ReMix: Doom 'Ghosts of Mars'
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- Game: Doom (id, 1993, WIN)
- ReMixer(s): Mythril Nazgul
- Composer(s): Bobby Prince
- Song(s): 'They're Going to Get You (E2M4)'
- Posted: 2005-08-31, evaluated by the judges
Not to be confused with John Carpenter's rather lackluster film of the same name (John, what happened to the days of Big Trouble in Little China and They Live??), Mythril Nazgul, coordinator of the DooM Remix Project, The Dark Side of Phobos, sends in his own contribution to the dual-albumed opus. You know how sometimes, on cheesy songs about caring, sharing, and world peace, they bring in a children's choir to we-are-the-world the point home in true saccharin style? Here Navid uses one to add evil staccato punctuationstuffs to a bed of percussion, mixed strings, myriad atmospheric fx, and a nice breakout section with dramatically panned, liquid chromatic bells that embue the arrangement with a whole nudda mood; it's hectic, and tense, and then becomes rather pensive and exploratory. Not unlike a colonoscopy. Or so I've heard. Moving on, Sam mentioned beautiful virgin sacrifices in HIS decision, and so gets the instant CTRL+C/CTRL+V nod:
"Smooth death-ridden intro. As much as I hate similes, the fast percussion in here sounds like some sort of large one-eyed beast slamming it's hands down on a giant demonic snare drum. Every beat appears to come from the same warped instrument, yet the tone varies enough that it feels as though it's actually being played. Meanwhile, all the virgin sacrifices are dancing around him, singing on occasion. Not sure why they're so enthusiastic about there impending demise, but they help the song, so I wont bother them.
The low pitched vocals and high strings complete things, driving the masterful acceleration into 2:17. Well suited bit of peace and quiet following that frenzied pagan worship section. The entire chorale and strings lead us into one more percussive crescendo where the virgins stop singing in order to prepare themselves for the slaughter. At 4:32, the rite has been concluded and the beautiful virgins are no more. The coroner then shows up with his vinyl meat-wagon to take the corpses away. In other words, I loved it!"
I don't know about all that, but it sure sounded colorful and descriptive to me. If there's one detriment to this very soundtrackish work, it's that it wouldn't be suitable for all contexts - you really have to be in the mood for something dark and tumultuous, otherwise the repeated choral stabs risk becoming a little irritating. But if you're all about the dark descent into the id of id, or simply appreciate a broad, well-wielded percussive palette, then invite the Ghosts of Mars in for a stay and enjoy.
Discussion: Latest 15 comments/reviews; view the Eerie SFX-laden intro starts things out; I have finally been broken
of my condition to shy away from doom mixes (maybe someday I'll
learn to love metroid too >_> ), thanks to the tireless work
of mixers like TO; and Myf further proves me wrong with this track.
Ok guys, I was wrong, i'm sorry!
Percussion on this ranges the gamut, and works really well, as it really sets the mood. A lot of it sounds like it could be actual debris found in a blasted-out space station that was picked up and put to more a more musical purpose.
Instruments are a good mix of bells and pads, strings, and some solo orchestral instruments. All are well used, and they convey an eerie, desolate soundscape, without things sounding too minimalist.
The choir is obviously synthetic, I don't think anyone would be fooled by those samples, but it is used in such a way that it sounds very good. Way to play to it's strengths.
If you are a fan of moody and dark soundscapes, it doesn't get much better than this track.
- OA on March 3, 2008
Percussion on this ranges the gamut, and works really well, as it really sets the mood. A lot of it sounds like it could be actual debris found in a blasted-out space station that was picked up and put to more a more musical purpose.
Instruments are a good mix of bells and pads, strings, and some solo orchestral instruments. All are well used, and they convey an eerie, desolate soundscape, without things sounding too minimalist.
The choir is obviously synthetic, I don't think anyone would be fooled by those samples, but it is used in such a way that it sounds very good. Way to play to it's strengths.
If you are a fan of moody and dark soundscapes, it doesn't get much better than this track.
- OA on March 3, 2008
I have to say, this makes good pizza-eating music. Everything in
this mix (mmm, mix) sounds crisp and piping hot.
The first 30 seconds or so set the burning atmosphere. There's so many subtle crevices and additions on the surface it's hard to keep track of them all. But they help with the flavor. The staticy intro is the sizzling of the pizza fresh from the oven, the tiny bells are the shiny reflections of the cheese. And of course hell evokes warm colors: reds, oranges, and yellows. Pepperoni pizza (which I'm eating right now) goes by this color scheme too.
