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Artist Name: Michael Hudak I wanted this remix to be as if the listener were in the environment. It was an experiment in creating different lived-in spaces with a lot of different reverbs, some used as sends and others as inserts, often time layered into the same instrument or mix bus. Animal Well takes place in what's basically an enormous cave with dozens and dozens of rooms, so I thought it made sense to make it sound cave-like from a thematic standpoint (and even if it didn't, I guess that would be fine too, now that I think about it...doing a remix in this style from another type of game could be fun to try). Overall, it's similar to what I did on the GoldenEye mix I made, but here I took things a step further in terms of telling a story, because I tried to recreate moments from the Animal Well game itself, down to "defeating" the Manticore with fireworks, and inserting a lot of animal sounds (that aren't from the game - I recorded/made them) into the quieter rooms of the cave/well. The Flames/save room theme has some very close sounds (as do moments of the driving percussion earlier on) panned close to the ear, to kind of simulate moving through an area. I've used this kind of "technique" before on OCR, definitely on the Tiberian Sun mix, and a few others as well. I do 95% of my arranging and mixing with over-ear headphones; maybe my obsession with near and far sounds wouldn't be what it is if I had my old studio monitors and mixed in a treated room. Source usage: 0:26 - 1:43 and 1:54 - 2:19 in remix is from MANTICORE. The quieter middle sections use the same riff and chord progression, but in half-time. 2:26 - 3:00 in remix is from FLAMES. Thanks for listening, as always. P.S. I think there is an official soundtrack release coming out soon for Animal Well, so maybe a more accurate track-listing will become available then. Games & Sources The game is Animal Well, which I played on Switch. There actually isn't an official OST track list that I could find online, so I'm going off of what YouTube is calling the two tracks I remixed here: MANTICORE (essentially the final boss music) and FLAMES (essentially the rest area/save music).

Artist Name: Audio Mocha, AnimeVivi, EndlessRepeat For a while, I had Snake Eater in my head but as a funky kind of tune. I've been more active on TikTok the past few months with performing little snippets of game music and I thought to finally do Snake Eater. I whipped up a backing track for it in Band In A Box and put out a little video, not thinking much about it. Little did I expect that it ended up being my biggest video ever by a massive shot and ended up getting tons of requests to make a full version, which was something I was more than happy to do since I absolutely love Metal Gear Solid 3! The one funny part that I didn't expect but then came to realize is how much people would associate my take on Snake Eater with Persona 5. Even though I love Persona, I had never made the connection with my version of Snake Eater so when I recorded it, all I thought was "this is what MGS3 would sound like if it was a Blaxploitation movie like Shaft". When everyone online started drawing parallels to Persona, I started to see it and then started getting images in my head of a young Solid Snake infiltrating Big Boss' Palace and this being the music that played in the dungeon. These visions are what finally got me to realize the perfect title for this remix, since before, my project name for it was just Funky Snake Eater so in a huge way, the community helped me get a clearer vision of my track. With the pressure of releasing something soon and with a few VGM gigs coming, particularly VGMCon 2025, I thought to myself "I've never done a live song release before, let's try that out". It especially helped that since I've gotten into the habit of running my live VGM shows out of my laptop and lightly managing the sound from there so every performance actually ends up recorded anyway. What made it specially fun is that I'd be performing with two friends of mine, AnimeVivi and EndlessRepeat so I fleshed out a more comprehensive arrangement of Snake Eater to include more of the calls and responses from the original song for them to perform with me. We had a great time during the gig and despite a few hiccups, I ended up with a pretty good set of both audio stems and MIDI play data to work with. After doing a bit of cleanup and feedback from GameGrooves (since by pure luck, they were having the Summer Of Sony for 2025 and Snake Eater was eligible for it), I finally have our recording of our live performance of The Snake Eater's Palace, Outer Heaven! Hope you enjoy! Games & Sources Metal Gear Solid 3: Snake Eater - Norihiko Hibino

