Posted 2007-07-01, evaluated by djpretzel
"Similar to my original Final Doom remix "Iron Demon", I gated most of the synths and pads in this to give it that clean sound that I oh so enjoy. The source didn't have a lot in it, as most Doom music tends not to. So most of the remixing is done by means of atmosphere and flirting with the general melody by switching keys around to give it that dark/quirky sound (ie: the piano from 2:15-2:32 and 3:06-3:53, the music box from 2:34 to the end.) The rest of the source is padded out through the pads and bassed out through the bassline. Props to Ashley (DJRedlight) for helping me with figuring out the FL compressor to get the sounds balanced."
As for the mix's rather... peculiar... title, TO explains, perhaps in greater detail than is necessary for most:
"As for the title. The original map the music is from is named "Hanger", and a Pinky is a demon from the game. It's a double entendre as a Pinky is also your little finger, and many wouldn't consider being "hung like a pinky" to be a good thing."
Indeed. Thank you for conjuring all sorts of Freudian FPS imagery for me. It is, after all, an "Id" game... right? I'm just glad there's a semi-rational explanation that links in with the game itself, as otherwise this would have been the most self-deprecatingly titled ReMix ever. Psychoanalytical guffaws aside, TO continues the FD legacy that he and Ashley have been steadily carving out ever since February of '04. These guys have essentially created a two-man Final Doom ReMix project that just happens to be temporally elongated; at this rate, some time in 2011, they'll have the whole thing done with. I'm not complaining though - they've managed to work in some killer mixes from other games/series along the way, and keep returning to this specific title with some excellent stuff. TO's been progressing with more and more interesting and varied production. His compositional style itself has also evolved, but I think he's always focused more on establishing moods and soundscapes, and that's where the more significant development has occurred. There's all sorts of squishy loveliness here, with music boxes, undulating chords, layered beats, deep bass, plenty of fx, a wide stereo spread, and a hypnotic, pulsing chromatic descent. I especially like all the subtle detail Lee's worked into the drum track, with acoustic, electronic, and hybridized elements generously but thoughtfully applied. I would have liked to see the dynamic change to something truly aggressive at some point, with some loud toms or something - sorta like the transition in Phil Collins In the Air Tonight, where things really just bust out, but the alternate approach here of keeping the mood contained but suspenseful has its own appeal as well. Great stuff; tense as hell, but given the subject material, that's basically the idea.
on 2010-10-08 06:15:50
Very Doom-ish atmosphere and brooding bass, with a heaped helping of mainstream ornaments to make it a bit easier to groove to. And that it does.
For me, despite the variation in instruments/synths, the Halloween-style piano and all the cool juxtaposition that happens with the music box style portions, this doesn't rise out of the gloominess of it's source. I like the Doom soundtracks, but they need a lot of bolstering to become something more than creepy, atmospheric music to explore demon-infested hallways to. This never really escapes that. It's more faithful or restrained than most Doom mixes I've heard here, which is something that should be appreciated. But some small part of me wants to see this go further than it already does.
on 2009-12-04 21:57:08
This has plenty of movement in it to keep me focused and enjoying what I'm listening to. While it remains a mostly atmospheric track, there is enough melody to keep things from getting dull or forgettable. I like the music box at the end, it adds a creepiness level +10.
on 2009-10-30 00:29:04
When I listen to this, I feel like there's a corpse just beyond my senses, hung like a pinky, trying to drive me insane with its presence. Most of the elements here contribute to the morbidly attractive aura as if it was an urban legend or a ghost story or an unsolved murder. Wind segues act like drafts in an abandoned house, the music box sounds possessed by the spirit of a little girl, and the jittery string-like synths at 1:43-2:31 are freaky but adorable.
It lures you in... and then the trap closes.
on 2007-07-14 20:08:42
Why is the name retarded? I think its ballsy.
on 2007-07-13 16:26:43
The atmosphere TO's Doom remixes generate is always great, and this one is no exception.
The intro is somewhat cheesy, but it works nevertheless.
on 2007-07-13 09:38:44
Why is the name retarded? I think its ballsy. hehe. I like the fact that it is both groovy and has the dark undertones. Good stuff.
on 2007-07-11 02:22:06
The retarded name belies the awesomeness of this track.
on 2007-07-10 11:35:13
Grooooooooooooooovetactular. The purposeful dissonant areas hit me wrong, but this one is definitely infectious. Been idly thinking about the groove on this one for days.
on 2007-07-10 11:21:02
I think it's brilliant. I love the opening theme, always gets my foot tapping on its own, then when the main theme is going..
Man, your Doom mixes never cease being awesome. It usually takes ,e while to warm up to a track, but this one I loved from the first play. I cant wait to hear your work in Delta Q Delta :}
on 2007-07-06 06:13:00
Agreed with previous posters on the juxtaposition. The balance of bass and treble tones is most excellent. However, I think that the bass line could have used more variation - just because it is a bass line does not mean that it cannot have some melody to it, and this song in particular could have benefited from a changing bass line to support its atmospheric swells and eddies.
on 2007-07-02 13:11:46
Love the beat work. Relentless and the driving force behind this mix. Subtle enough to be paired with the soothing synths at 0:47, yet powerful enough to back up the rougher sounds at 1:43 and 3:05. Add in what I call the "fairy bells" to carry the melody and you've got yourself one sinister Doom mix.
on 2007-07-02 11:30:50
The musicbox really takes this mix from good to great. The atmosphere is intense and the beats are excellent, but it's the juxtaposition of the seemingly serene with the turbulent that makes this mix for me.
The beginning started sort of like a pop song. I can't remember if it was Nsync or Backstreet or Britney; one of those; just the opening notes and the tone of the instrument. Take from that whatever, but regardless, this is a sweet song. Never really was a fan of the doom soundtracks but you've made me like at least this track.
on 2007-07-01 21:08:44
if TO knows who jaga jazzist is he may be pleased to know this mix fit in rather well at the end of a playlist i had set up with a bunch of their music
on 2007-07-01 20:30:44
What did you think? Post your opinion of this ReMix.
Sources Arranged (1 Song)
- Primary Game:
Final Doom (GT Interactive, 1996, DOS)
Music by Jonathan El-Bizri, Josh Martel, L.A. Sieben, Tom Mustaine
- Electronic, Synth
- 6,286,667 bytes
- Size: 6,286,667 bytes
- MD5 Checksum: 2df213c9fac1ef96d7bdc28660e1b6fa
Right-click one of the mirror links above and select "Save Link As" or "Save Target As"!!
Help us save bandwidth - using our torrents saves us bandwidth and lets you download multiple mixes as a single download. Use the tracker below and scroll for more information, or visit http://bt.ocremix.org directly, and please don't forget to help us seed!!
Follow OC ReMix on Facebook, Twitter and YouTube! Don't miss the latest ReMixes, albums and news!Follow @ocremix
Page generated Sat, 17 Mar 2018 22:11:50 +0000 in 0.0188 seconds
OverClocked ReMix is a project of Game Music Initiative,
a 501c3 non-profit charitable organization. All compositions, arrangements, images, and trademarks are copyright their
respective owners. Original content is copyright Game Music Initiative, Inc. For information on RSS and
and the FAQ available there for information about the
site's history, features, and policies.