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Everything posted by Fusilliban

  1. I concur. A strange experience, just brought to me by Winamp shuffle: Try listening to this track next to "Dust in the Wind."
  2. Parts of this remind me very strongly of Everlast's "What It's Like." When I first heard this song (via a large playlist shuffle of new stuff) I assumed it was a mashup, or something. That said, this is *really* good work. ETA: Right, ok, I see the artist has already said the Everlast thing. I are to be the smrt guy.
  3. This is fun to listen to. Where's the rest of it?
  4. Is the old version still published? I'd be interested in hearing it for comparison - there's sometimes something to be said for minimalism.
  5. I don't envy anyone who lives in such a harried world that to them, Luiza is "a new face." New my foot, grumble, mutter, etc. This song is pretty excellent. I recognize maybe half the tunes used in it, probably less, but that doesn't in any way prevent it from rocking the fuck out. Well played.
  6. This is not what I was expecting, but it's still pretty excellent. I continue having never been disappointed by Daniel Baranowsky.
  7. I personally think there's room for a reworking of the piece and a resub, but since I'm not a judge my opinion is worth precisely dick, and I can understand not wanting to go through that again. Hope you regain momentum on Amphibious, it's shaping up to own.
  8. Any progress on this? Also, when are we gonna see a submit of "A Venture Through Hyrule?" (Also also: Buncha heathens in this town. Brink of Time is awesome, yo.)
  9. Two things of note: First, the link to download this is broken, there's HTML code for an ampersand in place of an actual ampersand. The file is where you'd think it is, but the link isn't quite right. Second, in the past six weeks, this has been my most-requested song from a variety of different listeners.
  10. This is not what I've come to expect from zircon, but it is good. I find the last fifty seconds or so to be the best part of the piece. Perhaps I'd appreciate it more if I'd ever heard/played the original?
  11. The successful use of in-game noise at the very end is a real nice touch. Take the following with a grain each of salt and "this guy's been listening to too much Luca Turilli lately": I think my biggest problem with this track is that the lead singer is holding back. With lyrics like this, you really can't do that. When your lyrics are super-epic, and you're already accepting the mocking for attempting to use the word 'thy' in your song... you've got to go all-or-nothing. If I hear you sing "forever faithful to the land of legends," I had best believe that your blood is literally on fire. Yeah, I'd love it if the production was cleaner, but it's not necessary.
  12. The lead guitar is generally pretty nice. There are a few notes scattered here and there that sound off, almost as though they were misplayed, but on the whole it's got a nice groove to it. I think it might be worthwhile to experiment with bringing the rhythm guitar more to the fore in places. I don't like the claps. I mean, overall the percussion could use a little polish, but the claps in particular don't sound quite right to my ears. This might be fixed by zircon's suggestion of reverb, but I'm not sure. They sound out of place in this tune - fine in a four-on-the-floor piece twice this speed, but out of place in the relaxed Brink of Time style you've got goin' on. Frog's theme is definitely in here. It's not as heroic as I'd like, but heroic doesn't seem to be what you're going for. On the other hand, this track can be as long as you like it to be, so if it ends up being double the present length, there's absolutely room for some heroic action. I'm happy to see this posted in the WIP forum. It's very good now, and I wouldn't blink to see it posted as-is, but it has the potential to be even more awesome, and you seem all about fulfilling that.
  13. If "I'm not really being serious about this" is a reason to not criticize things, why did you write such an in-depth critique of free music posted on a fan site?
  14. I'm talking about your arrangement pre-vocals. Maybe it is still there and I just don't notice it as much. This might be related to the fact that my crackpipe is suspiciously empty and warm. (Edit: On further listens, I think this has less to do with crack and more to do with excellently molded lyrics.) Anyway, this totally rules and you've both done excellent jobs and such.