Artist Name: TheManPF Additional artists: Zach Chapman Randomly felt like submitting something today I originally submitted this to Dwelling of Duels back in November for David Wise month, I wasn't planning on submitting cuz I was out of ideas, and a week before deadline the inspiration hit to make a pop punk banger because I felt like it. Krook's March is my favorite song from one of my favorite soundtracks from one of my favorite games, but if you know me at all, I usually don't like making straight covers, it's just not interesting or fulfilling to me, I have to slap some weird shit on it because I can't help myself, so instead of amplifying the darkness and drama of the original, I went full 180° and turned this into a happy hopeful pop punk anthem, I don't have any particular influences for it but I was listening to a bunch of Blink-182 and Good Charlotte at the time, so that might have done it. I gave Zach a loose concept for the lyrics and he wrote the words over a weekend, the point is that this song plays in "Toxic Tower", a very infamous level, since I took the song in the opposite direction, I figured I would do that with the lyrics as well, this is about detoxifying, cutting out toxic relationships, and practicing self care, the first half is a cliche story about sticking together through hard times, but the second half is about recognizing the red flags and letting go of those relationships that hurt you for your own sake. I arranged this in a rush in like 3 days, had the lyrics done during the weekend, and recorded/mixed it in the remaining 2 days before deadline, I originally was gonna have another person sing it because I'm not great with pop, but naturally couldn't find a singer due to the tight deadline. I'll probably update it at some point, but for now, I think this is good enough. This placed 20th out of 34 tracks, I guess my voice is a little bit divisive, whoops, Wise gave it a like on Bluesky though, I don't know if he actually listened to it, but the acknowledgement is nice Lyrics: I've climbed so long, so high Muscles burned inside Ripped myself apart on this odyssey If I could just Rise above the hate, I could Pull us from this pool of toxicity Left of us We'll do this One last time This could be so different All those times we said the same Promised to not leave you there Let's do this together Through the pain I'll keep my word Keep your heart (This is all I'm worth) Despite my own (Never mind the hurt) Climbed so long, I don't Know what else is left here When you were in my arms When was I submerged in this Pain and blame you flow with Here and now won't stand for more Stop this poison in my soul I deserve so much more For myself or no one at all For my soul I'll break my word Break your heart (Set myself free) For my own (Show love to me) Games & Sources Game: Donkey Kong Country 2: Diddy's Kong Quest Songs arranged: Krook's March (https://youtu.be/lw7Dv00zaao) Original composer: David Wise System: SNES Year: 1995