Those virgin sacrifices sound like they're singing "HOT... HOT, HOT..." Their ecstatic high notes around 2:09 - 2:13 feels like a burn on the roof of the mouth, or at least a mouthful. I guess the drums (they're deceptively varied) would be the crust on the bottom in its subtle brown hues, or the big pepperoni slices. I have no idea what the pizzicato strings would be on pizza, but they fit. (Wait... "pizzicato"... "pizza"... hmmm...) The heavy percussion at 4:04 and elsewhere reminds me of cheese, maybe because of the grating action.
And back it goes at the end to its previous state, a continuing stretch of a delicious desert [sic]. Time for another slice!
- Polo on December 16, 2005
The first 30 seconds or so set the burning atmosphere. There's so many subtle crevices and additions on the surface it's hard to keep track of them all. But they help with the flavor. The staticy intro is the sizzling of the pizza fresh from the oven, the tiny bells are the shiny reflections of the cheese. And of course hell evokes warm colors: reds, oranges, and yellows. Pepperoni pizza (which I'm eating right now) goes by this color scheme too.
Those virgin sacrifices sound like they're singing "HOT... HOT, HOT..." Their ecstatic high notes around 2:09 - 2:13 feels like a burn on the roof of the mouth, or at least a mouthful. I guess the drums (they're deceptively varied) would be the crust on the bottom in its subtle brown hues, or the big pepperoni slices. I have no idea what the pizzicato strings would be on pizza, but they fit. (Wait... "pizzicato"... "pizza"... hmmm...) The heavy percussion at 4:04 and elsewhere reminds me of cheese, maybe because of the grating action.
And back it goes at the end to its previous state, a continuing stretch of a delicious desert [sic]. Time for another slice!
- Polo on December 16, 2005
For me, this is very hard to get into. Perhaps it's because I'm not
familiar with the source material. Anyway, I'll comment on this
based as a stand-alone track. I can easily appreciate the effort
put forth into this mix, as it's obviously very well done. I
suppose it's just not my cup of tea.. though I must say I love the
percussion in this. What turns me off, for whatever reason, is the
usage of the choral samples. Also, I'm not much of a fan of that
section from 2:20-3:40 with the xylophone taking the lead; it just
plods along. 4:06-4:34 is probably my favorite part of the ReMix -
I think that part is really cool.
Anyway, I'm a fan of your other OCRs, so I should probably comment on those sometime instead of releasing negativity like I did on this one. :)
- ProjectSpam on November 9, 2005
Anyway, I'm a fan of your other OCRs, so I should probably comment on those sometime instead of releasing negativity like I did on this one. :)
- ProjectSpam on November 9, 2005
A great addition to the doom soundtrack, it has really caught my
ear the first time I heard it.
Glad to hear a track that actually stays loyal to the original song.
- Syllable on November 8, 2005
Glad to hear a track that actually stays loyal to the original song.
- Syllable on November 8, 2005
Wow, I just listened to this again today and [b]really[/b] enjoyed
it. Tons of emotions, suspense, and creative/refreshing sounds all
over.
I must have been having really bad ear/headphone problems a few months ago... or something (???). This sounds great and is very captivating.
- chokst~1.bat on November 6, 2005
I must have been having really bad ear/headphone problems a few months ago... or something (???). This sounds great and is very captivating.
- chokst~1.bat on November 6, 2005
Nice observation! And you are correct to boot.
This track was greatly influenced by the soundtrack to both Akira and the Ghost in the Shell series, thus the original choice for the name ("Ghosts In The Lab"). Eventually, it morphed into "Ghosts of Mars" - which, by coincidence, is a very fun sci fi movie.
The instrumentation is specifically based on a couple of tracks from the Ghost in the Shell: Innocence soundtrack, the Parade scene and the Dollhouse theme.
- myf on September 15, 2005
This track was greatly influenced by the soundtrack to both Akira and the Ghost in the Shell series, thus the original choice for the name ("Ghosts In The Lab"). Eventually, it morphed into "Ghosts of Mars" - which, by coincidence, is a very fun sci fi movie.
The instrumentation is specifically based on a couple of tracks from the Ghost in the Shell: Innocence soundtrack, the Parade scene and the Dollhouse theme.
- myf on September 15, 2005
Anyone familiar with the [i]Akira [/i]soundtrack? the song called
"Doll's Symphony" and other similar [i]Akira [/i]songs remind me of
the intro here, with the freaky children's choir.
- evildrspock on September 15, 2005
- evildrspock on September 15, 2005
Oh yes, this one I wouldn't mind having in Doom 4 (if there'd be
one). I can only hope that the game holds the same quality as this
song : )
- Dectilon on September 6, 2005
- Dectilon on September 6, 2005
This mix reminds me of 'Machina
Anesthesia'. So I think it´s clearly some [i]New Age[/i] stuff.
