ReMix: Donkey Kong Country 'Machina Anesthesia'
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- Game: Donkey Kong Country (Nintendo, 1994, SNES)
- ReMixer(s): GrayLightning
- Composer(s): Dave Wise, Eveline Fischer, Robin Beanland
- Song(s): 'Fear Factory'
- Posted: 2004-09-16, evaluated by djpretzel
You probably won't be TOO awful surprised to see this next mix also coming from Donkey Kong Country, it being a proud member of the Kong in Concert family as well. The debut of said project went very successfully, and was certainly kickstarted in terms of media coverage and bandwidth by a slashdotting, which linked directly to the project torrent, amongst other things. This is as good a time as any to mention that the first official OCR torrent surpassed 10,000 downloads recently, which is something of a milestone (especially considering having never been direct-linked by slashdot) - both torrents, as well as the second OCR torrent and Relics of the Chozo, owe their thanks in life to Aubrey, who makes the supertux OCR mirror as well as our bittorrent tracker possible - should be a much-deserved shirt comin' your way soon, man. Speaking of shirts, we've got a new order in, so run, don't walk, to the ZTNet Store - in addition to black and white shirts, we also by request added dark navy hoodies. It says pre-order but we actually got 'em in stock and will be posting photos shortly. Perfect for the upcoming Fall/Winter season. Now that my shameless adulation and plugging is out of the way, on to the ubiquitous GrayLightning's contribution to the juggernaut that is Kong in Concert.
This piece is about as different from Jesse's debut piece as you could get, mixing orchestral timbres with very dramatic percussion. I'm not just saying that, either. There's a lot of percussion here. And it's dramatic. No foolin'. The melodic motifs are direct and not overly intricate, but the layering interweave of the percussive goings on is front and center for the majority of the mix. Gray had a lot to say:
"I have done it in a style combining various influences. Most notably hollywood cinema symphonic, new age and asian/japanese styles. I was most influenced by japanese new age composer Kitaro for this piece. A number of people have commented it sounds like Tan Dun's score for Crouching Tiger. This also ranks up as one of my most complex mixes to date. Like Armageddon numbering near the 50 midi track range - with over 20 dedicated to ethnic, orchestral, chromatic and metallic fx percussion sets alone. The orchestra is made up of full string parts Violins, Violas, Cellos and DoubleBasses of various articulations. There's also an Asian Fiddle here playing the lead at times, also flutes and brasses - new age pads and synth bells round out the instrumentation. I feel fortunate to have been a part of this project. Thanks to Digital Coma and everyone else involved in it. Enjoy. ^_^"
Actually, I was reminded more of a different soundtrack, also (in part) by Tan Dun - the score to The Last Emperor. Similar unabashed use of a variety of chromatic and unpitched percussion, all working in a flowing, mounting clockwork, with strings doing the primary melodic work in a collaborative relationship. There's grandiose brass, pizzicato towards the end, flute, and ambient pads, but the chimes, blocks, snares, and slapped and shaken rhythm section are what's so tremendous, awe-inspiring, and larger-than-life. See 3'04" and immediately following for reference - sounds like the procession of a massive force, something of unearthly scope, marching forward, and woe befall anyone tries to stop 'em. The interpretation is indeed liberal, but totally identifiable at the same time, which is an art unto itself. Makes me glad Gray decided to wander outside his initial new age shell - not that there was anything wrong with his earlier pieces, just that clearly he's broadened his scope and it's paid off. A very visionary arrangement - not at all obvious, but pulled off with all the confidence and style of someone who knows it can work. Excellent.
Discussion: Latest 15 comments/reviews; view the An excellent mood, great sounds used, but I just wish there was something a bit more leading.
- OA on September 29, 2008
There is one thing I must say about it though. My favorite sound in the entire world, I kid you not, is the sound of the Japanese Tsuzumi hand drum.
I hated this song to shreds, but I must say, kudos for trying out something new.
I have as yet been unsuccessful finding a sample of that one sound that's used so much in videogames...
- KogeJoe on January 21, 2007
Holy Warrior Azar wrote: The bells are sweet...
The rest of the song however sucks the big one! (just kidding) :D
You BETTER...
I have already mentioned this before, that this track is one of the best DKC songs. Well now this mix is one my favorite mixes, all thanks to GL. I still don´t get that New Age style, this sounds orchestral to me. The essential strings, some very nice drums, one, two, many chimes and other metal-sounds back there(anyway, this is fear FACTORY) and other instruments I can´t really recognize. DUDE, this does sound like a movietrack, some darn good one by the way. A great piece by gray, really a masterpiece with good rhytm and style.
