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About Polo

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    Mascot Bio Project Co-Editor

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  • Biography
    Mascot bio writer/editor/uploader on OCR

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    1. Not Interested or Available

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  1. Ye gods, this is like a drug that guarantees an instant hit. Not sure what I love more: the references to mythical figures, or the fact that this manages to get away with a quiet lull (between lyrical jaunts) in an already short span of time. Either way, this is seriously addicting.
  2. Of all the vocal remixes I've listened to, I must've sung along to this one the most. It's that fresh and inviting. Highlights: - At 0:32/0:33, the extra tonal downfall on that last word ("...it came to be this way...") feels like a deeper, bolder step of uncertainty and self-doubt into the unknown. It works so well. - The drop of most synths halfway through gives compatible breathing room for the more reflective, farther-reaching lyrics ("So it's been written through the ages of time..."). - While the first chorus projects a feeling of regret and resignation, the higher ke
  3. Oh yes. I always liked how the first few seconds of the source sound open, pure, and calm, and I love how this mix takes that starter vibe and just rolls with it. No hurry - just plenty of reflection while smelling the roses and feeling the light breeze on my skin and being at peace. The piano also reminds me of the opening to Nausicaa of the Valley of Wind. I can see those giants walking across the burning wasteland right now...
  4. Gentle waves, gorgeous instrumentation, somber progression. Sounds like Link is playing a dirge for Marin (or maybe all of Koholint, considering the ending of the game). I'm also happy to hear the tail end of the source altered to something simpler and more tasteful (1:16-1:19 and 2:13-2:17).
  5. This rivals The Music of My Groin for silly + raunchy lyrics. I love the vocal fluctuations, i.e. the rises in pitch at 0:43 and 1:21 and the parrot-like punctuations at 0:54 and 1:32. "My security cam record for me" has an odd inflection, but that can be excused by the fauxreign accent and the need to match the beat, and I can't stop laughing at "and you stupid ass whore" (smooth ad-lib). And of course the tropical instrumentation gives the mix a vacation-y, jovial feel. Also, for those wanting to see the Flash video, I believe this is it.
  6. Zombie Panic (beginning and ending) - The flute-like lead lends a bit of a ghostly vibe to the source, making the antagonists seem more like intangible spirits than physical monsters. Evening of the Undead (in the middle starting at 0:54 - pay attention to the countermelody and you'll hear this source) - As a whole this section feels like an exploratory detour, and the tune at 1:18-1:30 and 1:54-2:06 even sounds optimistic. Also, I think it's no accident that there's exactly 10 screams heard, equal the max number of neighbors you can save in any level. Already 3 die before the mix ki
  7. What really gets me is 2:15+. This is where the mix takes a somber, soul-searching turn. It's as if Setzer suddenly became acutely aware of something important deep in his heart. As he stares into the distance, he ponders his life, his choices, what his friend Darill meant to him, and what the future holds. The way the mix fades out as it continues its phrase makes it sound like the airship-bound gambler will fly higher and longer in his search for that meaningful something...
  8. Generally somber/nostalgic mood, occasional leaps in self-confidence, introspective lapses... I can practically hear the thoughts of a wanderer: "Is home the way I left it? How much have I changed? Will I be welcomed? I've come this far; might as well keep going..." Appropriate title and an effective illustration of how coming home is by no means straightforward.
  9. The Chao Cave just got more fun to explore thanks to a couple of key factors: - 0:30+ feels like we've briefly halted our steps to learn that, if we listen/look hard enough, other magical beings are coexisting with the Chao. The glistening, shimmering flutters and such really add a sense of ethereal and otherworldly wonder. - When the bells aren't bridging 2nd and 3rd measures (like 0:18 and 1:03), they're heralding something bigger (like in the beginning and end). In both cases, they play the role of all-important guides to help us keep our wits about us and not get lost. In ot
  10. The wah synth seems to enjoy a bit too much modulation - I can rarely predict its exact vowel sound until the 2nd half of every 4th measure (0:10-0:11, for instance). At least the layered percussion that follows amicably gives it some solid footing. I often find myself bobbing my head from side to side when listening to the beat. It's certainly helped by the dynamism of 0:58's sugary whistling lead and 1:55's carefree roamer. I also like 2:20-2:27 - even though it's not a very impactful climax, it still elevates my spirit along with the notes being played.
  11. There are times when the rapid 4-note bass pattern of the source sounds muted or overtaken, but at least it's offset by other sounds maintaining the tone or emotion of the moment. The percussion, similarly, sometimes gets drowned out, but I like how it ever-so-gradually evolves alongside the mix to add different shades of flair. I'm guessing 1:24-5 is an attempt at partial melodic rearrangement, but to me the C-G-Bb progression sounds off. It does sound a little more at home at 1:41-2 though. Given the way the last minute sort of hits the reset button on the mix before deflating into
  12. Bowser DOES kidnap Peach many times. Even players who don't closely follow the Mario series know this. If you mean my wording sounds over-the-top/kind of tongue-in-cheek, then yeah, I can see that. I just felt saying he kidnaps her "once more" or "yet again" felt a little lacking, but I incorporated the wording anyway in the revision below (no qualms about it this time). It starts to draw attention away from Rosalina, as if to say she's no longer important and the other characters' motives become the focal point (granted, that's the way it is in the game, since Rosalina's a side charac
  13. For me, the main draw is 3:14 - 3:36. Things get ridiculously fast here, like there's a contest to see how much the percussion can be pushed to the limit. Consequently, it's hard for me to keep my composure while listening to this section. Sometimes I'm in stitches; often I laugh; always I smile. I concur with djp's comment that this could be labeled "music for nanomachines." It definitely has that robotic feel to it - in fact, after a ritardando climax characteristic of a number of Sam's arrangements, the last several seconds sound like an emergency signal going, "Abort mission. Retreat
  14. Interpretation's on the ball with this one. I'm totally into the material that flows naturally out of Ravaged Village at 1:27 and 2:00. The backup guitar studiously creates expressive countermelodies that grow beyond the bass melody of the source. Compared to the deliciously hot synthrock leads, the percussion's a tad soft (notably the cymbal hits), but it makes up for that with its flexibility: the drumwork at first appears on-the-beat basic until decisive moments and transitions cue it out of its comfort zone to act both faithful and enrichening. Superb stuff, though I gotta say: p
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