TOKYO-RHYTHM No.524”. The higher BPM than the original, the technique of chopping up the melody like drums, the frequent use of jacks into the chart, and the sheer brevity of the track itself are all homages.

Translated with DeepL.com (free version)

PLAY | [7K ANOTHER2]

MUSIC : 9.0 / 10
CHART : 9.5 / 10
+ BGA : 1.0 / 1

TOTAL : 9.75 / 10

각자의 개성이 드러나는 것은 물론 이런 분위기로 댄서블한 곡이 만들어졌다는 게 신기할 따름입니다.
뭔가 너무 좋아서 말을 길게 하고 싶긴 한데 떠오르는 게 없네요. 이런 걸로라도 때워야죠 뭐.

제작 수고하셨습니다!

It's been seven years since I started making BMS, but I'm still a beginner when it comes to composing through collaboration. That's precisely why I focused on creating a solid groove as the foundation of the song. I imagine Quint felt the same way. Once the foundation was set, it was just a matter of layering our respective strengths on top.
Thank you for your review.

It's a stylish nightscape. Both strange, hypnotic techno sounds and clever, catchy melodic riffs are present and they bounce off each other quite well. Also, I'm quite partial to the way it walks through a couple key changes near the end.
From what I can tell, it sounds like the rhythmic sampling is definitely by Quint and the digital fusion chords and melodies are by RykSeb, but is there more overlap in what each artist contributed to than just that?

I love this song (easily one of my absolute favorites this year in terms of music). However, after listening to it a lot out-of-game, when playing the BMS a second time to write this impression it immediately struck that it sounds different in-game - some of it might be deliberate choices to make keysounds stand out more in gameplay, but in other parts (such as the ending) it sounds like some background textures are absent in the BMS. I'm not sure if this is a case where the song was only fully completed after the BMS was made, or if I'm having a playback issue, or what.

Even then, though, the BMS is quite good and feel satisfying to play, the well-made sequential BGA giving the impression of a rare melodically-focused modern underground work. I was shocked how tricky the level 11 pattern is compared to the rather relaxed level 10. Personally, ANOTHER1 feels like it's focusing on "performing the song" and ANOTHER2 is focusing on "challenging the player", which is an interesting contrast.

That's all for now. Thank you for your hard work!

Hints about who handled which part can be found in the naming of the OGG files. While not strictly a theoretical composition overall, I aimed to create variation in the piece's harmony by alternating chordal progressions (with dominant motion) and modal progressions (featuring static bass lines and key changes). Regarding the lack of key notes in the BMS file, I must thank you for pointing this out. It was my responsibility that I hadn't checked the details thoroughly.
By the way, ANOTHER2 is largely a practice piece for me to develop my personal play skills.
Thank you for your review.