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HAPPY SILKSONG DAY! OC ReMix and DaMonz present A Knight (for a Knight)! September 4, 2025 Contact: press@ocremix.org ATLANTA, GA... OC ReMix is proud to present DaMonz's A Knight (for a Knight), Canadian game developer & composer Emery Monzerol's earnest tribute to the celebrated indie platformer Hollow Knight, released in celebration of today's launch of long-awaited sequel game Hollow Knight: Silksong, scored by Australian composer Christopher Larkin. A Knight (for a Knight) features four mellow, lo-fi-inspired arrangements of music from the original Hollow Knight. The EP also features cello performances by Monzerol's mother Christine Giguère, making the EP a family collaboration. The visual artwork was created by Annie Doyon, creator of the album art for 2017's Mirror Image: A Link to the Past Remixed. A Knight (for a Knight) is available for free download at https://knight.ocremix.org. "Hollow Knight holds a very special place in my heart, because playing that game was a very crucial moment in my recovery from pretty severe depression," shared album director DaMonz. "Working in a big game company had been siphoning out my passion for a while, and Hollow Knight was the game that reminded me why I was doing what I was doing. I will forever be grateful to Team Cherry for essentially saving my life! A Knight (for a Knight) was produced to help promote video game music, was made by fans, for fans, and is not affiliated with or endorsed by Team Cherry; all images, characters, and original compositions are copyright their respective owners. "This whole project initially started as just a single short lo-fi-ish remix just to mess around a few years ago," Monzerol noted. "Just as it so often does, it spiraled almost out of control in the classic loop of "just a little more", until it became the 4-track EP that it is now! A Knight (for a Knight) is DaMonz' sixth OC ReMix album in a director role. The EP's tribute to Hollow Knight, now makes the hit indie game the most recently released game represented by an OCR arrangement album. Also released under DaMonz' leadership were OC ReMix community albums Songs of the Sirens: Link's Awakening Remixed, Hometown Heroes: Town Themes Arranged, Mirror Image: A Link to the Past Remixed, Super Mario RPG: Window to the Stars, and an arrangement album for his Shuttle Rush indie game soundtrack entitled Shuttle Remix. 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. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676). ### Download it: https://knight.ocremix.org Torrent: https://bt.ocremix.org/downloads/A_Knight_(for_a_Knight).torrent Comments/Reviews: https://ocremix.org/community/topic/61206/

Download A Knight (for a Knight): https://knight.ocremix.org Full album on YouTube: https://youtube.com/watch?v=Hzwog2S6PVA&list=PLWk40K1PeZwEWrulLOA2Ms4wbX099KeCx&index=1 Torrent: https://knight.ocremix.org/downloads/A_Knight_(for_a_Knight).torrent This whole project initially started as just a single short lo-fi-ish remix just to mess around, about two years ago I think. And just as it so often does, it spiraled almost out of control in the classic loop of "just a little more", until it became the 4-track EP that it is now! Hollow Knight holds a very special place in my heart, because playing that game was a very crucial moment in my recovery from pretty severe depression. Working in a big game company had been siphoning out my passion for a while, and Hollow Knight was the game that reminded me why I was doing what I was doing. I will forever be grateful to Team Cherry for essentially saving my life! Now, enough with the heavy stuff. - DaMonz

Sounds like a straightforward beefed up version to start, and then we get a left turn at :15 and that's when I realize it's indeed on with some POWAR at :22. Would have loved the guitar timing everywhere to be more fluid, especially knowing what Shreddage is capable of. The folksier shift at 1:43 was beautiful, followed by the acoustic-focused close. Loved your submission comments, Argle; kudos for stepping up to make the kind of arrangement you wanted to see and for stretching your creative range to make it happen. :-) A lot of dynamics packed into a quick one, this authentically felt like a Smash Bros.-style rendition! YES

Artist Name: Argle This one is quite interesting... I have always loved the DKC2 soundtrack despite never coming close to finishing it (or any other DKC game). And Jib Jig always made an outsized impression on me for the short amount of levels you actually hear it in and the tiny length of it... It is 100% a certified bop. Back in the spring I had such an obvious idea for this source -- a folk/symphonic metal rendition -- that I went looking on OCR and Youtube, sure that I'd find it'd already been expertly done by someone else. To my complete surprise I couldn't find it anywhere. I didn't check DoD so I can't say for complete certainty that no one's done it... but... like, really? There are SOME rock or metal renditions on the 'Tube but none I found that combine the folk and symphonic elements. So I guess the old saying applies, be the change you want to see in the world. I'mma be very honest... I absolutely feel that this song needed to exist, but I really don't think I was the right person to do it. But since apparently no one more qualified did, you get this! I'm a big metal fan in general, and in particular of the bombastic style of Rhapsody (of Fire), so I was eager to try my hand at the style. The single primary influence of the song was definitely Diggy Diggy Hole by Wind Rose, a song so catchy it even won over my wife, a card-carrying metal hater. As I said I'm a big metal fan but NOT a metal musician, and since everything is virtual instruments it was a real challenge to think like a metal guitarist and drummer and dive deep into samples I have to get the best out of them. Tremendouz helped me out with some of the finer points of Shreddage so props to him for the assist. I said everything was VSTs but that's not completely true, I cracked out my cheap-ass violin to play it here... I play the violin a few times every decade so this is one of them, lol. I actually had a great time making the song, but I'd be lying if I said I don't feel some degree of imposter syndrome submitting a track I feel should have come from someone else. But, such is life. Games & Sources