  15. So I heard the original/acoustic version of this a few months back and instantly said "Why the hell is this not on OCR?" A few posts up someone said something about a judge possibly saying "any guitarist could chuck out twenty acoustic remixes a day," and if this is the case and you know of any such guitarists, please get me in touch with them as I can't get enough of this stuff. When I first saw it posted on the front page, I was thrilled. Then I saw that DJP was contributing vocals, not instrumentals. I often find that vocal contributions ruin a song. Not so here. Spot on, guys. I totally disagree here. This is, to me, what makes the song. I'm a little sad that the second half of the original version is absent from here - there was a sweet rambling sort of bridge to it - but I don't think it would have fit with the wistful feel this song goes for. This whole thing is amazing and brilliant and hits my spot dead on. Wow.
  16. So much drama in tha O.C.R. I recognize that this mix is a fine instance of its genre, but I don't like the genre, so I don't like the mix. Still glad to see it posted.
  17. This is quite excellent. I hope the artist takes it as a complement when I say that it kind of makes me want to giggle a little. I still eagerly await Geoffrey Taucer's acoustic CT mix being posted.
  18. Ooo, look. Another totally awesome piece from DarkeSword. I am as unsurprised as I am pleased, which is to say a hefty helping of both. Thanks for the change in the middle... I was just thinking the track was beginning to go stale, and the change came in with excellent timing.
  19. This is good stuff. Seeing GrayLightning and Rexy both attached to it, I shouldn't be surprised. I hear similarities between this and some of the other stuff I've heard from Gray (Mahabarath Highlands in particular, to a lesser extent Sacratus Bellator and maybe even AfterLife) - maybe it involves the same sound fonts or something? In any event, the similarity's not bad, I like all of those. I can't easily draw similarities between this and Rexy's other stuff, except for the part where I like it. I didn't think of Ray Lynch when I first heard this, but now that I see it mentioned - yeah, there's a bit of a similar groove. (I like this more than the Ray Lynch I've heard, though.) It's possible I'm misinterpreting the term "quantization," but I like it. Given that the original piece is called Clockwork, and the remix title is "Time's Anxiety," I like the driven-by-clock-pulse feel that a lot of the piece has. If it came on too strong it'd probably be too much for a 6:14 piece, but as it is I'm a fan. This is pretty damn good. I generally approve of the Rexy/GrayLightning combo and wish them success with any possible future endeavors.
  20. Is there some OCR metadata that I'm not reading? I don't object to looking at the song this way, but I'm not sure how I was supposed to know that's what it was. Please keep in mind that this is the internet and a minimum of 80% of us are low-empathy social misfits who are bad at reading context in person, nevermind in flat text. I mean no disrespect here, I just... didn't see anything that would lead me to think that. This may be due to my failure to pick up on cues, rather than them not being there, but if it's the former I suspect I am not alone. So my initial review of this song was mixed, but after listening to it several times and thinking about it a bit more thoroughly, I realize I'm holding it to too high a standard - I'm not looking at this as a remix, I'm looking at it as a standalone piece, which is foolish of me. So, kudos to the crew here, this remix is pretty excellent. I'm a bit iffy on a couple parts. Some of the synth bits used seem a little rougher than the rest of the piece to me when I listen to the instrumental cut (thanks for providing it, Zircon) but these are minor imperfections and they're pretty well obfuscated by the lyrics. I think I mostly take issue with the background guitar riffs - they sound weirdly rough to my ear when they're mixed in with other stuff. The foreground guitar is still aces. I'm not the biggest fan of shonensamurai's vocals here. To be sure, they're better than I can do (I sing like a dying moose), but they're a bit off in some way that I can't quite put words to. Still, the emotion is there, and that's cool. There's a world of difference between pixie's lyrics, and the opening non-word vocal work (the term for which escapes me). After reading this thread, I suspect this has to do with being trained for opera-type singing and sustained notes rather than the more poppy style used here. The lyrical stuff is ok, the opening vocals (which remain in the instrumental cut) are friggin' excellent. D-Lux's mini rap is a little cheesy, yeah, but it's spot on, and the cheesiness makes me smile a little. All around good piece, my listeners were all over it this morning. I think the greatest weakness of the piece is that it's so far beyond the original, it's hard to judge it on the "remix" scale.
  21. I realize just now that I failed to mention just how thoroughly this shit rocks my socks clean off. Really, really thoroughly. Made of awesome, sir.
