Liontamer

Surprised I never commented on this. The quality's only a little bit dated in the big scheme of things, but this was still a beautiful piece that I'd love to hear performed on a live piano. Great haunting stuff from Matt that had subtle, but excellent dynamics and showed off his range when viewed alongside his other mixes. A old favorite of mine.

Nah, it was just too long at 18 lines. If I could have combined more, I would have!

Indeed, a really fantastic mix here. What the samples lack in realism (not that they were horrible, you just can tell they're not live players), this arrangement makes up for with brilliant interpretation and dynamics. If you wanted to hear an orchestra perform this theme live in concert, this would be a wonderful arrangement to work from. Nice work, Steven!

Oooooh, drama, where do I sign up! I talked with Dan about this one way back at Nerdapalooza, so my bad for not voting on this earlier. I was talking to djp about it and he agreed that the commentary here was slim and deserved more, so our fault about that. That said, this whole song is purposefully presented as a travesty, both with the ideas and the execution, so I'm not sure how a NO (or a NO with short ROFLOL commentary) is a surprise, but let's look at it. Overall, I liked the arrangement ideas. That said, the sound of the execution is too weak, by design, for me to pass. The robo-vocals being mostly impossible to understand without the lyrics definitely took this down some as well. We can laugh about how it's probably better than you actually can't understand the lyrics, but the robo-voice effect just hits a weird (and crappy) middle ground where the lyrics sound like poorly attempted words and without going all the way toward Animal Crossing gibberish. So getting into it, whatever that first loud synth is at :08 is just brutal to listen to; it's done like that on purpose (durr), but it still sounds too loud/abrasive/default/amateur/ghettofabulous/poop. OA mentioned transitions being weak, but I didn't agree at all. 1:02 to the strings sounded swanky as hell. Dayum, didn't know you rolled like that; nice work there. 1:46 and 2:07 (announcing the changeup even) were perfectly fine as well. The 3:03 transition back to the Galaxy Man melody was fine. Not seeing many problems. 2:29 was the one (and only) jarring change. The transition was (purposefully) weak, but not a big deal in the big picture. That said, the vocals were definitely mixed into the music the worst for that section, coupled with more loudly mixed, over-the-top ugly, vanilla default synths. Meant to be horrible and pulling it off nicely, it just doesn't make for a something that actually sounds good. So the main issues for me: 1) The robo-vocals were too unintelligible, 2) the robo-vocals were also significantly cluttered by the synths for the 2:29-3:02 section, a decent chunk of the track, and most importantly 3) the purposefully jacked abrasive synths throughout most of this actually sucked so bad, it hurt the listenability too much. It's not sophisticated on purpose, but for here, at today's bar, it can't sound that jacked. A purposefully bad ROFLOL travesty track that wins at sounding terrible doesn't necessarily make it a win for here. Independent of whether it's hilarious or not, it still has to have reasonably sophisticated sounds and overall quality for the pass. No hate, but sorry, Dan. I still would spoon you like a brother or other bald-headed non-family member. NO

This game actually has some pretty good cuts on it! Checking out the original tracks makes you really appreciate the depth of the arrangement here. Awesome work, Justin!

Definitely a unique spin on a theme where only the best will do. Way to kill it, Jon! Great work putting this together!

