Liontamer

What can I say about our scene's chaos agent, Brandon Strader? Welcome back. :-) I have my own special "appreciation", a carefully chosen word, for my interactions with Brandon, and I sincerely meant "chaos agent" as a term of endearment. As much as he went about it in the wrong way, we did have the formation of our Game Music Initiative 501c3 non-profit organization hustled along due to Brandon's complaints, so there's the genuine positivity of that outcome (in hindsight, of course). Strader's extremely talented, and hopefully not as prone to conspiratorial confrontation these days. He did a great job here, the vocals were really on point!

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Artist Name: Pipko Fanfare A sort of post-rock or doom metal-ish take on "Another World of Beasts" from FFVI by Nobuo Uematsu. Slow, introspective, sludgy, heavy, and moody. Games & Sources Final Fantasy VI: Another World of Beasts

Artist Name: 7DD9 First of all thank you for the previous feature on your channel. "Flashback from the Future" was re written and remixed with synthesizers. I approached the game soundtrack gently and with the respect it deserves on today's standards, as this game was (is) one of the best Cyberpunk / Sci-Fi / Dystopian games that i ever played. Games & Sources Game : Flashback - The Quest for Identity (1992) Music Soundtrack : Main Theme Flashback released in 1992 and the soundtrack was written by Jean Baudlot and Fabrice Visserot. Original Soundtrack :

Partners in crime: * AarekMG - https://ocremix.org/artist/18738/aarekmg - Tenor saxophones * DakotaCityRag - https://ocremix.org/artist/18730/dakotacityrag - Alto saxophone * minusworld - guitars, bass, VSTs, arrangement, production The remix no one asked for of a song no one heard in a game no one played! I present to you my arrangement of "Decisive Battle! Demon's Arena" from "Aa Harimanada" on the Sega Mega Drive: "Sumo Swagger". Dwelling of Duels just ran a competition in April 2024 for Sega Genesis and Mega Drive games. I never owned one. I remember playing Sonic 1 and Golden Axe 2? Maybe 3? I remember playing nothing else from that console. It's been a long time since I didn't know what I wanted to do when the DoD theme was announced, so I thought it would be fun to go hunting for tracks that grabbed my attention. The long story short: I was looking through Japan-only releases when the music of Aa Harimanada, a mediocre sumo wrestling fighting game, jumped out at me as being particularly interesting. I settled on "Decisive Battle! Demon's Arena" because the track already has a huge amount of swagger to it and I thought it would be fun to lean into that. AarekMG and DakotaCityRag joined me to make the awesome saxophone chorus. There's 3 tenor parts by AarekMG and 1 alto part by DakotaCityRag. The source track has a funny drum intro because it's played during a cutscene, but it doesn't flow very well musically. I decided to nod to it with two drum-heavy sections: the taiko drums underneath the bass solo and the Aja-like drum break following the guitar solo. Otherwise, I think the rest of the arrangement is pretty straightforward. I hope you enjoy this DEEP cut! Games & Sources Aa Harimanada - 08. Decisive Battle! Demon's Arena (https://fi.zophar.net/soundfiles/sega-mega-drive-genesis/aa-harimanada/08 - Decisive Battle! Demon's Arena.mp3) (YT: https://youtu.be/vT6Vw5bugIQ?feature=shared&t=331 Composer: Hirofumi Murasaki

The Sages have been killing it with their Wednesday night Office Hours sessions on Discord! If you're needing musical feedback and growth advice, y'all gotta be in there. :-)

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Full Credits Ridley Snipes - arranger, producer, guitar, engineer The Vodoú Queen - voiceover monologue Notes This track was made for the Pixel Mixers Silent Hill album, which is currently in the mastering process for distribution - this recording is my own master for individual/OCR release. I've been trying lots of new genres lately, and this is my attempt at wave. You might get a different description depending on who you ask, but "wave" to me can mostly be described as spinoffs of other genres (e.g. Hardwave, Wave Trap, Wave Phonk) - the main pillars being heavy usage of washy supersaws, wide distorted reese basses, spacious atmosphere, and usually a slower tempo than whatever it's pulling from. Skeler and LXST CXNTURY are my two favorite artists in this realm. The source tune is very simple and very Silent Hill - a linear piano melody bedded onto a droning triphop beat, sprinkled with reverse vocal slices and other unintelligible ear candy throughout. I think I ended up skirting pretty close to the 50/50 line on usage, so here's the breakdown: Intro 0:00 - 0:22 original melody loop, chords borrowed from source, original bassline to complement the source chords Hook 0:23 - 0:52 guitar plays climax of the source melody, chords and loop continue Verse 0:53 - 1:23 piano begins the actual A melody from source, synths continue the clean guitar melody Break 1:24 - 1:53 piano continues with melody B, VQ reads the monologue from the end of source track (after the song is over). There's more ambiguous source here but it is very layered deep in the background Hook 1:54 - 2:24 full blast of the original loop Verse/Outro 2:25 - end piano picks back up at the climax Had lots of fun with this one - hope yall enjoy it too.

