Polo

Extra notes since my album review: I get a lot of mileage out of this mix thanks to the wild solos, danceability, and mood-swinging goodness. I even heard this in a dream earlier this month. Personal favorite of Sonata of the Damned.

Regarding the issues I had with this mix (that I noted in the album review thread): - the bleeding sounds obviously sound less piercing when this is played through speakers rather than headphones - I still think the organ intro feels out of place, but I do think the main vibe is classy As for the effects and percussion sprinkled throughout: yum.

To paraphrase my comments in the album review thread, this combines glistening instruments with that ever slimy (but adorable) bass while trying on different hats along the way. It's a spectrum unto itself. Also, I like how this is the first time djp linked to a mascot bio in the writeup. Coolness.

No doubt the curveball samples and draconian nature of The Atomizer are hilarious attractions for a lot of people, myself included. But I also appreciate how calmly interpretive nuances between the insane parts tie the mix's shoelaces and balance it out. Examples: - orchestral guidance in the beginning - The Fierce Battle beneath the menu sounds around 1:11 - tambourine's playful accompaniment starting at 1:45 - rapid flute cameos of Kefka's theme at 2:15-2:24 - trumpet-led section at 2:27 - percussion around 3:01+ Mindblowing overall, but also a gold mine of nifty nuggets if you listen closely.

Minstrels sing Prince Myer's tales of valor, then he excuses himself to reflect upon his journey by the lake in the opening story, and finally he rejoins the celebrations... that's the story this mix seems to illustrate. What I'm really impressed by is how the two sources' moods are revamped: Intro and outro - The main castle music transforms from alert and serious to gaily festive. Harp breakdown - The outside castle music is so deviously slowed its tone does a pensive 180. I welcome both interpretations because they're sympathetic enough to make me forget about the merciless difficulty of Deadly Towers. Myer depixelizes too often.

The way this starts, I can almost imagine bLiNd literally throwing a trance bomb our way, expanding upon explosion. Nice and in your face. (Is that an oxymoron? No matter.) I like the sparkly chirps at 0:39, 0:49, and elsewhere as they cheerfully say hello at key points on the driving beat. Momentum stays thick and constant, plowing through even the more serious section of Snowman (1:23 and 2:45) like it's hurrying across Winters for fear of frostbite. What it lacks in finesse it makes up for in intensity. At 3:12, the wind dies down and the threat of freezing to death isn't as dire, and Winters Wake Up Call presents a much needed repose. A fitting outro compositionally, although the feel of it leaves a little something to be desired. Put another way, Snowbound tastes like a powdered donut: prominently sweet and sugary, but it's that initial, immediate rush of awesome I crave when I'm absorbing the basic filling at the end.

In contrast to a creepy, crickety sewer intro, the mix lifts it face to what must be light at the end of the tunnel at 0:28. The sound at this point emits an aura akin to the glistening speeds in F-Zero, and the drums entering at 0:48 feel kinda Donkey Kong Country 2-ish. Everything after is as darkly sweeping as the Serpent Trench itself. Almost scary.

The first 21 seconds are seductive as both Kraid's Lair and windy ambience creep forward. In general, the arrangement gets some natural, orderly extrapolations in 4/4, but the slower tempo makes it surprisingly tiresome for me. It's also a shame that the bass pulsates so strongly it intrudes on the chill mood set by the percussion (although it better controls itself at 1:04). Not as balanced as I'd prefer, but at least the beat stays as sexy as Samus's prostitute-like outing.

While 2:51 is the official start of the MGS2 source, the extended intro is like a spiritual warmup for a holy army. First, a church bell and choir reminiscent of the DMC soundtrack provide an angelic hook. Second, the twinkly piano and symphonic organ put minds in motion by inviting listeners to follow their rapid notes. Finally, the drumwork, accompanied by select quips of a military snare, seem to put bodies in motion for a set of calisthenics. Then there's a few breaks for the followers to say their prayers or give to charity or what have you. And to our lord Metal Gear, amen. - OCR 690:5:30

200 and counting, but even I haven't got LT's view of Bueno vs. Ugly down. And I think my Wiki account for updating mascot bios is enough authority on my part. But I appreciate the recognition. Also, The Otaku, your Bleu sub is 33 pixels wide instead of 32. Might wanna shave off the dark blue column on the left.