Original Decision Artist Name: Worlder I really wish the Audio File upload would work for me Dx I am again submitting this Electronic/Rock remix of Team Rocket Hideout Theme from Pokemon Red. It has of course, been changed a lot, although it is not a total rehaul of the instrumentation or anything like that. As mentioned in the original upload, this was heavily breakbeat influenced and also some techno/electronic music composition techni9ues have been used as well. Building intensity on the stacatto-played guitar part that references the main melody of the original theme (0:00-0:20) was the key idea here. Way back when originally writing this there were ideas for more parts, but the resulting structure at 4 minutes length seems solid to me and so I did not want to add more parts to what I already had as I felt it would just waste time or be messy. The timbre of the synth that comes in at 3:23 is also meant to vaguely reference walking around with a poisoned Pokemon, which you could expect to happen in the game area that this tune plays. - - - This is a resubmission, and so I must thank the OCRemix staff for the feedback on my earlier upload of this track. It can't be overstated how helpful and yet succinct the feedback was. There was some clean advice, and some of it was so obvious that I can't say what I was thinking. I think there are some good use of pans in this song, but retroactively I am unable to explain why the "solo guitar" section was completely panned. It should be easy to avoid such mistakes in future submissions. There were other pans that I brought in to be less wide as well. Apart from changes that directly address Pan/Dryness/Kick Drum, some changes to guitar tone and reverb have come with decisions to welcome a bit of difference in feel. Most notably, the section from 0:38-0:58 previously was where the energy kicked in more but still did not have a full sound. I feel now that the sound is full, and now feels like it is a "restrained" - for lack of a better word - until the next section. The guitar is more clear yet it is also more distant from the listener, so it's a pretty different texture here. If anyone who saw the original was wondering why this resubmission took so long - I lost all my MIDIs and had to rebuild the library. It was only a tiny bit painful. Anyway, the arrangement breakdown here should cover what needs to be said. Arrangement Breakdown: (Referring to timestamps in the video uploaded above) 0:00-0:20 - Stacatto type version of the opening melody in th source tune with a kind of "Spy Movie" type thing going on in the bass. 0:20-0:38 - To me what is kind of old school techno technique, repeating a small portion of the melody as a build up. 0:38-0:58 - End of the "intro" - this is referencing the same part of the original theme, but the music has become more filled in. 0:58-1:14 - This is a direct reference to the section of the original theme that plays 0:23-0:28 in. Instead of playing the turnaround that normally ends the progression each repeat, it's been combined with notes referencing the opening melody. 1:14-1:17 - This is 0:31 to 0:35 of the original theme. 1:17-1:43 - Turns 0:35 to 0:42 from the original theme into a repeating groove. Dynamics are carried by the drums here, in fact alternations in the drum patterns would be the primary tool to keep dynamics fresh throughout the song. 1:43-1:56 - This is 0:31 to 0:35 of the original theme. 1:56-2:32 - Fulfills the same dynamic as the section from 0:42 to 0:57 of the original theme without directly referencing it. It is sparse in the same way and precedes the song building up its intensity again. My remix is supposed feature the same elements of the original themes structure while also utilizing building grooves so that you get a chance to dance, and this is fulfilled primarily in these ending sections 2:32-2:38 - This melody is the bass line that the original theme instates from 0:42 to 0:50. Continuing until 3:03, where a synth lead line is introduced, which is referencing the bass line of the source tunes opening melody (or at the end theme, before it repeats, it can be heard on its own) These instruments work together and continue to build until 3:35 3:35-4:17 Reprise of the stacatto-ified opening melody of the original theme. Tasty 7th chord, end. Thanks for listening Games & Sources Team Rocket Hideout theme from Pokemon Red Version A biting aggressive track from the original Pokemon games with some dynamic softer sections. Arrangement Breakdown: (Link to Original theme for timestamps)

Like we wouldn't have them... :-D https://drive.google.com/file/d/1kbxL0oM6xsneNMq5fwCkAqKWgI93IIz5/view?usp=sharing

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Artist Name: TheChargingRhino This was originally composed for Pixel Mixer's PM Rockin' Mother series album. I exclusively used a VST called UVI to make this remix, and I decided to transform it into a sort of "80's remix" with synth basses and drums and various synths. Took a fourty-three second track and turned it into two minutes and thirty-three seconds of "head-bobbing funkiness". Threw in some cowbell from 0:58 to 1:54 (with pauses in-between), stacked two synth basses on top of each other (essentially combined a slap and funk bass) plus a few organ synths to change up that organ break in the original. I took liberties with the melodies for this, it sounds like the original, yet it sounds different too. Source breakdown: Original - intro, section A, organ break, Section A, Section B, Section A (cut in half), Section C/ending loop, repeat My remix - bass and drum intro; organ break (extended); Section A (greatly extended); Section A repeat with harmonic melody and altered/expanded ending loop chords); (mostly) original section with organ break, altered organ chords, and original melody; Section B (altered); Section C (altered); ending Games & Sources Game: EarthBound (Nintendo, 1994, SNES) Track title: Earth's Love Song (The Lost Underworld) Composer: Hirokazu Tanaka, Hiroshi Kanazu, Keiichi Suzuki, Toshiyuki Ueno Site listing for this - https://ocremix.org/song/26405/love-song-of-the-earth Song Link:

Artist Name: thebitterroost Featured on this awesome Pixel Mixers LP! Go check it out 😤 First two playthroughs are pretty 1:1 but adding some guitarmony and such, then I take components of the song (some cool arpeggios and such) and doomify them one by one until they have been reforged with the power of mehtuhl 👹 Let this song hopefully stand as proof that a fingerpicked acoustic guitar + proximity effect = passable bass. Drums/acoustic gtrs/workhorse mics/stock reaper plugs, guitars through Audio Assault’s (free!) Blacksun amp sim, bass through the free BoD VST, background MIDI arp twinklies courtesy of AiR Xpand! 2. Games & Sources Bloodstained: Curse of the Moon, Level 1: Moonlit Blade

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@Deathtank No links to A.I.-generated music, please.

