Liontamer

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There's no shame in second-best. :-)

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Had to do the alternate since it wouldn't allow the %, but got it!

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Artist: SEFAR I have try to interprete this beautifull and melancholic track with a massive industriel / electronical approach that reflete the deepest of what frostpunk is talking about : a blind run to death and deshumanisation. I'have try to keep the melancolia of the original but to bring it power and more cinematographic sound illustration : like sound of broken ice, industriel mechanism, fire shoot, broken glass of drunken a man and dictator speech. There is a piano and a full set of industriel drums, soundscapes and many others details that i have created. Also, the record speech of a famous dictator for illustrated a major theme of frostpunk : insecurity leads to authoritarianism and fanaticism. "We don't need hope anymore" is a word from a caracter in the game at some point. At the end we don't don't who is kill : the one rebel's or the the dictator himself. The piano is sometime pushing simply the main melody, especialy at the begining, but then it's going in another direction, more ryhmical and maybe in a bite "jazzy" way. I hope it's bring some melodical complexity to the track. The end is voluntary more radical than the original track, because i think my interpretation is more radical in a way that there where no need to continued over the strings decrescendo. I sincerely hope you will enjoy this remix. Antoine DRAï Games & Sources The original Soundtrack came from the Frostpunk main theme ( Track 1 form the OST ), composed by Piotr Musiał. You can listen to it here :

The world cannot have enough Aquatic Ambiance covers (especially funky ones like this Mining Melancholy one). I hope you guys do Aquatic Ambiance down the line! :-D @Ridley Snipes

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Artist: Kuri I really wanted to make a Lo-fi-ish, chill beat using music from one of my favorite games of all time: Bravely Default. After listening to a bunch of tracks from the game, I found that these two tracks really meshed well together. Florem's theme especially is a beautiful track, but I feel Bravely Default as a whole has a sound track that is under appreciated. To make this track, I used two themes from the 3DS RPG, Bravely Default: Bravely Default - The Fascinating Flower Country (Florem Theme) Composed by REVO Bravely Default - Eternity's Moment (Menu Theme) Composed by REVO

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From Jorito: Alright, I guess listen to both versions, the link and the updated link, see what you like better. If needed, we can roll with the initial version if there's a consensus that the updated version isn't an improvement.

Artist: Zanezooked I’ve been a regular visitor to OCRemix since 2002. A significant portion of my music library comes from here. So it’s with some trepidation that I send my first submission. And not only am I daring to submit to OCRemix, but I also have the hubris to remix the great Michael Salvatori and Mr. Halo himself, Marty O’Donnell! “The Siege of Madrigal” is a piano piece by Michael Salvatori. It’s one of two simple but gorgeous melodies Salvatori composed “in the style of Marty” which Marty O’Donnell loved so much he integrated in multiple ways into the soundtracks of their respective games (the other is “Unforgotten” from Halo 2, which saw a return as “Never Forget” in Halo 3). Marty loved “The Siege of Madrigal” so much he even hid it inside Halo, so for many people it’s known as “the Halo Easter Egg Song.” I heard it in Myth, though, years before Halo, so I know it as the song that plays as the war-weary, anonymous narrator describes a last-chance plan to strike the armies of the Dark and their leader, the Fallen Lord Shiver, and break the siege that is strangling the city of Madrigal. Myth is a game about small, desperate battles fought by a single battalion on the fringes of a greater, losing war, so we don’t directly see what happens at Madrigal; the player spends the mission running a diversionary raid to try to draw some of the enemy away from the city. But in the following mission briefing we are told what happened: This sudden, unexpected victory in the face of certain defeat is what Tolkien would term a eucatastrophe. It captured my imagination. I tried to tell that story in this remix. We start with the Siege of Madrigal theme in piano in its original C major, but with the rising quartet of notes between phrases removed to make it more hesitant. The addition of harmonic high strings underlines the uncertainty. At 0:30 a solo cello picks up the theme. Marty O’Donnell made the low cello the featured instrument in Myth, so this seemed appropriate. (Also, I love the cello.) The rising quartet of notes is restored, making the theme a little more hopeful. At 0:59 we get a sweeping string statement of the Madrigal theme, but the peak of the melody is lowered from A to F, making it more somber and unresolved. At 1:28 the piano comes back along with high string tremolos, but instead of finishing the melodic phrase with a D, it modulates into an unresolved and uneasy D#, taking us into the key Db, while we also switch from 3/4 to 7/8 time. The next part represents the “dream duel” between Rabican and Shiver. What’s a dream duel? It’s never specified. I imagined each duelist attempting to invade the other’s mind and plant thoughts that undermine their strength and open them to attack. Shiver’s weakness was vanity, which seems strange for a 1000-year-old undead crone who looks the part. But she wasn’t always an undead crone. So perhaps Rabican’s strategy is to remind her of what she has lost. She may be immortal, but is it worth it if this is how she spends eternity? Rabican’s persistent attacks on Shiver’s psyche are represented by a male choir and a creepy, guttural chant in Irish, with Shiver’s thoughts are represented by a female choir also singing Irish. Irish names and words are often used in Myth, though not very accurately—more for flavor—so this seemed appropriate. I used Google Translate and then found an audio pronunciation for each word, and I’m sure I mangled it, and it’s not like it’s understandable anyway, but hey, it gave me something to work with, and I thought it was cool. At 1:31 the male chant begins: At 1:45 the low cello starts an aggressive, grinding ostinato. This is the "Great Library” theme from Myth II: Soulblighter, by Marty O’Donnell. At 2:01 the female choir sings a fast, 7/8 version of "Fallen Lords" theme from Myth: The Fallen Lords, by Marty O’Donnell: 2:22: the men’s choir rises ominously, doubled in horns to give their line punch as Rabican pushes the blade as deep as he can: 2:30 the women sing, 2:37 men and women sing together: The section builds to a frantic crescendo and then the clouds part at 2:56 as the Madrigal theme returns with its high A restored. The low cello is still prominent but now rhythmically supports the triumphant tone of the strings. At 3:23 we get a final, driving reprise of the theme in full glory, with horns and trombones taking the melody, a soaring counterpoint in the trumpets, and a bodhrán (Irish drum) pulling us forward. At 3:51 we end with a final statement of the Madrigal theme on cello and piano, made hopeful by borrowing a high sequence from the earlier trumpet counterpoint. There’s an image from Myth I was thinking of here, a soldier standing on a battlefield, arms spread, face to the opened heavens. The battle is won. Weariness and joy mingle like the rain. (Madrigal would be utterly destroyed months later. But don’t tell our soldier that.) I hope this is an enjoyable remix! Myth: The Fallen Lords The Siege of Madrigal, by Michael Salvatori The Fallen Lords, by Marty O'Donnell Myth II: Soulblighter The Great Library, by Marty O'Donnell

