ReMix: Shadowrun 'Running the Cyberpunks'
11,054,304 bytes, 7:38, 192kbps
Streaming preview on YouTube
The return of FFmusic Dj!!
It's been ALMOST NINE YEARS (!!) since we last posted a ReMix by Haroon, which I believe is a new record for mixer hiatus, so mad comeback props have literally never been more justified.
This electronica ReMix of Shadowrun for the SNES - our first from the game - squeaked by the panel in a pretty close call. The concerns centered around repetition, which is also linked to the song's longer running time of 7'37"; I can definitely see the issue, but at the same time I'm also personally glad the majority decided it wasn't enough to hold the mix back. Mr. Piracha writes:
"Song inspired by the the most overlooked game of all time, Shadowrun for the SNES. I actually made this song as a gift for a friend who is a fan of the game. The song was composed on Reason/Record and is mixed in the style of Hard Trance. As traditions with trance songs, the song consists of a lengthy intro and outro filling 32 bars so the song could be spun if necessary. It's bpm is 128 and it's in the key of Cm. I was just trying to have fun, the bass was too much fun to play around with. I like how it turned out."
So do I. This one's all about the bass, with some nice riffage & tight sequencing for something that's hella danceable & hard not to move at least a little to. That's what she said. Regarding the mix, Larry writes:
"I agreed with the criticisms about the soundscape being on the thin side, as well as the core repetition being issues, but they're just not dealbreaker issues for me in the big picture. While the structure is straightforward, I'm more with DS that the arrangement and soundscape were personalized from the start, and evolved more than adequately. The ending's a bit bland and cheesy (extended dropoff + cymbal crash finish!) out of context, but oh well. Solid stuff from Haroon."
Agreed on the ending, but while there are some moments where it feels like it's pushing things a bit, the key components are good enough that you WANT to hear them just... one... more... time. There's also attention paid to additive & subtractive tweaks to keep things moving forward from an arrangement perspective, and the rise-fall rapid-fire scale runs on the bass towards the end are just downright decadent. So wrong, but so right. Funky, infectious stuff from Haroon that has some truly delicious ingredients & perhaps overfeeds you with them at times, but with a bass that could launch a thousand ships, it kinda don't matter.
- Crulex on December 28, 2013
- Damashii!! on September 10, 2012
- YoshMaster on September 7, 2012
- confusiongrows on September 7, 2012
- Cash on September 6, 2012
- Liontamer on September 6, 2012
Good things: Decent automated filter effects. The poly trance saw at 2:00 and other similar spots feels sidechained as well as the bass, and that comes off as strange to me, but not too bad. Bass sounds great. I liked the breakdown at 4:20. It was probably my favorite part in the entire song. It's too bad it was so short.
"Not good" things: Repetitive, sparse soundscape. The arpeggios at 2:31 continue to repeat for far too long. It was cool at first, but each time it replayed in the same way, it got less and less cool. If the bass notes were simplified at 4:00, it would have helped. The instrumentation remains essentially the same throughout, and demonstrates some static textures. The delayed cymbal ending is also cheesy, as mentioned by the judges.
- timaeus222 on September 6, 2012
- djpretzel on September 6, 2012