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The Orichalcon

OCRA-0011 - Doom II: Delta-Q-Delta

72 posts in this topic

http://web.mac.com/jarrod_nichol/Site/Podcast/rss.xml

Pimped this album in the recent podcast for our website (August 10th). Enjoy. If you're curious about the game website I write for, here you go:

http://www.projectcoe.com

EDIT: fixing up an issue with our podcast sounding too low. Also, I did notice that the "D" in "Doom 2" is missing in the write-up notes. So those will be fixed up in a couple of hours or so. For now, you can listen to us via headphones.

EDIT 2: Issues fixed!

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Definitely going to continue seeding this tonight. I would right now, but my roomate gets rather....irritable...when anything interferes w/ the WoW playing =\

haha, I think I understand (same kind of roommate here) ... Seeding here ^^

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I'm seeding the WHOLE torrent right now; FLAC and MP3. Almost at 5.0!!

-Josh

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I'm downloading it now, but I am disappointed beyond belief that some of the tracks are omitted. Track 07 (Shawn's Got The Shotgun) is one of my favorites in the entire game, and I was really looking forward to a remix by this most awesome compilation of artists.

Even after reading what there is here about song permissions, I still don't understand how id Software could sell the game with music, yet it's not legal to be put in this remix album. In fact, everyone knows how directly the first Doom's E1M1 is based on a Metallica tune, yet it appears on OCR in multiple entries, including the DSoP album. (Note: I don't participate in the politics of this site, I'm just pointing out what I notice as a casual, yet frequent visitor.)

I'm sure the album will be great, but as far as I'm concerned this is not the authoritative Doom II remix album without a complete track set. Is there any chance of the artists remixing the missing tracks and releasing them elsewhere?

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I actually have mixed feelings about 31 seconds... I've seen a few other people in this thread praise it... and while I really like the musical aspect of it... the piano is fantastic... I'm kind of dumbfounded by the random sound clips mixed into it... they seem completely unrelated to doom... they don't reinforce anything for me... they're just kind of there getting in the way of the awesome music that's playing

can anybody explain what they're there for?... Mr. Revoredo?... or perhaps a listener has some insights?... if an instrumental version of the song were released, it would probably become one of my favorites as well... any chance of that happening?

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I actually have mixed feelings about 31 seconds... I've seen a few other people in this thread praise it... and while I really like the musical aspect of it... the piano is fantastic... I'm kind of dumbfounded by the random sound clips mixed into it... they seem completely unrelated to doom... they don't reinforce anything for me... they're just kind of there getting in the way of the awesome music that's playing

can anybody explain what they're there for?... Mr. Revoredo?... or perhaps a listener has some insights?... if an instrumental version of the song were released, it would probably become one of my favorites as well... any chance of that happening?

To be honest, the part about I appreciate about the voiceover sound clips is that they sound like they're from an early 80s videotape or something, something that's essentially been lost to time. That and it's just very unique, I mean I don't know, but when's the last time you heard something like that used in a mix. I do consider it a little weird but that is definitely the beauty of remixing in general, you never know what someone will come up with next.

As far as them being related to Doom, well I'd have to agree with you there, they aren't at all, they're just another creative outlet, and to be honest I'd love to hear more from the mixer as to what gave them the idea to use these clips in their mix. I wouldn't say that the sound clips make the mix or anything, that's probably more the piano, but they're a nice touch in my opinion. All in all "31 Seconds" is a bit of a blip as far as the whole Doom II theme goes on this album, the song overall conveys a very positive feeling, to me anyway, especially compared to the original which like all Doom music is a pretty aggressive song, but this change is hardly a bad thing.

As for the omitted songs, I won't lie, I would have loved to hear mixes of Map7, Map18 (especially this one!), and Map28 as well, but what you can you do, I know I'll take what I can get.

Also I'm glad someone pointed out the IDDQD thing... I consider myself a fairly serious doom fan, at least of the original doom engine games and I missed that reference as well. At least the title of the album makes sense now :< .

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Even after reading what there is here about song permissions, I still don't understand how id Software could sell the game with music, yet it's not legal to be put in this remix album.

It's perfectly legal to have it on the album, and we were 100% willing to have it featured on DQD along with the other tracks. The artist in question just had a little temper-tantrum over the incident and ran off with his two mixes by his own choice, leaving those two tracks (Map07 and Map18 ) high and dry with too little time to find other remixers to fill them.

