Polo

The arrangement's personalized every step of the way, crafting hills and valleys through natural, invigorating transitions and an expanse of old-school sounds. This in turn helps channel one's imagination as they enjoy a pleasurable romp through Retro Land. Top it all off with a calm ending of guitar strums and you have an enticing masterpiece.

Emphasizing just the piano from the source is a pleasing choice. It hits all the right keys as it explores an emotional tale of a boy's act of courage, its pace deliberate and evocative. The tune lingers on three main notes at 1:18-1:23 and 2:23-2:29 as if it's pondering an unclear or unfinished side of the story, leaving me wanting more. Tender.

Vampire Snap - Seasonal bells fill me with love and hope and make me wanna sprout angelic wings in a beam of light (too bad the sound field gets kinda muddy while they sing). I love the variety of leads playing the source, from harpsichord to bells to a buzzy synth (2:13) and even an oddball "birdy" synth (2:22) (I wouldn't mind hearing more of Vampire Killer played through this li'l sucker). We also get a taste of a swampy, bubbly bass that gargles its own cute "wahs" throughout. Following a melody that's so happy it makes me wanna dance the Caramelldansen (3:11-3:40), the percussion's led by a sweeping/overture-ish synth (3:43-4:15) and then by the mud monster bass as it does its baby talk thang. Demonic Conception - Two pervasive elements command this mix: 1) misty swirls, the first of which sounds like a demonic spirit sucking me into the abyss, and 2) castanets so snappy they can bite your fingers off if you try to pet 'em. Of all the candidates playing the bass part of Demon Seed, I can sense the root of all evil the strongest when it's the shredding guitar's turn. Then again, it's not trying to fight with the melodic lead of the source, and thankfully so - using a Halloween store-sounding ghost whirl as a lead (0:43) just blows my mind (and it only gets more intense at 1:50). A fresh synth at 2:40 commands the tension like a charismatic leader when playing that repeated note (and the rising notes after) at the tail end of the source. Sensing that it's improv time, a wah synth then takes the stage and flexes its mouth muscles, "wow"ing even itself *snicker*. Madd Forest - Love the bass - warped and grimy at 1:05, smug everywhere else. The eager piano overpowers it at 0:11-0:15, but it makes amends by leading the source in a pub-cheerful key, which turns even more sunbright at 0:49 and dispels all my fears of owls hiding in trees, waiting to swoop down on Trevor. Arrangement garnishes are plentiful - beat-joining 16th notes via normal organ, echo-y reeds (prominent at 4:08-4:23), and of course record scratches (at 1:18 it sounds like it's speaking). But the ball game organ is where it's at - sounding like a funkalicious hybrid of a xylophone and skeleton bones, it busts out pearly notational liberties at 1:51+ and 3:11+ when it's not bridging sections with dolphin-like leaps/runs. Wandering Latinas - Bread-tasty drums and a ball game organ kick things off, accompanied by frisky, leathery "swishes." Certainly the string- and wind-based instruments are declarative and vibrant, but I have a soft spot for the more humble guitar lead. Organ chords are a bit piercing when they're held forcibly at 1:47-1:54, but at least we're still in a swingin' mood when we jump out of that interlude. Light piano bass is supplanted by reeds to play the same descending notes at 2:41-3:27 while a mass of eager percussion pieces (bubbly wah bass, reverbed claps, etc.) join in. The organ at 3:28 and the piano at 4:14, both of which end at 4:43, seem to drag the groove past its prime, like it's run out of ideas and hopes these two melodic loops will hold the fort until the closure via treble-y bass. Sparkle - Thanks to some sexy synergy, this take on Emerald Mist hops lively but stays mellow, kind of like the ideal vacation. The organ acts as a warm undercurrent, the piano belts out serene runs and proud chords, and of course the ukulele is the paper umbrella atop the tropical punch concoction. Conversely, the harmonica feels more like a "me too" staple than an active mood benefit no matter how I slice it. Also, the periodic "pang" (shot) gets tiring quickly, despite serving as a delicate touch like rainwater. I really dig 1:12 (marching drums + chords = powerful), 2:39 (reminds me of Heart of Fire, a.k.a. the Grim Reaper stage in CV1), and 3:15 (simultaneous pizzicato + piano breakdown = magical). Fear of Haze - Set to a frantic pace, a skeleton bone xylophone and a plethora of cauldron-esque synths and percussion set the stage and take our emotions for a tense ride. 1:19-1:29 and 3:37-3:48 are climactic pinnacles with choir upping the stakes considerably, and in the former section (and elsewhere) we get an endearing rubber synth whose tone could be either silly or serious depending on the context. I like how 2:00 doesn't even try to hold a legitimate breakdown, going "organ and drum and... nah, screw it. Let's jump right back into the insanity!" And it does. The Solace of the Daylight - My favorite elements of this mix are: - galloping drumwork - light jingles trailing the leads (sugar-sweet when exposed at 1:56) - glassy chimes/vibraphone in the breakdown at 2:55+ - guitar strums (they craft a most refreshing outro) - fluttery burst of effects in the end Unfortunately, these aren't enough to get me to look past the quirks that rub me the wrong way: - There's no graceful transition from crying organ solitude to fruit punch patio in the beginning; the vibes are so polar opposite that I can't help but view the starting organ as a choice that didn't work in the preliminary stages but forgot to be swapped for something smoother. - Some of the louder sounds bleed uncomfortably and intrude on the sound field, for example: the held notes alongside the main organ notes in the intro; the whistling synth at 0:48-0:56 and 1:45-1:53; the flutey synth at 2:34-2:53; and even the vibraphone at 3:13-3:26. Flaws aside, this album's definitely got the festive flavor and variety that Joshua Morse knows how to bring. An admirable job, sir.