Artist Name: The Vodoú Queen Finally, a Zelda arrangement in my grasp! MWAHAHAHA!!! Ahem, *evil C H A O S-filled cackles* aside, welcome to my take on Dragon Roost Island! Done for Pixel Mixers' upcoming Wind Waker: Songs of the Great Sea album, it was an absolute blast, pleasure, and I feel very lucky and grateful to have been able to snag the opportunity at such a popular track. It's definitely one of my top 10 favorite in the entire Zelda franchise / library, starting all the way from Gen 1 - the NES, and I certainly did not hesitate to put my all forth on this one. I still remember to this day the wondrous joy I got out of encroaching upon the land of Dragon Roost for the first time as a teen playing Wind Waker on release (damn, I feel old, lol.) Those castanets...that Spanish flamenco guitar, that Calypso-island, con brio beat. For years and to this day, no matter the medium, the context, or the remix this track has undergone, it still fills me with that excited whimsy and odd...happy-sensation of FINALLY finding land after aimlessly sailing across the vast Great Ocean for hours on end, and getting to explore! I don't know why this song in particular hit me like it did (most of the WW OST did, TBH, with how flavorful, colorful, rich and full of expression all the tracks were), but I seriously got hooked when--about 9 years after Wind Waker's release--I stumbled onto an outstanding EDM artist called Ephixa, who did a couple of dubstep Zelda remixes , and those songs were a BIG influence and impetus on me wanting to tackle some of the same iconic Zelda tracks, years later. I'm not entirely sure HOW to describe the process and making of this remix, as it all kinda came through in a blur; (I've been on an incredibly weird high and tizzy with a veritable hill of VG remixes for albums to conquer, lately, and with all that comes a lot of emotional peaks and valleys and moments of doubt and procrastination and banging my head against the proverbial wall to "make it before I break it [me]"...so. . . it's kinda hard ATM to string a coherent thought on that said process, when it's a lot more about feeling it sometimes than strategic planning--even though every mix I do has a fair share of plotting-things-out, as well.) As an old, not-born-in, but-raised-in Floridian resident myself, it's like being in a hurricane on the beach-front (and it's a WILD experience, let me tell you!) Not being fully musically-trained in the theoretical sense makes...writing it all down, laced in the jargon and the gear and the FX and the programming - for those music science nerd-out-types - all the more difficult and a struggle, haha. But, the major thing I was assured of in making this remix was that I wanted to strengthen my EDM-game. The only clear voice in my head the whole time was: "make your mark on this, sweetheart ♥." And I hope I did, as I do with all my mixes to-date. I thoroughly enjoyed listening to the wide variety of artist takes on DRI, both on here in OCR, and in the wider realms on Spotify, YouTube, SoundCloud, etc. I know most of them seem to take the form of Orchestral / Acoustic, or EDM, but I tried my best to make this one a unique and different spin. Is it Jungle? Maybe a lil', mostly Drum n' Bass-centric. . . Is it Tropical House? Well, it's got a very Polynesian-infused sauce, with various garnishes and spices borrowed from House, Dubstep and Trance. . . I don't know...but I'm sure Mr. Hemo or Mr. Liontamer will label this one another host to the 'experimental'... ;) Once again, I don't know what to call my work, or what to label it as, or how to espouse on 'how I did it all' with the fancy words and theory techniques and the music sheets, but its roots run deep, and I hope people listening to it find it to be that same, equal, captivating and explorative feel (and a banger), with that same level of wonder and awe I felt back in 2003 upon reaching the shores of the place that is known as Dragon Roost Island. :) Games & Sources THE LEGEND OF ZELDA: THE WIND WAKER OST; Disc 1, Track 38 - Dragon Roost Island; Artist(s): Kenta Nagata, Hajime Wakai, Toru Minegishi and Koji Kondo; Release Date: 2003; Label: Scitron Digital Content & Nintendo

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