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Holy crap, a DJ Crono track that wasn't over-the-top Wapanese. And sounds good too, even better.

Good show folks. Worth seeding.

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Yes! Dark Side of Phobos was a good effort, but this one is more melodic, ambient, and just plain fun to listen to. It doesn't drag on at all, it's a lean and concise vision that harks back to Kong in Concert.

Love the fact that Evil Horde takes the pivotal track 2 in both albums. Hangarmageddon was my favorite from Dark Side, and I see his inclusion here as sort of a way to spiritually link the two.

Love what Jovette Rivera did, I loved his Voices of the Lifestream track and his track here is another pivotal one. Crushing Headache...wow, I think this is TO's magnum opus and my favorite piece of the album. Mazedude is simply clutch with his stuff and his stuff adds a lot to the cohesiveness, they transition very well with everything else. Pleasure to see Ailsean kicking ass once again, I was expecting a shred track but with Evil Horde's contributions, it would have been redundant; a shining arrangement from Ailsean. Red Waltz...we all know it's another pretzel classic, and the perfect closer to an album that I felt succeeded enormously in bringing the melodies out from the dark and sparse soundtrack.

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This is another great album, no doubt! I really liked 'The Countdown' by Jovette Rivera (DJ Crono).

I would really like to see projects from different game franchises. In our short line of official and unofficial projects, we have 2 Metroid albums, 3 Sonic albums, and now 2 Doom projects. I was disappointed when I saw the announcement that we made another duplicate. Especially since I'm not a fan of the first.

I've been thinking a Super Mario album should be made. :-P

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Hmm, I've given this several listens and I'm afraid I still like DSoP more.

but it's growing on me

Westside Archvile in particular

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I realize I'm late to the party, but since The Dark Side Of Phobos was the site project that motivated me to get a forum account just to post a review, I figured I'd chip in with my two cents on the sequel.

What I like best about this album is it's cohesiveness. The Dark Side of Phobos was a big 2-disc collection of songs where I could take the ones I liked and leave the ones I didn't; a buffet of Doom related tracks, if you will. Delta-Q-Delta, since it's shorter, uses crossfading, and isn't so spread out among genres, is truly an album, to the point that while I have favored tracks, I'm happiest just listening to the whole thing in one sitting. You're to be commended for managing to get ten different people's songs, developed independently, to flow together naturally.

MegAsfear (Intro)

Instead of sound effects like last time, it's a filler track that plays a short song. Well, it does what it's supposed to do, in fading into the opening song, and if I find it underwhelming, that's ok since it's over soon enough and we're on our way into...

Running From Evil (Entryway)

I gave Evil Horde no end of praise for his version of Doom1's first level, Hangarmageddon, and it makes sense for him to tackle the first level of Doom 2. But, no matter how much I wanted to like the song, I just couldn't, and I think I've figured out why. The distortion used on the guitar just rubs me the wrong way. It's, I dunno, scratchy. I call it the Master of Puppets effect from where on an otherwise outstanding album, The Thing That Should Not Be pulls this with its guitars, irritating my eardrums severely. Except for replacing the bass guitar part with rhythm guitar, I like the arrangement, the whole verse-chorus-solo structure, but it's just doomed from it's basic building blocks. It's probably just me.

Adrian's Sleep (Bloodfalls)

Now we take it down a notch with a slow, brooding, texture-filled piece, that sounds like a journey, or a soundtrack to a scene. With the gradually building layers, the filtered guitars and piano, and the sudden collapse back to quiet at the end, it sounds like it could have come right out of The Fragile, and that's a compliment.

Westside Archvile (Gotcha!)

Mazedude's remixes of songs from Doom2 were how I found the site in the first place, so I was psyched to learn he'd be contributing to the album. This song is slow, quiet, and atmospheric in the game, built around the "dun-dun, dun-dun-Dun" bassline, which is transplanted from the realm of midi quite admirably. The song gets into a groove for it's nearly 6 minutes, working in each "verse" of the song, and adding plenty of new things on top of the established bass + drums. And then some lovely crossfading and sound effects bring us to...