When I listen to this, I feel like there's a corpse just beyond my senses, hung like a pinky, trying to drive me insane with its presence. Most of the elements here contribute to the morbidly attractive aura as if it was an urban legend or a ghost story or an unsolved murder. Wind segues act like drafts in an abandoned house, the music box sounds possessed by the spirit of a little girl, and the jittery string-like synths at 1:43-2:31 are freaky but adorable. It lures you in... and then the trap closes.

I believe that was Dafydd and a couple of the other bio writers. Yeah, me and Linearity. I'm on it, sir. :salute: While it would be super awesome to have Tatsumakisenputronic play while someone reads Ryu's bio or any One Winged Angel mix queued up for Sephiroth, that kinda defeats the point of encouraging readers to click on ReMixed titles and find the mixes themselves. Not to mention some mascots don't even have one linked title (Wain, the Darkstalkers, *cough*theTapRunner*cough*), or even their own theme songs. Also, can someone tell me which game the new full armored X comes from? EDIT: Never mind, found it. He and Bowser and Kraid's Pictured from lines have been updated, as well as every mascot image in the articles.

For me, the most pleasing standouts of this multifaceted mix are: - the creamy guitars waxing eloquent in the beginning - the chimes at 0:44+ - the 8-bit "bubbles" during the main chorus sections - the ongoing changes in the percussion (how many players are present, how and when the drums beat, etc.) - the guitar's farewell-sounding angst at 2:16-2:20 - the piano's soft expressiveness at 2:52 and its level-headed guidance in the end Such sprightly and cooperative variety brands this one a winner.

I feel like I'm on a cold, lonely mountain on an overcast day when I listen to this. The chewy warbles, electronic growls, and flute don't like to stay very long, leaving echo-y afterimages in their wake. The ambient pad in the back is always skybound, floating and humming along, but even that flies away when I'm left alone with my thoughts at 2:23-2:35. But I like being alone with my thoughts. And I like mountains and overcast. And this mix too, by association.