And yet more Dwelling of Duels. For April 2024's VGMCon, DoD decided to host a special competition, a "Tornado of Solos" for the iconic Title Theme from Pictionary (NES). This type of competition is different from the standard DoD competition in the sense that everyone has to cover the same source instead of having a theme and freedom to choose a source that fits. Since everyone was doing the same track, part of the challenge (for me at least) was covering it in a way that would stand out. Anyway, this source has become kind of a meme in the VGM community thanks to the "IT WAS JUST PICTIONARY TIM" comments and such but, if I'm being honest, it's not the most impressive Tim Follin work IMO. Although the sound design is impressive, the composition itself is much less crazy than other Follin works (like Solstice for example). In any case, it has a ton of fun riffs and solos so it was still fun to cover. For my take I went for a jazz-ish cover, since it's a style that comes somewhat naturally to me and wouldn't require me to hunt for any collabers. I also didn't have much time to do the remix for several reasons (work and the death of my computer among them) so yeah, it was kind of a miracle I even made it in time... Somewhat unexpectedly, given the circumstances, my track was actually the winner of the competition so yay me I suppose. K, as usual I'll highlight some parts of the source to make judging easier. 0:08 features the first main melody of the source, 0:15 features the second main melody, 0:22 we'll call the "arpeggios" section, 0:34 is the "funky riff", 0:48 is the main solo and 1:26 is the outro. Now, for my remix: 0:00-0:04: Intro, taken directly from the source. I raised the BPM a little bit, from 128 to around 138. 0:04-0:32: First solo, the chord progression is based on the "arpeggios" of the source while the lead is based on the first few bars of the main solo. At 0:18 I change up the chord progression a bit while the synths plays something similar to the arpeggios part. 0:25 has a fun synth run! 0:32-0:52: Main riff returns with a funky bass and then we enter into the first main melody over a different chord progression. 0:53-1:14: Slowed down version of the second main melody followed by a return to the main riff. 1:14-1:53: Arpeggios section followed by another synth solo, reprising the chord progression from the first solo. 1:43 has a weird piano/synth run that acts as bridge. 1:53-2:53: Funky riff followed by 2 solos. 2:07 has a polyphonic solo, I don't do them often but it was fun, I wanted the 2 solos to feel different and that was a good way of doing it. 2:22 has a more standard synth solo over a jazzy chord progression (gotta love them stacked 4ths). The ending of the solo at 2:49 is also the ending of the solo from the source. 2:53-3:14: Reprise of first main melody and then second main melody. 3:14-end: Outro of the source covered pretty directly. That's it, hope you enjoy my weird take on this iconic Follin theme! Games & Sources Game: Pictionary (NES) Source: Title Theme.

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Man, this was great. Chrono Trigger's done to death, no doubt, but look at what you're working with. Are you going to skip a creative "Secret of the Forest" arrangement? NO. Great fundamentals here in terms of lengthy EDM, where you have a gradual build as more and more elements come in before the main verse finally arrived at 1:30, as well as breakdowns like the subtle dropoff starting at 2:59 and eventual ethereal rebuild leading into 4:14. Though the energy was still great and the overall approach was transformative, 4:45 sounded like a retread section until 5:44 added something new by combining different parts of the source together until 6:14 (which was a very cool idea). Repetition wasn't a big deal in the big picture when the arrangement was so creatively developed and expanded to begin with. ABG might feel like creating this piece was analogous to putting on a comfy old T-shirt that still fits nicely and looks good. It takes you back. That said, enjoy the music of someone whose been out of the game for a while but, in reality, never, ever lost a step. ;-) Shawn, it's was a true pleasure to have you back in action. Please keep 'em coming!

