ReMix: Kirby 64: The Crystal Shards "Dark Matter"
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5,819,000 bytes, 4:48, 160kbps
I've got a new niece! Friday night, 10/9/09, my sister Elizabeth gave birth to Lydia Rose - six pounds, fifteen ounces of baby! I don't talk much about my family here, but with my sisters especially there's musical relevance, for me, since we were all in high school band and all sing (to varying extents!) and play instruments. I'm sure there will be intense familial debate as to whether Lydia should play brass, woodwinds, or strings, long before she is even capable of talking, walking, etc. So... that's good news, but perhaps you came here looking for a ReMix as well? PrototypeRaptor can take care of that, as he delivers our first arrangement of Kirby 64. Mr. Paulsen writes:
"I'm kind of surprised that nobody has done this source yet; Kirby 64's "final" boss, Miracle Matter, had one of my most favorite fight themes ever. I always have wanted to do that crazy boss justice - so here I am. This is a pretty hardcore DnB tune influenced heavily by Prodigy, Crystal Method, Dieselboy, Noisia, etc etc. As such, it has obnoxiously loud drums, lotsa distortion, grating leads, glitching, evil laughing, and, most importantly, loud, ridiculous drops.
I wanted to capture the essence of Miracle Matter in this mix - he was a crazy, psychotic boss that switched between several forms so quickly that you were at the game over screen before you knew what happened. I picture poor kirby walking into the boss room expecting a nice, easy fight with Dedede and his useless hammer only to be confronted by the one and only Hannibal Lecter. With the ability to change shape. And superpowers. He never stood a chance.....:'("
Nice background; everything you'd want in a submission email, really, complete with an amusing Silence of the Lambs reference. But does the mix itself deliver? Well, Jonathan's three other mixes have all been great, and I'm happy to report that his fourth - while offering a somewhat different style - continues the trend. This is LOUD and FAST, expanding on and breaking down the source material while maintaining the frenetic tempo. Judges were unanimous; AnSo writes:
"That track ain't got much speaking for it but you squeezed it and used every little drop of source juice. I applaud you for that! Breakdowns were hot and drums were positively bad-ass. Production was scorching my ears. Then I checked it against the ChaosField-soundtrack (my go-to 'is this loud' source) and I'm cool with it. Distortion was a bit all over the place but it was never ruining the track. The "simpler" sounds used in the breakdowns were good pauses from the over-the-top sound design too, good balance."
The main motif here is absolutely in-your-face. Actually, it's beyond your face... it's somewhere in your nasal cavity. If you've got a splitting headache, this is NOT the track to queue up. Breaks and transitions take it down a notch for some breathing room, and are VERY well executed - Vinnie writes:
"Totally in your face half the time, and then the other half of the time, there's some great breakdown stuff going on. I'm not sure which breakdown I like more - the weird bee stuff at 2:13 or the piano and super distorted drums at 2:30. Great creepy plucked strings following that too."
The pizzicato clusters are indeed sick; the evil-laughing-slowdown ending might be a little overplayed, but it's well-executed and a fitting conclusion to this roller coaster of super-aggressive synths and beats. Powerful, unignorable work from Jonathan that grabs you by the aural jugular and never lets go.
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