Electric synths faithfully border the sound field while the bells and guzheng work out some call-and-answer chemistry between them. The four down-the-scale notes at 1:18 sound briefly lullaby-ish in their application, partly due to the breakdown nature of the section. 2:06 is where the fun really begins - electronica beeps hip-hopping alongside the bells and strings in a vibe both fresh and far-reaching. 2:23 produces gooey synthwork that visits every locale in every direction, with a couple of notes that sound higher than the rest (2:36, 2:53) thrown in for good mood-tugging measure. Between the two decisively gated moments, the sweeping lead bends and shoots rapid shots (most noticeably at 3:08-3:11), then tosses the reins to the guzheng, both making sure they and their followers rock. Piano bass notes and bells in the end turn the mood around so suddenly I'm left with a feeling of "wait, don't leave! I want more!" In the future, all urban neighborhoods will sound like this. I hope.

The atmosphere's chilly enough to make it sound like the spirits of the frozen tundra are calling out to me. New pitch-bending leads enter over time, carrying slightly fiercer emotions: 0:30+ hums to itself, 1:23+ is shaky, and 2:20+ begs effusively. I'm quite fond of their moods, but I also welcome the coughing synth in the intro (edgy at 0:26) and the pensive bass guiding the outro, both of which feel like they're in control of themselves. Sure hides a lot of personality like the Grim Fandango characters.

Collectively, the instruments produce a stream of arid imagery (desert, sand, mirages) alongside the Middle Eastern vibe, and it's more effective when ones like the glittery sweeps at 1:14+ can delve into both single-handedly. Simultaneous church bell+drum attacks punctuate the tension in such a way that I'm flooded with the urge to look to the heavens for either fire raining down or a floating tower, whichever deity machination comes first. 3:46-4:34 casts a sympathetic light on the condemned cities (the strings get so high-pitched they practically shed a tear), then it pulls back in time to mark the moment Lot's wife turns into sodium chloride (the drum boom at 4:30). A fervently pious narrative, both in words and music.

Well, I certainly can't say no to the toy xylophone, literally low-key strings, offbeat bass, and cowboy-ish motif. Perfect for if the protagonist rode a horse into the sunset at the end of the game. Imagine that.

Listen closely to how Jill sings in the intro (0:16) and outro (2:31). The former gives the aura of a budding young woman, chaste and a touch naïve about the world, whereas the latter defines a seasoned grown woman, learned and steadfast. Props to that subtheme of maturation whether it was intentional or not.

A lot of synths sound like acids going through chemical reactions: fizzy, bubbly, and carbonated, releasing gaseous by-products in the interim. It's like I'm witnessing a chemistry experiment in hell/on Mars, where Marine flesh gets devoured by the poisonous waters not unlike sugar getting raped by sulfuric acid. Other effects are equally curious, like the tone-and-volume-guided gatings starting at 0:31 or the hyper RPMs during the 8-bit break. And for some reason - I don't know why - some of the muted synths make me picture black wings or a black cape flapping ominously, particularly during the demonic roll calls and after the brief silence halfway through. It's definitely sly, intimidating, and darkly transmogrifying like an incubus.

Usually when I listen to Oedo Pentatonic, I dance in swift, controlled, on-the-beat movements like an 8-bit sprite. Why? I'd chalk it up to two elements: 1) the drumwork, which tastes as sumptuous and fulfilling as a piece of roasted meat; and 2) the slightly aggressive, non sequitur bar from the source, which appears at 1:08-1:12 and elsewhere. Their sudden appearances in the overall inviting mood just pump me up that way. Alternatively, I might get the urge to flex my entire body, wave-like, in the manner of the wobbly leads that pop up at 1:32 and after. When it's their turn to hit notes in rapid succession, their supple nature infects me as well. A mix that makes me dance is a plus. One that makes me dance in two ways is unforgettable.

