ReMix: Mega Man 9 'Pitched in Suspense'
10,100,239 bytes, 5:02, 266kbps
Streaming preview on YouTube
Back to Back in Blue - up next we've got none other than bLiNd, aka Jordan Aguirre, with some hard-hitting electronica. The way the undulating, elastic bassline here slowly ascends & descends in pitch is completely sick, and the technique is extended later in the mix as synth motifs osillate slowly over the rock-solid beat and vocal perc. fx, with delayed synth stabs, sci-fi whirlygigs, atmospheric doodads, etc. all creating an expansive, electrified tension. Listen to the DSP/reverb modulation around 1'25", where it grows outwards then gets tucked right back in & tightens up at 1'31" - great example of playing with ambience to achieve a build. I'm not as sure on the key change @ 2'02", but the source is relatively sparse so this was definitely one way to extract a bit more duration out of it.
While both arrangement and production are both up to Jordan's high standards, ultimately this is a mix that employs a specific effect, and employs it well, and that's what makes it memorable and persuasive. The gradually rising & falling pitch of the bass (and later some of the accompanying synths) not only delivers on & explains the title, it creates this uneasy, massive ebb & flow that sounds like the slow-motion doppler effect of a passing star cruiser. I'm sure it's been done before, somewhere, in other electronica tracks, but this is the first time I've heard it in a mix, and Jordan's skill in making it a legitimate focal point and not just a gimmick is what carries the track. Airtight, intense, unsettling work from bLiNd!
So to see it in a more elaborate stance, the programming variety towards the synths, from some subtle sidechaining on the bass and electronic percussion, the occasional master gate work in favor of some subtle ambience throughout various transitions, some envelope work towards the bass that gives the feel of a dubstep wobble without not actually being a dubstep bass, and some downright ridiculous gliding on the wet-to-dry melodic synth at 3:45 among other examples that I probably can't pinpoint right now have again shown bLiNd's strengths in the fields of production. And with most of the attention paid towards that simple progression and building upon it, we can say that he had a clear artistic vision towards handling the source material, and for Back In Blue, it can be seen as a huge surprise entry.
I have to admit though, the ending to me felt a bit weak with deciding to just bring down the melodic progression to what appears to be the start of a third riff that apparently never happened. But that can be the only real issue that I have with a track as mind-boggling as this, and if he's able to handle these shorter source tracks with that kind of feel, goodness knows how he'd handle other similar ones.
Again, nice going bLiNd, and we're hoping for more of you in 2012! :D
- Rexy on December 16, 2011
- Crulex on December 8, 2011
- Bahamut on December 7, 2011
Keep em' coming man. And I'll download them!
- LostChronos on September 18, 2011
Devils_Flare;808203 wrote: bLiNd is my Hero!! >;D thought i should point that out here ;P The work he does is just so Bloody amazing.. N freaking Fantastic!! being a fan of his sort of work/music/skills I get chills
man. don't know if it's intentional but i'm getting images of a rave scene at a club while listening to this and all the clicks and pops and gasps are from people popping open a few drinks, slamming their glasses on the table in sync to the beat, and saying "ah! that was good."
- Damashii!! on September 15, 2011
- Devils_Flare on September 15, 2011
I made the mistake of listening to the first half at a low volume.
Don't be an ectogemia.
- ectogemia on September 11, 2011
- John Revoredo on September 8, 2011
- BlackPanther on September 8, 2011
- djpretzel on September 7, 2011