I´m not familiar with the original source tune. Also, I listened
few mixes of the Mythril. But here, it is a great effort. I noticed
he started working on this song at October of the last year and
finished that in July, now. Then I found 9 months on the transition
of this mix. Very pleasant and powerful work.
- Txai on September 2, 2005
- Txai on September 2, 2005
I can easily see that a lot of work was put into this. This isn't
exactly the kind of song that I would listen to, but it's good
nevertheless. The vocals just sounded kind of weak and without
suppprt.
- Theowne on September 1, 2005
- Theowne on September 1, 2005
Another quality Doom remix for that project that succeded quite
well.
The ambience is great throughout. And the break in pace at 2:20 was very neccessery as to one not losing interrest listening till the end. I liked every second of this. Also some quite nice little chimes mixed in.
Solid work MN 8)
- RimFrost the Tourianist on September 1, 2005
The ambience is great throughout. And the break in pace at 2:20 was very neccessery as to one not losing interrest listening till the end. I liked every second of this. Also some quite nice little chimes mixed in.
Solid work MN 8)
- RimFrost the Tourianist on September 1, 2005
I'm not really into this mix. The production seems kind of cheezy
to me (choirs blaring too loudly, same effects being reused, ideas
dragging on for too long, grating violin usage, lack of enough
textures within the background and atmosphere to keep things
interesting and full where they could be). There's some nice light
and unique touches in places, and I enjoy how some sections sort of
creep up on you, but I believe that alot more could have been done
to provoke feeling here, like adding a more noticable bassline in
places, having some ambient noise or screaming at around 2:50 to
give those uneventful bells some life, taking volumes of certain
notes up gradually, playing around with wind sounds or low
frequency effects at 3:39, bringing out the plucked strings and
cycling harps more clearly, doing something entirely different than
the twinkling at 4:38 before the static loops back to the start to
keep things fresh, etc. I don't have enough desire to make a
detailed list of suggestions, though; this song just seems much too
lacking to me for what it is.
I really liked your other version of E2L4 though (atleast in it's more raw, psychotic WIP stages - that clean version with the intro/outro feels more mundane).
- chokst~1.bat on August 31, 2005
I really liked your other version of E2L4 though (atleast in it's more raw, psychotic WIP stages - that clean version with the intro/outro feels more mundane).
- chokst~1.bat on August 31, 2005
The percussion is all over the place, the low male choir is hot,
and the chromatic stuff is amazingly haunting; this has Doom
written all over it. Great work man.
[img]http://www.theofficialjohncarpenter.com/data/movies/stills/gmst03.jpg[/img]
Ice Cube says: "Ya'll foos betta love this mix betta than ya'll liked my movie"
- Harmony on August 31, 2005
[img]http://www.theofficialjohncarpenter.com/data/movies/stills/gmst03.jpg[/img]
Ice Cube says: "Ya'll foos betta love this mix betta than ya'll liked my movie"
- Harmony on August 31, 2005
I instantly fell in love with this piece when I first heard it as a
WIP. This is just my kinda stuff.
The ambience is the key here. The overall sound canvas is just so capturing. To me, this is a moviesong. And to me, that is a very good thing indeed.
If we´d made a trailer for DSOP (as they did in Chrono Symphonic - such a cool idea) this would be the song in the beginning. (Then at its climax, when the action starts, it would off course burst into violent dose of Hangarmageddon. :D)
Anyways I really love this. It brings visual images in my mind and really takes the listener to its world. I would love to see a movie that has this playing on the background of its opening credits.
Take me to the desert baby! I wanna get nasty!
- EvilHorde on August 31, 2005
The ambience is the key here. The overall sound canvas is just so capturing. To me, this is a moviesong. And to me, that is a very good thing indeed.
If we´d made a trailer for DSOP (as they did in Chrono Symphonic - such a cool idea) this would be the song in the beginning. (Then at its climax, when the action starts, it would off course burst into violent dose of Hangarmageddon. :D)
Anyways I really love this. It brings visual images in my mind and really takes the listener to its world. I would love to see a movie that has this playing on the background of its opening credits.
Take me to the desert baby! I wanna get nasty!
- EvilHorde on August 31, 2005
This was one of my favourite Dark Side of Phobos songs, possibly
for the fact that you could notice the main melody clearly. The
choir does a good job at being the main lead, and is nice to listen
too. Still can't figure out what those sounds at the start and end
are (footsteps?), and why they're used. Nice work.
- watkinzez on August 31, 2005
- watkinzez on August 31, 2005
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