  22. It was great when it was posted as a WIP, except for the part where it was only half a song. It's significantly more than half a song now. Fan-freakin'-tastic. (Somehow, adding more song makes all the gripes about the square wave disappear. Or did you notch it down a little?)
  23. This song, like so much on Kong in Concert, is bloody amazing. Prophecy leans heavily on reverb and vox, but... I like reverb and vox, so I'm not complaining.
  24. I've been listening to this for a couple of days, as a 25-track playlist. I'm pretty damn pleased by this. The tracks meld together nicely (most of the time) and a lot of these remixes make me enjoy, again, tracks that I've become sick of, listening to them way too much out of love. (Side note: I can't play Chrono Trigger any more. I've done so too many times, and I've memorized it.) This stuff is solid and I like it. That said, I find it easier to say what I don't like than what I do. Inciting Incident: Holy crap, dude, this is awesome. Seriously. Here's a theme I've heard way, way too many times, that's had all the life stripped out of it, and you make me like it again. Thank you. The pounding drums at 1:20-2:27 are a particularly nice touch. Morning Sunlight: A nice piece, but I find it overall unremarkable. It has what I think is the right sense of emotion. Blue Skies Over Guardia: Heard it before. Love it. I think I like it better without the claps, but possibly over time I'll change this. My girlfriend (who has a more keen musical ear than I do) tells me that there's a drum sound from 1:33-2:19 that my ear can't really hear well without dropping all but the 1k band on my Winamp equalizer. To Lands Unknown: The tail end of this song reminds me a lot of some of the music from Warcraft II, though the audio samples are notably better. But really, it's a short piece, and it feels transitionary, so it's hard to say much about it. Given the movie-soundtrack goal of the album, this is probably a good sign. Darkness Dueling: Here's another piece I've heard too many times, with new life breathed into it. Thanks. I'm not sure what the point behind the break at 1:07 is. I sort of feel as though the track would have been better if it didn't take that moment to pause - if it just blew through, as it were. Lucca's Arrival: Nicely epic. A decent listen. Not something I'd be likely to pull out and listen to again as a standalone, but that's not the point of this project. Revelation of Fire: Spekkosaurus pretty well owned Trial. Zircon did so more recently. Compared to those two... I just can't enjoy any rendition. This prevents me from having any useful comments. Hymn of Fire: This song has a good solid slow build, which I'm generally a sucker for. It's well put together (though some of the strings strongly remind me of Lords of the Realm 2 - same sample set maybe?). The end seems grafted on. Like, there's a pretty poor transition between what I'm hearing at 2:50 and 2:53. The actual end of the track is also a little abrupt, as has already been mentioned. Frog's Intervention: Here's another slow build. It's worth it. 1:52 starts a section that begins 'really nice' and builds rather quickly to 'gorgeous.' The end is stupidly abrupt, including the final fade, which is too fast. (At first I wondered if I had a bad file.) All around a good piece. Denadoro Climb: This is a nice rendition of Wind Scene. It's appropriately cinematic, which I think is tricky to do with the original. I have no idea why this is here in the listing though - the original doesn't really match any of the script that I see, or anything. Still, a fine job by the remixer here. The Masamune: More epic Frog stuff from ellywu2. Similar to the other piece, but that's not a complaint. Black Omen: At the moment, this is my favorite piece on the entire album. It's gotten panned by a couple people for being really similar to the original, but it sounds good and that's what I value most. 0:25-0:29 - this is a straight rip from the beginning of FF6's Airship theme. It fits well, except for the part where it jars me as I say to myself "wait, wrong game." Anyhow, I love all over this track as a standalone piece and plan to give it plenty of airplay - but I have no idea why it's in the middle of the album or the script. Confronting the Mystic: This is not the Magus remix I am looking for. (The Magus mix I'm looking for has a bad ass brass section.) That said, this piece is still pretty fantastic and I think I can classify myself as a sephire fan now. The opening needs work - it only plays two or three notes, when a low tour through the first few bars of Magus proper would (I think) serve a lot better. Door to the End of Time: This is bad movie soundtrack, it's way too busy. It's a fine song to listen to, though. It's a pretty impressive medley, and it flows surprisingly well - I really wouldn't think you could blend the parts together as well as they have been. The bit at 3:40 reminds