(Aaron wanted two tiny spots of loud sibilance corrected.) ad.mixx's comments: This song was a fun one to work on. I had the idea while going through and listening to some old Touhou songs, and the source is actually from the same game I tried remixing a long time ago. That one got rejected, but I'm back at it again this time with singing involved. All I did production wise was the vocals, piano, koto, and one synth in the chorus. Chimpazilla came through with everything else and brought a beauty to the song that I never could have imagined when first working on it. She absolutely killed it with the drums and bass and added a bunch of details with chords, strings, synths, and transitions that really made this song sound 100%. The meaning behind the song is pretty simple in my opinion - it's a breakup song. Think of something like Tyler the Creator's "EARFQUAKE" and you pretty much get the gist of it. It hurts to break up - you feel like you lose a piece of yourself in a lot of ways, and I tried to capture that moment in time to the best of my ability, even though it was so long ago ("everything's getting so blurry"). The vocals and game actually have nothing to do with each other, like my past remixes here, but I felt super inspired by the doujin project "FELT" and how they write their vocal remixes (again, having nothing to do with the games themselves). I wanted to try to transform the song into something a little prettier much like they do, and I think Chimpazilla and I succeeded on that front. This one was incredibly difficult to sing because the melody is so much more complex than anything I've ever done, but I hope everything is up to par with OCR standards, and I hope the judges enjoy it. Chimpazilla's comments: Aaron said "all I did production-wise" but he isn't giving himself enough credit! This remix is his source choice, his concept, his arrangement 100%, his lyrics, his vocal performance and processing, in addition to his piano, koto, pads and fx. Aaron sent me an initial wip of this arrangement with his first sung verse, and I was hooked. It had such a haunting beauty already in wip #1. I added the bassline and drums, sweepy pads, a few plucks and details, a couple of transitions, and I mixed and mastered it. Aaron and I work very well together, with our ideas complimenting each other pretty seamlessly. This track came together rather quickly to about 90% completion and then went on hold for nearly a year due to LifeStuff™. Aaron reached out to me a few days ago with a completed vocal stem, and from there the track was finished and polished in two days. I had never heard this source tune before Aaron sent me his wip, and I was surprised how different his wip was from the source in vibe and energy. One thing I love about both the source and remix is the use of triplets throughout the arrangement. Aaron was able to maintain all those triplets in his vocal writing and it gives the piece a very nice flow I think. Aaron stayed very true to the source melody, but he added such amazing variations (such as the end of the chorus sections "and still I find I'm in love") as he crafted this arrangement, making it flow to express what he wanted to say. He even included the trucker's gearshift modulation in his arrangement! (and it is seamless!) I can appreciate how difficult this was to sing. As Aaron mentioned, the melody is quite complex, and it covers a wide range of octaves too. I think he did a terrific job! This is really an achingly sad song, but Aaron and I managed to put together a soundscape that is so lovely, and I feel like the beauty of the piece adds a hopeful feeling to counterbalance the intense pain in Aaron's words. It was a joy to work on this! Stuck In My Head lyrics: Who's to blame? It's all the same The battle's won, still it's a goddamn shame We oughta not, it's best we forgot Leave it all to rot, yet I'm still thinking what it could be I'm stuck in my head making all the wrong moves The wails from the dead say I'm breaking all the wrong rules Who's to blame? It's all the same Our hearts are charred from the unruly flame I'm so tired of this Guess I'm just not that strong So now I'm trapped with my thoughts and this same damn song I'm stuck in my head acting like a damn fool The tales from the dead say I'm being way to damn cruel I've wasted all of this life So that my hate could finally feed It's crazy for me to think That all of this ends without a bleed Enough with the nonsense, I'm stuck on the offense I'm trying so hard not to lose It needs to be confessed, my troubles were repressed And now I'm just left here confused I'm bruising my own skin to hold down the demon And still I find I'm in love I can't stop with the fury I'm so sorry Who's to blame? It's all the same The battles won still it's a goddamn shame I'm so tired of this Thinking I did no wrong So now I'm stuck here just writing the same damn song I'm stuck in my head making all the wrong moves The wails from the dead say I'm breaking all the wrong rules I've wasted all of this life So that my hate could finally feed It's crazy for me to think That all of this ends without a bleed Enough with the nonsense, I'm stuck on the offense I'm trying so hard not to lose It needs to be confessed, my troubles were repressed And now I'm just left here confused I'm bruising my own skin to hold down the demon And still I find I'm in love I can't stop with the fury I'm so sorry Everything's getting so blurry I'm so sorry Games & Sources Touhou 10: Mountain of Faith Stage 5 Theme: The Primal Scene of Japan the Girl Saw

Hello everyone ! I made a new album (Black SeeD - Wings of Renaissance (2024) (Full Album) - YouTube, once again atmo/melodic black metal) which contains two VGM track, and here's the first one. It's a remix of "Invincible" from World of Warcraft. There is of course the main know theme (chorus), but the rest is there as well, especially part of the intro during the beggining and the break section of the song. Introduction is remixing the actual introduction of "Invincible", but it's really diluted. Chorus is repeated with added guitar sections and sort of counter melody with the breathy/airy pad. After the break, I've included a section from "Arthas, my son" which is the trailer version of the music (1:11 / 1:40 in the original song, 04:26 / 5:36 in my remix), getting back to "invincible" with the intro section remixed in another way again, and back to the chorus. This song once again takes inspiration from ambiant black metal (Part 3 (Like Music in the Night) (youtube.com). I hope you'll enjoy ! Games & Sources Game : World of Warcraft Song remixed : Invincible Composers : Russell Brower and Jason Hayes

@Emunator Need a source tune breakdown; help a brother out!

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Grandfathered in, since this would be a Standards violation for how it leans on the samples vocals as the source tune connection. I wish the beats evolved more, because you gets the untz untz (not “units units”, you dumb phone, don’t autocorrect me!), and not much more. I’d have not had the beats sound out over the top of the vocals so much, but it’s a style. :-)