The sound design and granular effects are super cool... interesting harmonic choices too (was it a bVI bVII I in the aggressive synths section?). The tempo changes are so well carried out. 2:27 section felt so resolute (the modulation was smooth), so did 3:46, anticipating the bVII I cadence (was it a D#m to E/B to F#/C#? I liked it a lot but didn't know what it was).
This is probably one of the most creative pieces I've heard so far, I've also happen to have watched the Jacob Collier livestream on the "Shepard Grooves" (Risset Rhythms) that's an interest concept in rhythm as opposed to pitch and I'm really amazed to see it being actively used.
This is a masterpiece. Well done! OwO
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Wow thank you very much, goes right to the heart :)
I'm not used to speak with these I, V, etc cadence terms but if I get I right you might be close. Here is how I see it if it helps :
Song is mainly in F# (at least that resolute section at 2.27 as you said) which the song tries to get to.
Then the aggressive synths parts is structured with D#major, Emajor, F#, then A#maj, Bmaj (first note is the white before C, never sure how to call chords with flats and sharps ^^) and C#maj. - - I just keep that A# note (which is the fifth of the first chord D#) as the upper note on every other chord in that section. 🙄
So same transition happens at 1.13, 2,27 and 3.46. With that nice altered chord composed of tritones - don't know it's name so here are the notes for it D, F, G#, B(flat).
I hope it was clear 😅. Thank you for the detailed feedback. It was a challenge to use this audio illusion but think I managed to get something cool out of it so I'm happy if you liked it!