ReMix: Super Metroid 'Brinstar(DreamsInRed)'
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- Game: Super Metroid (Nintendo, 1994, SNES)
- ReMixer(s): Beatdrop, Children of the Monkey Machine, K. Praslowicz
- Composer(s): Kenji Yamamoto, Minako Hamano
- Song(s): 'Brinstar Red Soil Swampy Area'
- Posted: 2002-12-29, evaluated by the judges
Well, Xmas has come and gone and the year's almost over. 2002 has of course been a record year for OCR in terms of bandwidth, mixes posted, and most importantly new friends & faces. It marked the debut of the current, database-driven incarnation of the site (aka version "3.0") which was a HUGE step in the right direction, our wild-and-wonderful PHPBB-driven forums, and a whole boatload of fantastic mixes. There were mentions on TechTV and of course EGM, with a bit more mainstream acknowledgement of the "unofficial game music arrangement scene". I could use the phrase "amateur game arrangement scene" but I think 2002 illustrated beautifully just how professional (sounding) and innovative much of this music can be. I won't use this space for any further recap or discussion, but do stop by our forums to reminisce and/or comment on what 2002 was and what 2003 can or will be.
At their best, collaboration mixes can combine the individual strengths of the ReMixers involved to form a whole that could not have been created otherwise. At their worst, they result in schizophrenic, incoherent pieces that unsuccessfully try to meld competing musical ideologies and styles. Fortunately, this Super Metroid ReMix from Cotmm, Beatdrop, and K. Pras falls into the former category. Introing with ambient gurgling and clustered, ominous pads, the basic outline of a rhythm enters around the first minute with a tribal-industrial feel and some trademark Cotmm "interesting static textures". Things get a bit heavier, percussion deeper, with cross-panned bell pads and eventually K. Pras' screaming electric guitar introducing itself with no hint of shyness. Beats pick up with rapid-fire hi-hats and a more techno feel. Each contributing artist was most likely focusing on his respective strength - Cotmm's ambient, unique textures, Beatdrop's beats, and K. Pras' brooding, powerful electric guitar - and it shines through clearly. Things conclude as they began on a primarily ambient note, with percussion and melody fading out very gradually. This is extremely atmosperhic stuff, but it also has some forward motion in its middle minutes and sonic variety with the combination of hard, electronic textures with more organic yet still electrified and energetic timbres. The title suggests a dreamlike quality, which I think the piece has - the gradual intro and outro and the floating, vast soundscape have an ephemeral and tracelike effect on the listener. This could easily be the soundtrack to Samus having a nightmare flashback or something of the sort. Aurally diverse and of considerable, layered depth, this is some heavy shtuff. Recommended.
Discussion: Latest 15 comments/reviews; view the The crunchy glitchy guitar in the beginning is a great texture! The lead is glorious. It stands out well and cuts the soundscape grabbing the listeners attention!. The resulting feedback is another great touch to the tone of the piece. The guitar, as a whole, sits perfectly into the mix here. I really love it. The heavy reverb sections work really well too by changing the mood and tone yet again! In terms of guitar work, I would say that this is KP's best work to date! Excellent work mate.
- tweek on October 27, 2009
Of course, it's not just the intro that stands out. K. Praslowicz's guitar kicks ass as a menacing lead, and gives the mix a better drive that sustains it to the end. As cool as the intro is, most people need that pitstop of awesomeness, especially with a running length as long as this.
Really great collaboration; I can distinctly hear the strengths of each player and they mesh extremely well. I got pretty immersed in this. A huge success.
- Marmiduke on August 26, 2009
This song's tone is dark and almost suffocating. It was a beautiful choice for the game, but I find myself severely disappointed when a song's main tone is stripped from it. I think it really takes a large amount of talent to make a song your own while still keeping the feel of it for the listeners who loved the original to begin with. Beautifully done.
- Koru-chan on May 19, 2009
- Gravian on November 8, 2005
- meccaneer on October 3, 2005
- saris340 on July 6, 2005
- SmudgeTheFirst on June 26, 2004
An amazing remix, certainly.
- lord-of-shadow on October 8, 2003
The arrangement itself is interesting. As others have pointed out, the introduction almost turned my anticipation for the melody into a swift click of the "stop" button. I'm glad it didn't, however. The melody was very nicely done. Something about the vocal-like quality of a guitar, especially distorted and sustained, gives a simple melody new life. The only gripe I have with this peice is the lack of the bridge from the original track. The bridge is the part of the track that is played by the piano. This was always my favorite part of the track because it exemplified the somber, dark, ...lugubrious mood that I've always loved from the piano. The melody (of the bridge) itself is also extremely simple - it's just the black keys of the piano (yes, I believe it's in that key). I suppose recreating such a mood might be counter-productive with an upbeat rhythm and a distorted guitar.
If I could arrange, I would make the track into a piano concerto, or maybe just a peice for strings. Something to the extent of Samuel Barber's "Adagio for Strings." (I HIGHLY suggest listening to this peice if you like that sad, melancholy, gut wrenching feeling).
Well, for what it's worth, I thought this peice was above my initial expectations for the arrangement of this track. Thank you very much.
- Echan on April 10, 2003
- Prono on April 3, 2003
anyway, i went to puerto rico a few weeks ago and i listened to this song every night on the beach while i worked out. (karate).
great stuff.
- Vig on February 26, 2003
- dragonrider13 on January 23, 2003
- IndependentArmour on January 20, 2003
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