Story
Composer’s Notes
"From C418's Dead Voxel to the TimeChurch Album"
So, everything started at the end of the 2020 summer vacation. Our schools were cancelled because of COVID, and I had all the free time I could ever want. I was lucky to start my composition journey just before the Summer because I had a lot of time to learn, think and create. However, after making the first 8 pieces, I was burned out.
Because I was very new to this composition thing, I feared that if I stopped composing for a second, got distracted, I could lose it all. So I have forced myself to listen, research and recreate my favourite music pieces. One of them was C418's Minecraft Nether Ambience music (Dead Voxel, Concrete Halls etc). So, one of the first prototypes of that music turned into the first TimeChurch.
I know, I know, Nether ambience music is all about burning repetitive claustrophobic caves, which are filled with lava and death souls. How can I create something very cold, isolated, infinite, nature-based ice cathedral piece? Well, actually, their characters somehow match. Both of them handle the themes of being in otherworldly crisis situations (preferably lost) and handle the soul's lost journey through desolate environments. Both contain the particular feeling of desperation...
However, the most important similarity is the sound character. I learned I can create drone-like sounds with massive reverbs (Valhalla SM oc) while analyzing C418's pieces. One of the signature sounds of Timechurch is the super-reverbed crystal piano sound. Also, the usage of bass-synthesizer sounds with the orchestra is something he likes, which I also love. The strings come from the Spitfire-Albion-Tundra (or its free version, Spitfire-Labs-FrozenStrings), which suits this concept very well.
So, here is the Timechurch, the first piece I tried to mix and use envelopes correctly. I put so much effort into this piece at the time, but I believe it is a piece that still holds its quality despite its age (and my inexperience).