Relatively minimal, yet occupies the space well. Good punch to the beats and kicks, even with such straightforward patterns, and a good amount of fuzz and muddiness to add some stylistic grime without undermining the presentation. Very smart arranging of the source, having it present with multiple lines of instrumentation at different speeds and constantly sprinkled in; when I caught that slowed down backing line functioning almost like a pad (first at 2:55), that was a tip of the cap from me in terms of low-key and sophisticated source usage, which I always enjoy spotting. Nice work, Lucas! :-) YES

The track was 3:12 long, so I needed to hear the source tune in play for at least 96 seconds for the source material to be considered dominant in the arrangement. :30.5-:44, :45.75-:59.5, 1:00.75-1:14.75, 2:02.5-2:16.5, 2:18-2:31.5, 2:33.5-2:47 = 82.25 seconds or 42.83% Some percussion patterns, as basic as they are, are also taken from the source (and expanded on), for example from :15-:30 before the start of the melody, so that more than pushes the source usage into the majority of the track length. Great job also having original beat-writing that was obviously inspired by the overall flow of the original track; everything fit like a glove. The sax sample from 1:32-2:02 was limper than a wet noodle, but it was the only thing I would have changed about this piece. Otherwise, the sound design was awesome; loved the scratches, voice FX, vibes, beats, shakers, everything about this. What a commendable job giving such a minimal theme -- only 16 beats -- a coat of personality [sic]. Boom bap goes the dynamite. Ridiculously good, Garrett. :-D YES

Cool approach giving these themes a darker mood and harder edge. To me, the high end of the sequenced bowed string lead was shrill, but I'll live. Love the blocky percussion accents thrown in here. Really interesting shifts in the textures in tandem with the theme tradeoffs. Small detail, but what great tension with the usage of the heartbeat SFX at 2:42; very menacing! I wanted the core beats to have a thicker sound, but the overall sound design and mixing hit hard and had a wide sound. Really strong way to personalize the treatment of the sources, timaeus, this sounds like you had a blast experimenting with some bold sound choices. :-) YES

Artist Name: moebius Credits: Euridice (Vocals): Azmodea (no profile yet) Orpheus (Vocals): metamoogle (https://ocremix.org/artist/18634/metamoogle) Drums: Moebius/paradiddlesjosh (https://ocremix.org/artist/18711/paradiddlesjosh) Mastering: Cyril the Wolf (https://ocremix.org/artist/5473/cyril-the-wolf) I wanted to give “Good Riddance” a metal twist, so I reharmed the whole thing and basically kept only the sung melodies. I also slipped the title track “No Escape” in as a short intro to lead into the song. Structurally I added a second chorus between verse 1 and 2, and dropped a solo in before the final verse. Once the arrangement was nailed down I brought in two awesome singers who totally delivered. Big shoutout to paradiddlesjosh — he helped me sort all the drum kinks and his input was huge, so I gave him co-credits on drums. And Cyril got the mix into mastering shape and absolutely crushed the final master. Technical Notes: Guitars (all Shreddage 3.5): Lead - Serpent Rhythm L/R - Jupiter / Hydra Dreamy chords - Archtop Bass - Abyss All guitars went through Guitar Rig 7 Drums (all Ugritone): Kick - FLD Prestige Pearl Session 22 open Snare - AR Ludwig Supraphonic Rest of Kit - Ugritone Manik Mercinary House Pearl Other VSTs: Scarbee Clavinet Games & Sources Hades - No Escape (only in the Intro) Hades - Good Riddance

