Midnight Rush Critique
Star and Krawkyz
Disclaimer: Most of the sections were listened to in the player. Sections that were obviously messed up were listened per sheet in the Songs Tab of the Composer. Starburst pls fix.
Important Notes:
Color is the person who wrote the part.
Black is general (either both agreed or it’s just a section name like this)
Green is Krawkyz.
Gold is Star.
Pre-Critique Notes (Krawkyz):
Putting our critiques together not only will help increase the amount of text in one comment, but also allow more repetitive comments in the sections. /s
Lots of clichés to overcome in this song. 4/4 to swing/4, keychange in final chorus, and a chord progression that has been drilled into my head by pop songs. If it wasn’t for an amazing overarching melody, I would’ve hated this song. For Hellstick, the drums were simple. Stuff like that. It was definitely fun to listen to, and if you’re going to listen to it, download it and play all the sheets at once in the Songs tab of the composer. To do so, select all the sheets and double left-click, then press the play button in the bottom left. It’ll be worth it. One of the best sections of the song had to be the “swing” as Star calls it (though I wouldn’t really call it swing, just triplets). Overall, an extremely well-made song, and it does merit multiple listens for sure.
Thoughts on First Listen (Star):
The intro was pretty simplistic by Hellstick standards, though that was quickly mended by the following section. I felt this first section here dragged a little bit, but had some nice things added that made it interesting. As for the next section, I admit I’m a sucker for these no-drum breakdowns, they really have lots of character and sound nice. The sections preceding the drop was a bit strange, as it sounded like it should have been the drop, thus being a little disappointing (maybe the song could have skipped this part). I do like the feel of the drop itself quite a lot, good emotions throughout and a great beat. I also LOVED the hardstyle section (PLEASE MAKE MORE OF THESE), despite not being a fan of the genre. However, I did feel the bridge between the two drops had the same problem as the intro, dragging a bit and acting as filler, more or less, though still interesting. It’s a little to same-y in my opinion. However, when the swing beat hits in the second drop, that’s when I started to really love this song. Absolutely fantastic. AND YOU EVEN DID SOME MORE HARDSTYLE FOR A FEW MEASURES WOO!!! Outro was borked, but still good I think. Initial score is going to be 4.1 out of 4.5
Intro m1-16 (5/5) (3.5/5)
Offbeat Bass, with snare rolls and mostly onbeat bass drums. It’s like Star Surfing’s Intro but the effects actually make this intro good. Simplistic, but effective, since intros aren’t supposed to be overbearing. This intro was too simplistic to me, it felt out of place in the rest of the song. I also personally dislike the record scratches, they felt kinda tacked on and quite frankly, cringe-worthy. Funny enough, I love the scratches. However, halfway through I think it improved greatly; maybe risers and downlifters are pretty well-abused, but still very effective.
Bridge A m17-32 (3/5) (4/5)
It’s basically a completion of the intro to its natural conclusion. Harder bass, harder onbeats. Cymbals/hi-hats added later confirm this. It drags quite a bit though, and definitely gets bored halfway through. At least to me, the drum fills like bass drum rolls and offbeat snares are not enough to keep it from dragging. This section is classic Hellstick material, hard-hitting kick and a nice off-beat bass. A little done, sure, but I’ll give it a pass. What makes the section shine is the little fills in between, which get even better in the next part. The scratches work a lot better in tandem with the other elements and I really liked the drum fill in measure 24. Other then that, the section is quite repetitive, which is it’s only real downside.
Bridge B m33-48 (5/5) (3.5/5)
The little tid-bits of the drop added here are pretty nice in my opinion; however, the repetition by this point is exacerbated. The section is too predictable. I can’t help but disagree. I loved this section, as it added in the melody and the low pass filter in the middle the phrases, added with non-filtered melody made for a non-repetitive section. The buildup of energy at the end, everything was done pretty much picture-perfect to a T, and I suppose I have to give credit where it’s due, just as someone who’s produced music for a while and has listened to more than one of a trademarked Hellstick style, I saw it all coming a mile away. At least for me, the natural progression made it flow well, especially as the last section transitioned into this one.
Pre-Breakdown m49-57 (4/5) (4.5/5)
Really awesome effects. The Organ fast cycle adds so much to this. The lowering synths completes the breakdown. The only thing that brought the section down to a 4 was the fade-in to the later section, as you used Polysynth instead of strings (was that an accident?). It made the transition less smoother than it could’ve been. The atmosphere introduced here is very nice, transitioning perfectly into the breakdown. The low organ was used very creatively and the energy of the previous sections was released effortlessly.