The Countdown (The Gantlet)

Hmm, a closing sewer door and dripping water bring us to a new level, and the tempo has picked up considerably. The choice of instruments is surprising (is that a flute and violin in the lead over the distorted guitar loop and pounding bassline?) but they work better than I'd expected. For every new part added in, it includes a melody from the midi that I'm familiar with to balance it, so while this has been the most "experimenty" song yet, that's certainly not a bad thing. The "Watch Your Back" and "Countdooown!" vocal samples thrown in seem kind of cheesy, but they're only there for a few seconds, so no big deal, and the song gets ever more intense the longer it progresses, until we suddenly crash into...

Crushing Headache (The Crusher)

Just like Westside Archvile above, the base midi for this song is a slow, quiet, atmospheric track built around its repeating bassline. The Orichalcon rearranges said bassline, to great effect. He builds some synths on top of it for a little while, and then strips them away for a breakdown heightened by samples of imps waking up and wandering around, which makes for a coo-AHHH BARON OF HELL ROAR!! That little "jump" moment brings us back to the melody section for one more go round, and then...

Silent Healer (Underhalls)

We arrive at my favorite track of the album. Taking the quietest song in the game and turning it into a relentless industrial demonic hymn was a stroke of genius. "Silent" Healer is anything but. You're strapped onto a conveyor belt speeding through a factory in hell, watching mancubi get guns grafted onto the stumps of their amputated arms, revenants's skeletons getting wired up with rocket launchers and cybernetic gear, and the plasma-gun armed, arachnotron walkers get assembled. It's a dangerous ride, but as long as you keep your hands and legs inside the vehicle until it comes to a complete stop, you should survive. Probably. I love how the melody is almost atonal; just off enough to suggest that something is wrong, without being annoying, and the pounding drums carry the whole thing and keep my head banging.

Icon of Sinwave (Icon of Sin)

I said the previous track was my favorite one, but this is a very close second place. Whereas Silent Healer was compact and to the point, Icon of Sinwave meanders and goes through stages. I absolutely love the intro, with the choir presiding over a beeping heart monitor, but then All Hell Breaks Loose. Best use of sound effects in the album. There's the high-pitched, oscillating whistle, just as unnerving as it is in the game. And then the song kicks in, and by making the song fast paced and relentless, it could easily be the soundtrack for the fight scene against what has just been unleashed. Then the heart monitor flatlines, and all seems to be coming to an abrupt end, but a jarring arch-vile's roar, a string buildup, and a marine's scream lead into part two, which is more straightforward than the constant improvisation of the beginning, and less oppressive as well. Again we hear imp snorts in the distance, followed by their roar as they discover the hero. It's turned from fight music to describing a chase scene now. Another breakdown has the hero almost getting away in a tense moment, but the backwards speech of the titular Icon of Sin brings us back-AHH THERE'S THAT BARON AGAIN!-sorry, back to the first melody, and at the end there's ever-more-desperate marine grunts of pain over top (reminds me of being helplessly trapped in a pit of ooze), until a Dr. Betruger sample (actually from Doom3, but I can let that slide) brings the saga to a close.

31 Seconds (The Pit)

A pretty nice track, or it might have been. A mostly piano-driven song that takes on the harpsichord loop of Into Sandy's City in a variety of ear-pleasing way. Every iteration only lasts a few bars before switching to the next one, so it doesn't last very long, although on the other hand, it doesn't get old either. Of course, with the random pointless movie samples peppered in ruining the song, it's a moot point. It makes a nice filler track because of it's strangeness and brevity, or you could cut it out entirely if you desired, since it's mercifully not crossfaded with the surrounding tracks.

The End of Hell (Endgame)

This one appears to start with the aforementioned harpsichord from The Pit, but it turns out it's instead the background for the text screen music, which takes the song and puts it through the familiar Mazedude filter: maintaining the melody while mutating it into an industrial version of itself. I'm not familiar with the other remixer, Ailsean's work, so I can't comment on their contribution. Even if it's not a standout, it's still a solid song and deserving of a place on the album.