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Artist Name: Matt Frequencies It's been 6 months since I last had a go at submitting - in the meantime, I've been refining my style, and a lot of life stuff has happened, so feeling brave enough to have another bash. This track is kind of a 'magnum opus' moment of all the things I've learned in the last period - everything is new, synthesiser wise, no sampling of the original track. I've leaned into writing 'stories' in music, and this song was a prime candidate for that - a very dual natured song, a hostile dangerous theme contrasted against a heroic moment, I've always seen it as a tug of war between Sonic and Robotnik - so I decided to extend that out, instead of looping it, this song tells the story of that massive clash up on the Death Egg with each main section having a different focus and meaning. I've called it "Massive Arms" because of the epic cinematic vibe I was going for. Technically, this was made in Reason 13, with the main organ, choir and bass tones coming from my 1991 Yamaha TG100 I inherited from my brother. The lead square and guitar tones are the Europa rack instrument, and the drums are a combination of sets that I've enjoyed using in my other songs, one a bit darker/meaner than the other. Lots of sidechain and automation going on in here. It's still a very highly compressed song as I made it to use in my DnB sets when I DJ live, and it needs to stand up against some of that really intense music from the likes of Doctor Werewolf or Pendulum, both of which I used as references for mixing, but hopefully this time around - a bit less fatiguing to the ears. The biggest technical shift for me has been learning to use the stereo field to really help things stand out where they need to, and there's a LOT of that going on in this track, so I hope you enjoy the ear candy! Games & Sources Sonic 3 - Big Arms (Final Boss) -

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Interesting to get beat-driven more than halfway through; ah, it's just a crescendo of sorts, I got ya. Yeah, this is nice. Lovely theme variation by virt, and y'all did well in fleshing it out further as well as liberally sprinkling in some chiptune-esque spices to stay true to the style of the source. :-) YES

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Should be good now, thanks for the catch!

The track was 3:49-long, so I needed to hear the VGM used for at least 114.5 seconds to consider the source material dominant. :00-:33, :42-:48, :53-1:44, 2:03-2:37, 2:46-3:48 = 186 seconds or 64.35% source usage A good clip of the source usage was from the bass as a supporting part, but this was the only track among the 12 that invoked the source tune throughout most of the track. If you further explore (presumably human-made) music-making further, this was a more connected end result, relative to the original VGM, and thus the most cohesive piece of music among the group. Dynamically, the sections still felt fairly repetitive aside from different lyrics (though the GenAI vocals do a decent job of creating different variations and inflections, all things considered), all of the instrumentation and vocals had a warbly/buzzy quality throughout so the mixing quality's not strong, and the lyrics come off like trope-y GenAI again (including the spoken-word aside as a conclusion, enough already). NO ----------------------------------- Checklist: - Warbly vocals - Lyrics also feel AI-prompt generated, too on the nose with the rhyming, always extended character meta-narratives - Dynamics possibly undercut by limiter on volume Sorry if my perception of this undersells how much actual human-generated content is there, Craig. If I had to bet on it though, this comes across like prompt-generated lyrics and the song structure isn't dynamic enough to feel like it's mostly Craig's direct input on this. I definitely don't want a trend of people sending AI-generated content here, no matter how good it ends up being. The aim is to highlight skill, intention, and creativity with human-created, human-written, human-produced music. When you take human decision-making out of the equation, even if the end result sounds good, it wouldn't be people genuinely creating the music. ----------------------------- Alright, so I've listened to all 12 tracks and wanted to give some other thoughts that go broader than the submission. 1. I can't take Craig's claim at face value that these tracks weren't substantially, majority, or totally GenAI. That means compositionally, not just the lyrics or vocals. 2. I recognize that people will want to use it as a creative outlet, it makes music "creation" more accessible, and it can be made with good intentions, and we'll potentially get more AI-related submissions in the future. 3. We have already approved a track using AI elements. Synthesizer V was used for the vocals in https://ocremix.org/remix/OCR04711. That was a case where a musician licensed their voice for the product (rather than AI being trained on stolen content). The arrangement had been previously made/submitted a decade earlier (the first version's linked in the writeup), and this was an upgrade in the sampled vocal quality, not generative writing. There can be ethical instances of AI usage within a product. That said, context is everything. 4. GenAI content is against the spirit of music I personally want to hear, even though it'll continue to improve and evolve. I've gone down the rabbit hole some to find VGM arrangements involving GenAI. Some sounded promising from a music quality standpoint and were, structurally, more in line with VGM arrangements we'd accept in terms of source theme usage. Even this Animal Crossing submission sounds like a viable enough concept. 5. GenAI content could eventually become sophisticated and/or ubiquitous enough that it cannot be effectively screened or identified. (What about cases where someone claims to have referenced GenAI music for creative ideas or as a mockup that's then performed by real musicians? I suppose we cross that bridge when we get there.) 6. Even if there came to be ethical GenAI music (i.e. that only legally trained on approved/licensed/permitted content and was transparent in sourcing/crediting), that wouldn't be a human-created work. 7. IMO, we should explicitly add a clarifying bullet to part 2.1 of the Standards to say that we don't want tracks involving generated part-writing, composition, or arrangement, that we only want human-created music. 8. I'm disappointed at a future where we'll need to be more forensic, more skeptical, and less trusting about the steps used to create music.

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