I Know What You Are. I Know Why I Needed You. But It's All Over Now.

When asked about how his music for Silent Hill strikes fear in players, Akira Yamaoka responded: “First and foremost is ‘irregularity.’ People are analog creatures… When things don’t happen as we expect, or when the rhythm breaks, we start to get very nervous… In short, I betray the user’s expectations.” In the game, as Yamaoka notes, individual loops of music contain irregular rhythms and sound events, most of which would defy accurate transcription with conventional Western notations for duration, pitch, and timbre. On a broader scale, however, several of the game’s tracks actually achieve an oppressive effect by repeating samples with unwavering regularity. Much of this music can be parsed into melodic and rhythmic cells lasting no longer than a few seconds each. These recycled noise fragments evoke a hellish labyrinth in which paths toward escape and resolution are persistently concealed or deferred.

Cheng, William, 'Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear', in Carol Vernallis, Amy Herzog, and John Richardson (eds), The Oxford Handbook of Sound and Image in Digital Media, Oxford Handbooks (2013; online edn, Oxford Academic, 16 Dec. 2013)

So you're awake. Looks like death is not your fate just yet.

Skyrim Scenery 60/∞

kate bush featured on top pop (tv), march 1978 ꩜

Having like an avalanche of ideas, not knowing how to deal much less what to do with them all.

We are born of the blood, made men by the blood, undone by the blood. Our eyes are yet to open... Fear the old blood.

Happy 10th anniversary, Bloodborne 🖤 Released March 24th, 2015

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Weekends w. Adele (Halloween 2024)

as Madeline Ashton in Death Becomes Her (1992)