OC ReMix Presents BadAss: Boss Themes Remix Album! December 6, 2011 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 30th arrangement album, BadAss: Boss Themes. The album, directed by OC ReMixers David "The Joker" Puga and Pieter "pu_freak" van Os, features 20 artists producing 18 boss theme arrangements from eighteen different games in a variety of dark, gritty, foreboding styles and genres. BadAss is available for free download at http://badass.ocremix.org. This album was made to show exactly how BadAss these antagonists are, and honor them with music befitting of their villainy. BadAss was made by fans, for fans, and is not affiliated with or endorsed by any of the publishers or developers of the original games; all original compositions are copyright their respective owners. "The concept of an album made up entirely of boss themes conjured up a certain feeling; a certain state of mind. The album needed to encapsulate the idea of bosses by featuring dark, visceral, and aggressive tracks," said album director David Puga, whose efforts have resulted in fusions of rock, orchestral, piano, industrial, electronica, ambient, house, and metal in tribute to some of the baddest men, women, shadow organizations, and otherworldly creatures to ever wreak havoc in games. "We're unleashing hell on an unassuming populace! Can you feel it?! Can you hear it?! That’s the sound of ass-kickery of a magnitude previously unheard of!" Twenty artists collaborated on musical tributes to some of gaming's biggest evildoers, including: Sephiroth, Kefka, Jecht, Gilgamesh, and Ultimecia (Final Fantasy series) Vergil (Devil May Cry 3) Laughing Octopus (Metal Gear Solid 4) Donkey Kong (Donkey Kong '94) Luca Blight (Suikoden II) Nightmare (Legend of Zelda: Link's Awakening) Dr. Wily (Mega Man 3) Dracula (Castlevania series) Astaroth (Shadow Hearts: Covenant) Cobra (G.I. Joe) Ridley (Super Metroid) Saren (Mass Effect) Shredder (Teenage Mutant Ninja Turtles IV: Turtles in Time) King Dedede (Kirby Super Star). Following the release of OCR's faceoff against The Bad Dudes in Heroes vs. Villains, BadAss is OC ReMix's second album angled toward video game villains, and the first completely focused on the dark side of gaming history. "We searched the planet for the most BadAss of artists to contribute," said assistant director Pieter van Os. "BadAss, as an album, is really something to be proud of. I think everyone with a taste for BadAss music will love the result of our effort!" About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview it: Download it: http://badass.ocremix.org Torrent: http://bt.ocremix.org/torrents/BadAss_-_Boss_Themes.torrent Comments/Reviews: http://ocremix.org/forums/showthread.php?t=37891

Preview it: http://www.youtube.com/embed/HjV0fIXFtgI Download it: http://badass.ocremix.org/ Torrent: http://bt.ocremix.org/torrents/BadAss_-_Boss_Themes.torrent BadAss. Hardcore. Ass-Kickery, if you're dirty. These are the words I used when I officially announced BadAss back in March of 2009. The origins of BadAss begin a few years earlier. It was 2006, and a guy named Pi_R_[]ed decided he wanted to make a project that was nothing but boss themes. Kanjika joined up as the co-director and they made a good push with it. I eventually joined up, as did pu_freak. This incarnation was called Crescendo to Chaos, and while it was a great concept, it still felt like something was lacking. I always felt that it needed to be harder, grittier, and simply more evil than it was, you dig? The concept of an album made up entirely of boss themes conjured up a certain feeling; a certain state of mind, and this wasn't delivering it. Crescendo to Chaos eventually went defunct. Where many saw a loss, I saw a glimmer of awesomeness. With the encouragement of Kyle Crouse and the support of my assistant director, pu_freak, I re-launched the project with new guidelines: "Everything must be BadAss! Can you hear me, damn you?" The album needed to encapsulate the idea of bosses by featuring dark, visceral, and aggressive tracks. The name was changed to BadAss for obvious reasons, and here we are today. I'd be remiss not to thank KyleJCrb, evktalo, and everyone else at the KNGI Boards for all their contributions, so thank you guys! To every artist, ReMixer and graphic artist alike, I salute you! You all indeed are BadAsses. We're unleashing hell on an unassuming populace! Can you feel it?! Can you hear it?! That?s the sound of ass-kickery of a magnitude previously unheard of. We're not just gonna win, we're gonna change the game! We are BadAss. Hope you enjoy the ride! -The Joker

Time for a new thread for Volume 2!

djp's too busy at work today (pwnt), so you're likely going to eat your beard, but the release is scheduled for tomorrow/ASAP and we're getting everything into place on my side. Sorry for the wait, y'all, real life is a B!

http://ocremix.org/info/Credits

Hopefully someone got some footage!

Well played.

Waltz time. http://ocremix.org/remix/OCR01459/ The tempo here is too fast to dance to, unless you time your moves for every 6 beats rather than every 3.