Wormaphobic Disorder flexes many modulation muscles in its elastic and contained playthrough. The opening lead is like uber-rubber, and the one at 0:56 is chewy enough to tug my mouth in anticipation of its fruity flavor. Most backup players follow suit (i.e. they adjust their panning and tonality), and while solid players like the drums, shaker, and piano might not be as modulated, they still remain active standouts alongside. The arrangement's just as contagious as the production, whether it makes short melodic hops or glides up and down the scales like an overture. It pulses with life every step of the way, so even the lone mutating bass at 1:43, the thick drumwork at 2:19, and the false ending feel like welcome transitions. After that last bit, the final stretch is packed with shiny, commanding synths, but the elastic leitmotif haunts the background in the form of whirls, grinds, and other manipulations. Groovy, as Jim would say.

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No doubt the guitar thrashing gives Coily a run (hop?) for his money, the drums serving as fierce punctuation; the oboe is a snake-hypnotizing presence; and the cross-panning contest at 1:40-1:51 is an intimate arousal. But for my money, THE defining part of the mix is the first half minute. The sound field is just quiet enough to add a fluttering creepiness to every sound in play, building suspense. It makes me feel like I'm staring into the black abyss beyond the blocky pyramid while the synths measure its impossible depths. Quite a paralyzing hook.

Such is the energy in this mix that I picture Batman hastily running through the streets of Gotham at night. The perennially rolling, bubbling bass only changes up during the Stage 1 iterations, while the strobe light-ish lead sounds like it's trying to be everywhere at once. A variety of thrusts keep the mix from stagnating, including the shots at 0:34 and 2:12, the encouraging "Do you feel all right?" "Yeah!" exchange, and the goofy "(you can do it) dill and beets" shout-outs. Yes, he's the goddamn Music of Funk.

Lots of intermingling going on in this mix. Howling synths create a misty vibe, fading and percolating like a ninja casting genjutsu. Reverbed piano is an avuncular standout, alternating between playing a few judicious keys that speak for themselves and playing some rapid runs across the octaves. In the busy sections, beats are amply accentuated by players like pizzicato and a bubbly bass that sounds like the Maru Mari sound effect in Metroid. But even if the sound field gets muddy at times, the arrangement keeps on blooming. Various synths carry the source's rising arpeggio while altering the backup melody inch by inch. Such a mellow, evolving undercurrent keeps me hooked. Btw, it's spelt ninjutsu, but lotsa people misspell it with a second "i", so it's no big deal.

A warm organ-like lead starts us off, joined by liberally syncopated synths, several of which sound like roboticized voices (breaths, shouts, mumbles, coughs, etc.). There's at least one unique synth/instrument per section: myf gets a wind instrument (although it appears at the tail end of joe_cam's part), D-Lux gets a whistly synth, and Flik gets acoustic strings. Throughout, there's a magical chime panned left playing (mostly) whole notes, staying subtle but steady. That whirly "losing consciousness" sound effect from the game makes for a slick transition to the start of the rapping. Ness is confident, sadistic, and egocentric. He's well-versed in world travel as heard in the shout-outs to many places in the game. "So grab your yo-yo and gun, we'll have a little fun" is grin-worthy anticipation. "Throw him to the curb, stomp the little bitch's face, make the fat piggy cry, yeah, put him in his place" - that's definitely a sentiment shared by every Earthbound player. I imagine Paula shedding "her" wig and dress and revealing herself as Mr. T. myf's lyrics open up portals to new worlds left and right. "Now they can't stop us cuz we movin' too fast; 'Nuff sand in the eyes, turn the desert to glass" seems to allude to Ness's Skip Sandwich consumption earlier. Intentional or not, it fits, since this is a remix of the Scaraba marketplace. A crunchy splatter pops up in time for the Starcraft reference, and maniacal laughter at the end compliments the insanity that just passed. Also, fun story: back when I drew OCR faces in '05-'06, myf requested I draw him as well, so using this mix as a base, I literally interpreted his first line (and Jill's). myf dubbed it awesome. The "robo voice" synths return in time for the chorus, backing up the soft+sad quadruplets. It's like they're belting out their own brand of lyrics. Poo is intensely focused, packing a "critical SMASH (smash)" behind his collected tone of voice. Highlights include the mention of toothpaste (Colgate Hippie is crescent fresh) and a reference to his popularity with the ladies. The trailing chime fadeout adds another bit of mysticism to the fighter's aura. In a wild contrast, Jeff is speedy and over-analytical to the point where he confuses himself with his own long-winded conjectures. Measuring the cartridge instead of playing it is a LOL decision that shows his ultra-cautious side. (I imagine Jeff working through the night to fix the broken EB cartridge.) Also, the playful "blip-bloop"-ing during his chemical analysis is killer. The empty space after Flik's role makes the listener wonder whether the previous chaos happened or not. Then after a second and third dose of the chorus, the whole thing kinda winds down, gating and lowering its notes like a broken record. Sick, twisted, and contagious. I love it.