Breakdown 1 m58-76 (4.5/5) (5/5)
This was probably one of my favorite parts of the song to be honest. The major accomplishment was purely the sound of it, how everything just sorta comes together perfectly for sometime special to listen to. The phase modulation of the organ, the chimes effect, and the strings plus melodies combo was just perfect. Also, it gets away from any sort of stereotyping I have for both producers in general and Hellstick’s actual style, in that it focuses more on composition rather than production value. You can ask Star (Hi!). When I first listened to this section, I told him I got goosebumps (Can confirm :D). It really is amazing. I really wanted to give it a 5, but that damn sample popping! I don’t know if you could’ve fixed it, but if it wasn’t there this would be flawless. THE SUB DROP WAS ABSOLUTELY GENIUS!
Buildup 1 m77-84 (4/5) (3.5/5)
With so little drumming, it’s hard to imagine having a lot of power in a section.Maybe a little overuse of the synth voices, though. I’m not sure what you could’ve done, but those were definitely used too much. I feel like the drums are hitting too hard here. (The drums definitely make this section feel amazing.) The shock is quite harsh, and the parts in between are so empty, you just feel like you’re getting hammered (pun unintentional [k]). I also didn’t really like the fill at the end, it felt pretty sudden and didn’t help fill the spectrum much. I did like the feeling of anticipation being built up, though it goes somewhat unrewarded by the following section.
Pseudo-Drop m85-101 (2.5/5) (3.5/5)
This section of song felt really strange to me on my first listen. On one hand, I really liked it as a standalone section because I’ve always really liked chiptune-y parts in songs, but on the other it’s a real letdown from the preceding section. Definitely: the last section was so powerful, and this one has almost none of that power previously shown. The bass was weaker, drums were not at all representative of the melody/bass (at that point of the song, at least), and the effects were just the same buildups and downlifters didn’t help alleviate this. If it wasn’t for the melody introduced into the section, this would’ve been a really bad section. I actually thought the buildup to the drop was the saving grace of the section to be honest. Sure, it followed all the normal tropes of edm genres, but using the melody in the silent section was really nice. I tend to agree with Kraw though, the melody was the best part of the section.
Drop 1 m102-125 (5/5) (5/5)
This is where the last section was headed, and by far this section is ridiculously better. The little additions between each phrase, the stronger bass, the much more onbeat drumming, revisits to previous transitions, amazing melody, crazy awesome fills; it’s a perfect “chorus” (yeah, it’s a drop, sue me (Consider yourself sued. Where’s my money?)). The only real complaint I can give is the melody sounds like a Hellstick melody, but that’s not really a complaint, is it? (Looking at you, Star. (I know I said that 40 times already, geez)) The drop was a pleasure to listen to. The bass was fat. The kick hit you in the gut. And the melody was very uplifting. To be honest, not much more needs to be said. I could dock some points for a return to style for Hellstick, but why fix what isn’t broken? (SEE WHAT I MEAN? (>:3))
Hardstyle Section 1 m126-133 (5/5) (5/5)
Natural Continuations? Screw that. Let’s fuck up those onbeats! Maybe this should’ve been with the previous section, but WHY NOT HAVE IT HERE. Only real complaint is the onbeats need MORE POWERRRRRRR, but releasing the energy from the drop for the next Breakdown works well, so maybe not? This section was bae. There. I said it. Nothing else to see here. HARDSTYLE FOR LIFE!!!
Breakdown 2A m134-143 (3.5/5) 4/5)
See, now THAT is how you do drum fills. Wonderful work, brilliantly bringing the song down from the drop. The toms may have been a little much, let’s be honest. Probably should’ve used a different tom. I also liked the use of the filter, something relatively standard in edm but difficult to achieve in Notessimo. Synth Voice aah buildup again. I mean, yeah, they sound cool, but the build-up doesn’t work well here. I think they’re a little too loud. The low pass bass drums make the power of this section perfect. Also I really liked the toms 
Breakdown 2B m144-167 (4.5/5) (3.5/5)
Properly done. I don’t really have much to say here besides a little dragging, except for the fact that the tubular bells sound amazing. I think the tubular bells are a little off-key, but that actually makes them sound really good. Not sure why. I rather disliked this section. It feels too similar to the section directly after the intro. It has the same drag and doesn’t quite do enough to justify it.
