Okay by me, really. It's a fair thing to say of something 'localised' to that extent. In respect to its place in such a scene, music of this sort normally makes a good measure of sense to people from the relevant cultural milieu to whom it is familiar. For us, this would resonate and carry some gravity and report; showing it to an outside audience will be unpredictable and involve a risk of the juxtaposition appearing too absurd to allow one to want to continue watching.
Since it isn't 'foreign music' to us, in our heads we'd immediately by reflex be looking for the emotions the melody conveys and how it ties into whatever it is paired with. How others would perceive it is anyone's guess and for all one knows, the first knee-jerk images that your mind or others' might have registered as soon as their ears had caught the first notes could well have been desert tents, camels, and a comical turban resting upon a dying Lee's head.
But what I've enjoyed about the result of this video is the melodic progression and synchronisation of emotional/melodic phrasing, mood, and pitch with the gestures (eg. 4:23-4:28) and dialogue--its 'back and forth', words, tone, and sound (eg. 2:29; 3:31-3:34)--and pauses in between (eg. 2:08; 3:53-4:00; 4:11-4:15), so I do hope that regardless of whatever off-putting or poor immediate first impressions the general atmosphere of the music gives to some at the general start, people who connected quite well emotionally to the game's finale will be indulgent enough to play the video through more towards its completion and disregard the cultural disparity, so as to evaluate it as a whole. I find it picks up well following 1:57 (3:09 more so), sobering up and gradually giving way to a more tempered and melancholic, weighty expression and one less perhaps exaggeratingly sentimental, high-strung, and cloying, markedly so with the bewailing oriental microtones by the time of the final baritone close (eg. 6:02-6:07).
Last edited by Conviva Ebrius; 12/22/2012 at 05:45 pm.
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