If this mix was a piece of land, it would be a dynamic mountain range with many jagged cliffs and impossibly high peaks, but also enough greenery and smooth terrain to keep me hiking on. There are many times when I'm awed, emotionally uplifted, or just plain giddy as I marvel at the off-the-wall textures, effects, and segues. So certainly the high notes, the WTF break at 1:55-2:15, the creepy volume build at 2:51, and the wall of sound afterwards are right up my alley. A lively pastiche.

The first guitar is a hungry lurker and the second one doesn't wanna be tamed (1:11-1:13 squeals = gleeful), so the freestyle sections give them the opportunity to not only flex their muscles but also their personalities. Mystic Cave's bassline feels like it's being danced around (even though it's played note for note), Chemical Plant sounds like it was made for this kind of rockability, and 2:57 leaps right back into Mystic Cave as if it was a natural extension of the former. Drums are thick and cymbals are sparkly, but it's in the breakdown at 2:13-2:31 that the "live" feeling really clicks - it's like I'm watching a sideshow and waiting for something new to appear onstage. Full but thankfully not overbearing.

Swaying. Circling. Punching the air. Finger tapping. Irregular head bobbing. These are some of the many colorful ways I dance to this indulgence called Marble Dancefloor. It all starts with a playfully note-descending lead that makes me picture a marble bouncing down a flight of stairs (nifty little hook), and then it slips right into a pimpin' rendition of Level 2. Quite simply, the electronica's a feast, coming in chewy, crunchy, and meaty flavors. And it does a body good.

Both the starting beat and the freely repeating synth forming it are infectious (and why not? They're present every step of the way and are the last things we hear in this mix). Distinct vibes enter alongside the different players, particularly the industrial drums, fluttery effects (panned right), and Far Eastern lead (enters at 0:44, then plays a higher key at 1:16). It all feels distant like a setting sun, while at the same time old and worn like a collection of fossils. And still grooveable.

What I love about the bells (or the electric piano as djp calls it) is they sound so joyous they're already at the point of tears. They tell me this is a blessed town I'm entering, full of pure folk who are protected by heavenly graces. An admirable representative for the countermelody from the source. Not to diss the rest of the mix; the melody's admirably boosted by strings, pads, drums, a "can't go wrong" key change, and other pieces to paint the peaceful prosperity of the town. But my first love is those bells. Just loverly.

The percussion's like the ideal employee: happy, busy, no complaints, no need to overcompensate, and maintaining an ingenuous air of professionalism. The initial lead sounds more chill here than in the source, and the electrical bass beat at 0:41-0:50 (and afterwards) reminds me of one of the starting beats in "CMS Level One OC ReMix." 0:52 steps up the action a notch, bringing in Christmas-y bells for sweetening sections from that point on. I love the smarmy lead entering at 2:01 - it knows it doesn't carry the same humble work ethic as the other players, but still grooves with a "holier than thou" smirk on its face. 2:45 takes a step back and reflects by way of a holy-sounding pad, and then the piano from 3:02 onward grounds our senses and guides us to the end. Suave and high-class.

The unhurried pace of the first source playthrough hints at the delicate thoughts and emotions it covets. Then, as if to throw them out the window, the second iteration morphs into a perilous yet poetic simulation of the Clock Tower falling apart (or maybe it's just Trevor quickening his footsteps on the stairs). The intensity pulls back at just the right moment in Vampire Killer (2:14) before ramping back up with an extra helping of tense bass notes (2:29) and closing with a final tease of Clockwork. Bag or no bag over head, this is a cheeky little romp.

Somber strings, elvish flutes, windy gongs, delectable drums... many instruments sound so smooth I want to caress them. Along with all the little flourishes throughout, they're like separate Christmas presents/decorations combining into a larger one. The mood brims with seasonal poignancy (heartwarming, hopeful, etc.) with different intensities assigned to it, and even though some of the shifts sound abrupt, they don't feel that way. In fact, my favorite moment is 2:48, when after Battle Aribeth puts up a foreboding front, suddenly the melody dips into a refreshing tone that says "worry not, all's right with the world." Very very pleasant.