Pre-Buildup m168-171 (No Rating, too short)
Building Down and then back up is a little weird, but it does work. Bass drum onbeat + bass offbeat is consistent, which leads into the next section. Polystring volume changing seemingly randomly in the middle of the section does hurt it a little, however. Nice little transition section, not much to say either for it or against. The only real gripe I have is how abrupt it changes from the previous section. The buildup into the next is well-executed though.
Buildup 2A m172-180 (5/5) (4/5)
If I didn’t say I didn’t love the low pass polystrings before, I should’ve. The changing between low pass filter and unfiltered polystrings make this section outstanding. The background string countermelody throughout the section adds to the legato of the section, and it really plays well with the ongoing melody. The light drumming with the added swing (spoilers) builds to the second drop. I have to say, this was probably my favorite section. Alright, I feel somewhat conflicted about this part of the song. It’s biggest strength is also a glaring weakness. And that is the low-pass filter. The section is made memorable for it, but it makes the entirety of the section sound incredibly muddy. This on the basis of there being too many instruments on the low end of the spectrum at once, including the melody line, ironically. I did very much enjoy the rhythm, however.
Buildup 2B m180-187 (4/5) (4/5)
Triplet transitions tend to treat my tastes tentatively. I remember you using this before, Hellstick. Was it Tarrasque? It works even better here, because of the next section. The drumming change made this section strange, however, and didn’t make it as effective as the previous section. Even though this section is a near carbon-copy of the previous pre-drop buildup, the switch to triplets almost completely compensates competitively to creatively condescend to the crescendo (Kraw forced me to write that at gunpoint pls send help [ya] [BANG]). Anyway. So I’m docking points for repetition, but otherwise it’s an effective section.
Drop 2A m188-203 (5/5) (5/5)
Triplets! (k) So I don’t know how you guessed it but right now I’m totally in love with swing [triplets(swing[triplets(swing[triplets(swing[triplets(swing[triplets(SWING i win)])])])])] beat rhythms. It really gives the drop a fresh feel to it. This song>Tarrasque according to Kraw >:3. The biggest problem I had with Tarrasque was its concluding “chorus” (drop). This is completely alleviated in this song by the TRIPLETS. Other notes about the Drop can be seen in Drop 1. So, pretty much perfect in my opinion. Especially when you consider how many EDM songs there are that completely screw up the second drop when they change it at all (i.e. Internet Friends VIP)
The last 3 sections are listened to in the Composer Songs Tab. Measures are only guessed.
Drop 2B m204-211 (5/5) (4/5)
really yeah. what kraw said. key changes ;_;
Hardstyle Section 2 m212-219 (3.5/5) (5/5)
Revisiting the Hardstyle works pretty well, actually. It’s funny, everything comes together here: key change, triplets, chord progression, melody. If you took this section and made minor changes, you could make almost every other main section. I wish the onbeats were more powerful (I said the same thing in the previous hardstyle section), as this would’ve cumulated into an amazing ending powerhouse. Oh well. Oh MAN. This section is SO much better in the composer. This is much more fitting into the genre of Hardstyle here and I can’t get enough of it. Yep. The pirate melody. The hardstyle bass. All accomplished in V3. Amazing.
Outro m220-end (3/5) (4/5)
Something definitely sounds wrong here, mainly because the volume balancing here is completely out of whack. Pizzicatos are louder than they should be, and the final snare fill destroys any quiet ending that should’ve occurred.Final outro, unsure if I’m even hearing it properly. It’s definitely different from the player, which is really weird. But all in all, a good finish to a wonderful song. And we are listening to the songs tab, so…
Final Notes (Krawkyz):
It’s funny that my critique said so much negatively. If I took it from a first listen standpoint, this song is definitely a 5/5. As I got more in depth, however, I did notice problems, but nothing underlying the entire song. Some sections dragged, while others pushed. Obviously, the main draw of the song is that final drop with the TRIPLETS. Transitions were amazing, and Star pointed out to me that “overuse” of effects is common (I’m not a song producer, I don’t know it all [And don’t you ever forget it >:D]), so I changed some of the critique to reflect that.
Average of Sheets: 4.25/5 (approximated from 4.21)
Personal Score: 4.75/5
Final Score: 4.5/5 [9/10]
Final Thoughts (Star):
Another instant bona-fide classic from Hellstick to go into the history books. I really hope you never quit making music man, it’s just too amazing to listen to your stuff. Fantastic way to start the new year. The song has it’s flaws but I think it is well worth it’s rating of:
Score Average: 4.17
Upscaled Score: 4.63/5 or 9.26/10
Star likes to feel special using crazy decimals, instead of keeping it simple like I did.