How can someone NOT like it? (glaring at Azar)
- Bummerdude on September 29, 2005
My favourite thing here is the arrangement. It has a lot of creativity, a more slow style and more beautiful things than the original source tune. I like the asian ideas on the transition of the mix, as he said that has some New Age influences.
The percussion is very strategic and pleasant; sounds random. The instruments are very powerful and played really nicely. I love what the strings are doing, with the other instruments. Some sounds reminds me of factories, industries and such, like the original track was did to be. The bells are a nice thing. And the pizzicato is a perfect combination as well. All things here are doing a great work with high quality. Very pleasant and strong piece.
I finally listened this ReMix again. Whatever, this is one of my favourites of GrayLightning.
- Txai on July 29, 2005
- Mary_mari on November 2, 2004
My only complain is that I can hardly hear the original at times.
- StarKirby on September 19, 2004
As with any GL piece of late, it's full of quality orchestration. A few of my favorite moments are:
- The subtle catharsis at 1:06-1:18. It's so understated I barely noticed it the first time, but it sounds so beautiful.
- The low strings echoing the melody line at 1:46.
- The asian harp (?) at 4:33.
- Switching to pizzicatto strings on the main melody at 2:53.
This is great work, and one of GL's best. Not as complex and daring as Armageddon, but close -- and better paced to boot.
Quinn X5 wrote: Now.... for the last time, I'm begging Gray to try something upbeat, poppy, and faster. :)
Not sure if that's a joke or not -- but, if it's not, check out his "Afterlife" remix from Final Fantasy.
- Fray on September 18, 2004
- nodspaw51 on September 17, 2004
Onputz, you have a good memory. ;)
It was great to be part of the Kong in Concert project. Thanks to Digital Coma and everyone else involved. Be sure to check out the other mixes in the project.
- GrayLightning on September 17, 2004
This mix is my favorite GrayLightning mix. The instrumentation is great and I love the ethnic instruments and the percussion in this mix. More importantly im a sucker for bells. So this mix would obviously be a favorite.
- Putzy on September 17, 2004
The instruments are beautiful and realistic, organic, to steal rellik's word. Gray might have had some minor problems with precussion in the past, but that is not to be seen here at all. Everything in this mix clicks together like pieces of a puzzle. Gray is proving himself to be the master of ethnic orchestral.
I don't see any problems with this mix. Excellent title; delivers the goods on time, without any shipping or handling charges. GrayLightning has shown incredible maturity as a mixer, and, as always, if this is any indication of what is to come, then I will be blown away.
Great stuff.
- myf on September 16, 2004
The rest of the song however sucks the big one! (just kidding) :D
- Holy Warrior Azar on September 16, 2004
- Lacour on September 16, 2004
Now this is what you call hugely organic and amazing and all. Amazing arrangement, stupendous orchestration. I know I was able to find a few isolated spots where there was some sort of a percieved flaw on the first listen, but now after listening a few times I am having a hard time finding them =(. I'll post a follow-up later when I find them =) but either way, amazing work. One of the lushest and most high-quality mixes I may have ever heard; there's really a lot of warmth in this one. Many nice works, Gray!
- Rellik on September 16, 2004
This is my favorite part, coming in at about 3:03.... the first time I heard it, I didn't like the repetitive 'boom-chick, boom-chick' bass and snare action; but after more listens, turns out I really like it. Those ethnic, almost harmonic bells and tweaks with the stomping percussion make it easy to picture Donkey Kong and tap my foot in a song where I didn't think I would be, and it even reminds me of some old Stewart Copeland work from the early 80's... very cool and almost myterious....
The rest of the song seems to just be settling down now, and it's hard to 'feel' the music unless you imagine the cinematic involvement in unison, which is not difficult at all.... hey, that harp/bell sweep at 4:32 is KILLER.... sounds like something out of NiGHTS.... I seriously enjoy whatever that combo of samples/effets was there...
The brass samples are outstanding in this piece.... they sound much more convincing than just about everything besides the percussion.... startlingly realistic sounds....
Funny.... I still think this falls into the new-age category, although my idea of the genre may certainly be different from others.... It doesn't matter, because I very much enjoyed the music, and feel this is in the upper tier of Gray's work.
Now.... for the last time, I'm begging Gray to try something upbeat, poppy, and faster. :)
85/100
- Quinn X5 on September 16, 2004
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