me of something, and if I could remember what it was... Manifest Destiny: This is gorgeous. The string lead really makes the track - good call on using it. This is another track I'd gotten burned out on, and like again. It's very busy and full of wonder, and fits the mood the script calls for perfectly. I think the end would be better served by a slow fade out than the wind-down it has. Schala and the Queen: Oh dear. It's Schala's theme. I sort of have this vision of Claado et al. thinking of all the different people that would want to cover Schala, and only wanting one track, then making up for it by making that track six and a half minutes long and then giving it to two people. I don't know if that's really what happened, but whatever decision was made, it was a good one. The instrumentals are really solid, and the vocal work is the best on the album. Overall the piece has a nicely operatic quality that I really enjoy. This song is not easy to listen to, but it is very good. The end is really nice - not what I'm expecting, but good stuff with the horns. Again - burned out on the melody, new life breathed into it by the Chrono Symphonic team. Hurrah! The Third Guru: I'm not really impressed with this. The only thing that really stands out is the measure-marking bass/cello beat, which is Too Much, in that it wants to be a foghorn when it grows up. With the bass turned down this is a nice track to listen to - and who doesn't love 5/8? Not a standout track, but that's okay, it's supposed to be a transitional piece. The last couple of seconds sound like a tip o' the hat to Wutai. Beneath the Surface: This is a really interesting and different take on Undersea Palace. I like it a lot but can't entirely explain why. The end is missing some key percussion (wooden block? tambourine hit? not sure exactly how to describe either of them) from the original and I feel that gives it an incomplete sound. The Rising: zomg, leitmotif. Good transitional piece. Not so much fun to listen to on its own, but a really well put together track nonetheless. Crono's Dream: I swear, I can almost hear the crappy seagull synth in the background. It's like my SNES is calling to me. And then it proceeds to creep me out. Again - not a good standalone piece, but excellent soundtrack work, especially from the scene description I've seen. The Chrono Trigger: This song is kinda... schlocky. I suppose that means it's good stuff from a soundtrack point of view, and it probably has all kinds of technical things going for it, but... I don't like it. A Parting of Ways: Interesting take on Magus. I was neutral on it until I read the part of the movie it's supposed to accompany, now I think it's fine work. I'll have to think on this piece more before my opinion solidifies, but I like it. The Last Stand: I'm pretty impressed that you can roll up all the various battle themes from CT into this little ball of cool. Some of the transitions are a little rough, but overall it hangs together pretty well. The end is... anticlimactic. The New Beginning: I call shenanigans on this whole "Chrono Cross" thing. The Guardia Millenial Fair part is really fantastic, and considering the other versions of Millenial Fair it has to stand up against (Blue Skies, Jethro and Vash, the Brink of Time cut) that's no mean feat. I very much get a movie-montage-goodbye feel as I listen to this piece, so good stuff there. The end sort of takes me by surprise - if this is really supposed to be the last piece before credits, a longer roll-out might serve better there. To Far Away Times: It's easy to evoke emotion with this piece if you don't fuck it up. That said, I think doing it right is really hard. Doing it right in piano *and* vocals at the same time is tricky, but it's been done. The vocal work feels a little grafted on in places - it doesn't complement the music as well as most of the vocal work earlier on the album. That said, from what I've read, the vocal stuff was in fact added on, so the fact that it only feels that way in a couple places is probably a really good sign. I'd be interested to hear an instrumental version - is there one available? I sort of wish this song were longer, but I think that what I really wish is for To Far Away Times (and hence the game/album) to not be over already. This is good stuff, guys. Thanks for taking the time to put this piece together, for coming up with it in the first place... Claado, the script overview I've seen does a decent job of condensing the relatively complex plot of CT into something you could screen in two hours, and kudos to you for being insane enough to start this project in the first place.
  25. This is really nice. There's a particular synth in there that I'm not so hot on, and the sax recording is not the best (the playing still owns), but by and large I really like this piece, and I sort of want to go dig out Sonic 3 now.
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