No idea why this mix ended up being polarizing, when it's obvious it has so much creativity and emotion behind it. There are aspects that could be improved in the execution (as were pointed out in our votes), but those were minor in the big picture. The vocals definitely weren't one of those things. The Radiohead comparison made all the sense in the world. Whether a mix represents the mood or story of the game it's arranging makes no difference to how the judges vote. But that said, the backstory and imagery behind the mix completely justify the risky choices made here and add another unique layer of enjoyment. The super extended intro and build. The minimalism. The vocals. Everything Neil did here comes together with such a synergy. Very, very cool.

Beatdrop is here to PUNCH YOU IN THE FACE WITH SOUND! This is one of the most badass, hyper-compressed, head-exploding tracks to EVER grace OC ReMix. This track is AWESOME. And the way Dain fleshed out the theme made me completely forget how unbelievably barebones and spartan that source tune was until I revisited it. An absolutely amazing, transformative job on this.

Such an awesome take. And IIRC that's a Garageband loop that opens up the track. Wherever the loop was from, it fits well. Light jazz really suits Chun-Li's theme, though I would have never expected it. Along with the AWESOME synth writing, and fun comping, the ideas in this mix really shine and are such a great example of the creative interpretation that makes artists like Malcos & RTF and the community at large so great.

Uh oh, fellas, get your lady and turn the lights down LOOOOOOW! Again, awesome job on this to both Hemo and analoq. I'm feelin' the flow.

Yep, not a groundbreaking arrangement, but the bar for interpretation was a lot lower at the time with OCR being less than a year old. That said, Chris did a great job achieving a more personalized, unique sound for the theme, which is why it earned its place in ye olden days. A conservative, but still fun spin on a classic.

All this harping on fadeouts here. "OMG, U CAN"T DOO THAT!" That's such an overblown criticism. /shakes fist The pizz strings were definitely the money shot here (awesome writing, and I loved the delay effect on 'em), but this was another mix I ended up enjoying a lot back in 2002 as I went through the entire OCR collection from A to Z to not miss out on any cool mixes. I didn't know Super R-Type's soundtrack, but once I heard the original "Solo Sortie," I loved it. An amazingly catch source tune. The instrumental choices did kind of take some of the groove and emotion out of this compared to the original, but there's no rule against that when the aim is to present something interpretive and different. I thought Beatdrop pulled off a more desperate-sounding take that gave off the imagery of a chase scene in a futuristic space shooter game. The approach works just fine for me. Nice work!

(Arguably) a bit too long, but as I said in my vote, LOVE IT! This is how you do a lot with a little and go the expansive instrumentation route of adding more parts to supplement a short, simplistic source tune. Criminally under-appeciated.

Damn, how'd I not comment on this? Short and sweet, this is an excellent jazz interpretation of a great theme. I'm partial to the sax performance, as some of the synth attacks (if you will) during that solo sounded a bit too quantized and stiff, but the overall arrangement pieced together nicely and flowed well.

Forget these haters. What this track lacks in bells and whistles, it makes up for in fun. Mattias understands that, unlike these other dum-dums. It's straightforward (and by now, dated), but it's also infectiously happy and groovy. Anyone saying otherwise has a cold, unfeeling heart. I also don't agree at all that this mix isn't "a promising sign of what OverClocked Remix would become." Along with several other earlier tracks, djp's posting of this set a precedent where we don't have bias against any game music being represented, no matter how obscure. That is what we call brilliant.

This was definitely one of my old gold mixes back in 2002. When I listened through each and every mix at the time, this was one of the ones I enjoyed that was from a soundtrack I wasn't familiar with. The mechanical piano that opened things up shows its age, but otherwise I thought this had the chill aspect represented well. The Pancake Chef is definitely a talent who I wish stuck around to realize his full potential. Hopefully, he's still making music out there somewhere.

I poop on these debbie downer reviews. There were no major flaws here, so all that "*YAWWWWWWN*" nonsense needs to GO. The structure's very purposeful, regardless of whether a lazy listener doesn't see the bigger picture of the arrangement. And as I noted in my vote way back, DAYUM what a finish. Great changeup to pick things up and end the piece strongly. A very under-appreciated mix.