Dark textures, high reverb, juicy "shots," and other elements craft a misty but inviting atmosphere. The beat becomes danceable starting at 0:15 (when the buzzy alien synth comes in) and stays solid throughout. But the dynamics of the vocoder are what really sell me on this. Its timing is playful, like it's coloring outside the lines (in this case, not sticking to the same beats as the other players); its storyteller tone likes to stay low and neutral, which makes its higher pitches and fervent moods cute; and it fits right in with the vibe. It commands the buildup during the chorus so well that every time the line "and cut a lock of witch's hair" comes up, I must see, imagine, or physically mimic the action on the beat (the same goes for when I'm not actually listening to this mix but am singing the lyrics to myself). Crazy addicting. Now if you'll excuse me, I must act as barber to a female magic user...

Interview Liontamer. He's listened to every mix on the site, judged a multitude of submissions, and is a major force behind OCR's progress. On a personal note, I'll be celebrating MY birthday that day.

A low hum and ear-ringing sound creep over the horizon, when with a sudden burst an amorphous, slimy synth pokes its head above tribal drumwork. Strings march forward with a like-iteration of Techno Tune (similar in feel but playing different notes) alongside clarion call-like brass swells, and the drumwork gets supplanted by sharper percussion that pops, claps, and punches all at once. A bejeweled synth then sings the GG source tune, satisfied with the attention. At the drop of a cymbal+drum beat, most players bow down before a leading brass playing Fury, Hammer and Tongs in a warhammer-like tone (it's briefly doubled to emphasize its authority). What's crafty here is how the secondary melodies in both sources are given air time: the strings at 1:58 represent 0:22 of Techno Tune, and the brass at 2:23 highlights 0:57 of Fury, Hammer and Tongs. A gong marks the (almost exact) halfway point, allowing a dreamy piano and chimes to disperse the smoky scene. A thumping bass starts moving things back into full throttle while the synth at 3:35-3:53 does some hilariously screechy, gated, notational falls and rises. Electronica flies over center stage, major gated moments (4:18 and 4:40) break up and refresh the energy flow, and even ghostly cries (4:07, 4:33, and 4:41) rise up to test their haunting prowess. And then comes a shake-up that seamlessly feeds into the best-of-all-worlds fusion that is 5:03+. The guitar blazes low but fierce, the brass returns for another helping of the JE source, and more warped-out electronica echoes throughout the stadium. 5:37+ feels like a "this is it" climax - something big and mighty's rising up and is gonna floor everyone like a tidal wave. And it does, literally wiping out everything except a dying breed of Techno Tune. Overall, this flows like a textbook detailing the dawn and growth of civilization, but it's 100 times more colorful and engaging. You guys sure made history.

Every acoustic instrument holds its own and contributes to the festive mood at just the right times, like the galloping clops during the chorus and the claps during the "ya da da" slurfest. The story fits right in - it sounds like something travelers can relate to, I eagerly await what happens next, and it even has a twist in the end. Sweeps me right off my feet.

For one thing, it sounds contradictory to say it's "just another quiet day in space" when the funk is playing in the speakers, plus it repeats the first sentence. Personally, I don't see anything wrong with the original wording ("everything was the same as always")... Good job catching what I missed to make the article consistent. *thumbs up*

I for one would like to know exactly what hentai series/episode(s) the samples come from. Intro is caliente, each element acting like its own desert thermometer: spicy drumstick-like bass, glassy bells, furtive sine wave-ish beep, and oasis-promising pad. 0:52 begins a few warm-up runs of the theme, accompanied by bells, a counter-lead at 1:13, and other assistants. The wind instruments are passionate, if a li'l piercing at times (i.e. 1:21-1:24, 3:10, 3:27). But I can't get enough of the trashy, slinky percussion at 1:25+ and 2:54+ or the glistening instrument playing the second part of the source (1:44 and 3:29) - they're both bold, attractive players that could shine more fiercely in solo sections.

The first time I heard this, I cried so hard I accidentally tasted my own runny snot. Then I promptly burned this onto a CD as many times as it could fit (as the only song on it). No other ReMix has had that kind of effect on me - that's how powerful a tearjerker this is.