Percussion plays its cards wholesomely and vivaciously with drums, dirty cracks/scratches, a shaker, and cymbal taps. No matter how they team up (0:43 = the combo to rule them all), they never sound out of place as they keep the pace. Gremlin-esque swivels also appear at 1:23+ after a brief stint in the beginning, making mischief while countersynths sing new melodies in the interim. I also adore the fairy tale-like flute lead playing the source's 4-bar midriff. It works two half-bars overtime at 1:46-1:57 and shines like a light in the dark when most of the action dims (2:20). My only gripe is the odd panning at 2:58-3:06. If it was brought out more discreetly, it would be a welcome quirk; as is, it sounds like a mistake. Matoya may be blind, but she's not deaf, and Shael gives her a reason to shake her thang.

It sounds like an old record player that starts things off. The way the piano plays two notes ad infinitum makes it feel lost and helpless, or perhaps waiting for something to happen. Occasional booms and choir swells contrast as the deadliest and gentlest players in the mix. 1:03 and 1:53 are the only moments the acoustic guitar adds flair to its playthrough of Terra's theme, while a new synth at 1:32 acts as an interpretive countermelody. 2:22+ employs a glittery lead synth and clappy percussion to empower Opening Theme part 3, and the piano sounds free to venture into new territory instead of feeling stuck. Some swirly effects and a quote of bells (2:56) are also thrown into the pot for flavor. In the end, as if to make up for its by-the-book iteration, the guitar wraps up with an off-tempo freestyle bit before handing the last note to the piano. Technicalities aside, this is some poetic stuff.

Arrangement sure takes its time building and progressing, like a racecar that puts emphasis on revving up as opposed to speeding. It feels creepy and suspenseful at times, like at 1:42 when the bass is accompanied only by claps, or when the treble descends on the first tail end of the source before the percussive breaks. 2:50 provides a sunny contrast with the more carefree source section and the harp, although the reprieve is short-lived. Even the interludes at 1:25 and 2:37, though uplifting, stand out on their own without bridging any melodic or emotional gaps. Transitions notwithstanding, this mix proudly does what it wants without overexerting itself. It's the kind of mix that randomly throws kisses at its audience, saying "so what if I don't win the race? I got other strengths!"

I LOVE the way the airy pads and bellish, fluttery synths start off the mix - I get a glowing sensation of floating/gently falling backwards. It's very calming even after the wildly modulating lead and kickin' kick sample enter. After plenty of rest, the decisive (but seamless) turn at 1:37 pumps me up like a Lemming assigned Dancer status. Then the silky lead playing another part of the source at 2:04 is like a sympathetic travel companion, staying by my side until the end. Let's Go Dance = Wonderland.

If this remix was mouth candy (it already qualifies as ear candy), it would be addictingly fruity, gummy, and chewy. It's a sugary treat that appeals to my ears and my taste buds.