Not sure why the "Within the Giant" melody at :43 was pushed down, and I was going to complain about it, but then it had a nice contrast with its brighter, more upfront placement at 1:12, so I'm glad the intentional contrast was there. Soundscape when the beats were in play was muddy and cramped; things would sound clearer when the beats dropped out, so maybe it's something about the beats and bass kicks. Changeup in "Crazy Motorcycle" at 2:14 was kind of abrupt, but I see how there was a transition to it, so I'll live. Then more crunch and clutter at 2:29 (none of it due to the lead guitar, just the backing chugs). Cooler texture at 3:11 after things opened back up, then some really lame claps & beats from 3:26-3:40 that sounded too lossy and felt stapled on top, same as they did at :28. 4:40-4:57 had something panned mostly in the left ear that sounded like fluttering popping; very odd. Would love another mixing pass at this, because it's still lacks clarity/sharpness IMO, as well as some instrumentation tweaks, but the arrangement carries it vs. the production/mixing. Very cool combination of the themes, the ambitiousness definitely shows through. YES

We have the new version linked in the first post. @prophetik music @DarkSim See if the new mixing job changes your calls. :-)

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Takes a while to spin up, with the source finally arriving at :38; there's not much melodic interpretation, and while I like the soundscape, it's pretty muddy, though I get that there's intention behind it. I'd like to hear more variation/development of the core beat, because once you hear that thick kick pattern come in at 1:31, it's just on auto pilot. At 1:47, the soundscape got cramped and it felt like parts were clipping or distorting; again, it feels like there's intention behind it all, both the textures, the crunch, and the way things sound distant, but the musician Js may have some feedback on how to achieve a stronger sound, because what's here now sounds more like a lossy encoding rather than 100% an aesthetic, which I believe would be the goal. There was some original writing at 2:39 that was OK, but sounded kind of awkward. By 3:30, I felt like I was just hearing previous sections with just a little more intensity, then it quickly shifted into noise (not said in a perjorative way) for more of an SFX & effects-based finish that was interesting. This would have made it in ye olden days 20+ years ago, and I like the concept, Roemer; let's see what further polish you can add to improve the soundscape and vary up the feel of it post-1:31. NO (resubmit)

Artist: 100%ROEMER my life is an abyssal hellscape of automation envelopes and reverb decay 612 minutes FL20 + Famisynth (the groaning sample is the inversion of a rusty chair as it slowly rocked to and fro for three minutes)

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