No Smoking Area (Barrels O' Fun)

The original song has a nonstop guitar riff and is one of the most fast-paced songs in the game's soundtrack. phoenixdk's version changes it up, by starting quiet, and having a pause between each part of the riff. As the guitar's pitch gets higher until it sounds like it's about to explode, the background effects build in tension, until it's unleashed in a full-out metal assault during the chorus. This also helps distance the song from its Alice In Chains roots. A mellow guitar solo keeps us in heavy-land before crushing our skull with one or two last runs through the chorus. I like jagged synthesizers and programmed beats as much as the next guy, but it's nice to really return to rock. And then we stay firmly there, with...

The Duel (Tricks And Traps)

There's no echo effect on the guitar, and no descending, warbling whistle in the background, and the drums are different, but to avoid sounding like your typical "omg it's not a straight cover so it sucks" kind of poster, I'll examine it for what it is. It's pretty sparse, just guitar and drums for the most part, and despite a kind of cool bridge, it falls into the same mental trap that Running From Evil did: The guitars go DUN(squeak) DUN(squeak) at every iteration, and that irritates me to no end. Sorry, Evil Horde. I loved your stuff on The Dark Side Of Phobos, but couldn't get past your guitar tone this time around.

Red Waltz (Intermission)

Well, we had to have one token break from theme, and here it is. It makes a nice bonus or epilogue track, since it's separate thematically from the rest of the album, and that means you can end it one track early if you just want the main experience. I can barely detect the original song inside the Waltz, so I usually give it a pass.

Ablaze (Refueling Base)

So, he plays the Refueling Base riff [meaning, the After All (the Dead) riff], plays a song he made, then plays the Refueling Base riff again once he's done. It's a good metal song but phoenixdk could have just cut off the intro and outro and released it as his own work. Then again, it does say Bonus, so maybe I'm just nitpicking.

As I said, Delta-Q-Delta differs from The Dark Side Of Phobos by being a kickass collection of mp3s AND a kickass CD, even if I rearranged/cut things to suit myself. Even just the Adrian's Sleep - Icon of Sinwave arc is worth the price of admission. It was totally worth the wait and makes me glad that I can get such good music for free from this site. Thanks for putting out stuff of this quality, and remember to keep your shotguns loaded, stay out of the radioactive sludge, and watch out for spectres. Invisible bastards...

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I'm seeding the WHOLE torrent right now; FLAC and MP3. Almost at 5.0!!

-Josh

That's great! Thanks for contributing! Now why does the torrent link just reload the DQD page? How the furiku am I supposed to download the album?

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It's working for me, Yume-Vision. Are you going to the link on the DQD website?

http://doom2.ocremix.org/download/

Here's a direct link to the torrent:

http://bt.ocremix.org/files/Doom_II_Delta-Q-Delta.torrent

If it still won't work, you can download the tracks individually from the "tracks" page.

Thanks for the full reviews, Ecnalubma. I'm glad you enjoyed the arc of songs in the album. It was my intention to produce a flowing cohesive album, rather than a collection of tracks like in DSoP.

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Thanks for the page link, Mr. The Orichalcon. I couldn't find the actual site link on OCR for some reason. Just the OCR page that shows the pic of the original artist and a (dead?) torrent link, with a playlist on the right side to listen to all the tracks. This helps a lot.

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I thought this was kinda cool, an Australian indie film trailer using my track from this project:

Good use of the source and looks fairly professional so I thought I'd pass it along.

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Ah Bleedthrough. Read about that in the paper yesterday. Awesome that they used your piece, analoq. Did they credit you and the site though? I don't think I saw anything.

I'd contact them if I was you, since they liked your music, maybe they'd like you to score more stuff for the film.

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My Youtube profile is mentioned in the video description, but that's all. It's my own fault, he asked for permission beforehand and I didn't ask him to link to anything specific. It's just for that trailer, though; I believe they already have someone scoring the actual film.

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This is still one of the strongest projects on the site and perhaps its most overlooked. It is superior in flow and consistency, one of the few projects that actually passes as a real ALBUM. It had a project director that knew exactly what he wanted and put it together.

It would be sad if this is the last OCR album of its type. It seems like we're at the point of no return where projects are multi-disc mammoth collections emphasizing a wide variety of styles. Give me 10 proven artists united under a clear vision over 4-disc sets of disparate parts any day.

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Ahhh...scandals abound here. I couldn't decide which I liked better, this or the Dark Side of Phobos?

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Hey look, a remix of a remix of a remix:

:nicework:

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