Martin Penwald

This. Very, very enjoyable remix. No criticism at all. Make more. 'nuff said.

Interesting; I can definitely see that. Reminds me of some of blind's stuff, in particular G-Storm or the F-Zero Megamix, and that is always a good sign. At times, the main synth is a tiny bit too piercing for me, though. Would've liked it a little quieter.

Hehe, I know where you are coming from with this; the intro sounds like something you'd find in a Ricky Martin song. In fact, this remix sounds like the title song to a spaghetti western with Ricky Martin playing the lead role Nice synth around 2:00.

DAT VOICE Ska with female vocals is right up my alley, and Luiza delivers a wonderful performance; she has the perfect voice for this. The way the first syllables are emphasized in the first few lines ("I" am eating food...) sends shivers down my spine. I do agree that some of the vocals drown in the instruments; everything starting from "I'll clear out all the buffets..." to the end of that part is kinda hard to hear because the instruments overpower the vocals. Also, "I don't care if I'm too big to transport, roll me to the foods" for best line ever. As for the music itself, this is how ska is supposed to be IMO: a nice blend of punk of brass. I've heard some so-called ska where you had a trumpet solo somewhere in the song while the rest was straight-up punk, and it bored me to death. The mix of guitars, drums and brass we have here is what makes good ska for me. Amazing stuff. Hoping there is more where this came from.

Nice to see how well halc's sound meshes with the clean sound of Brandon's 7-string. I do agree that the percussion is a tad too loud, though. Good stuff.

This. When I read djp's write-up, I was somewhat sceptical whether the different elements (i.e. strings and scratching etc) could actually work together, but holy shit, you did pull it off. Kudos.

Had me nodding my head and tapping my fingers within the first 20 seconds. Breakdown around 1:20 is awesome. Guitar coming in at 1:50 brings the funk. More of this, please.

Very nice choice of instruments/synths which gives it a distinct 90's sound (especially around 3:10). Good stuff; looking forward to hearing more from you.

Yeah, definitely Daft Punk. The Aerodynamic guitar sound around 1:50 is friggin' sweet. Also, robo-voice is awesome, though after reading this thread, I now hear "upchuck", too (screw you, Brandon! I can't unhear it!). Looking forward to more from Anti-Syne.

This...this is actually pretty spot-on as far as my own feelings for this are concerned. The entire remix is so loud and brutal throughout its entire runtime that it actually loses impact. tefnek's The End was so impressive because the aggressive, hard parts stuck out, but this here is just one wall of sound without any highlights. Not my cup of tea, I guess.

Personally, I find the arpeggio to be a little too prominent in the remix; I would have liked some parts without it, as it seems to be around for pretty much the entire remix, in the foreground, and that's a little grating. 2:55 onwards is nice; gives it more of a harder electronica feeling (same goes for the outro). Too bad this part is so short, though. The silent drop at 3:35 is, as others have already stated, rather weird. Promising start. Let's see what else you can come up with.

This. As djp said in the write-up, please keep staring into the abyss, as only good things can come from that. Very smooth, laid-back remix with some nice use of sfx (rain and police sirens), and the live sax adds the cherry on top of the cream. Nice work, folks. I do wonder what the whispering voice in the end says, though...

There's just one word for this: professional. That's what it sounds like. Pretty much the best thing to come out of OCR in the last few months IMO. Awesome beats, and the vocals...man, the vocals. More of that, please. Absolutely amazing. I haven't been able to get it out of my head for about a week now (mostly due to the vocals).

Love the "calm before the storm" around 0:35. Solos starting around 2:30 are awesome. Strings around the 4 minute mark are very nice, too, as is the transition that follows. Overall, a very interesting and enjoyable mix of orchestra and rock instruments.

When I read djp's write-up, in particular the part about baby Mario's cries, I thought that the remix would annoy me out of my mind. Turns out, it's not that bad. The sample fits right in with the rest of the remix, which itself does an absolutely amazing job at keeping true to the source material. The only part where the baby Mario sample becomes a little annoying is around 1:50, but even there, the slow move from left to right is rather awesome. Good stuff, as usual. Also, more SMW2 mixes, please.

As Csyzr said, Pendulum is usually more bassy, but I can hear the influence. And as was mentioned by a couple posters before me, Willrock gets right to the meat of the track, which is always nice. Furthermore, the ratio of chiptune-ish sound to modern sound is pretty good. Overall, a really enjoyable remix.

This. Also, the guitars have sort of a hair-metal sound to it, and I quite like that.

The transitions are insanely well done; it never occured to me that the remix uses that many sources (guess I forgot about that; djp's "wingless" insider in the write-up must've been too much to actually remember what else he wrote). The only part that seems a bit strange to me is the outro; the piano does not gel that well with the heavier sound of the remix IMO. The guitar around 1:50 is fat, the breakdown right after that delicious, and the juxtaposition of the two brilliant. Very dramatic strings around 2:50. Good stuff.

Good to see that I'm not the only one who gets not only a Disney, but an Aladdin feeling in particular from this song. As for Dale's vocals, they might just be the best male vocals on this site.

Good use of sfx. I really like the atmosphere this song creates; as someone pointed out at the beginning of this thread, this is the kind of music you'd want to listen to while talking a walk on a rainy night.

This this this this. I wouldn't necessary limit it to 8 bit, actually; a lot of it gives me a 16 bit vibe (considering the source, what I just said is a pretty hurrdurr statement, but you know what I mean).

The remix is so badass, it probably ate all its reviews. I'm a sucker for choirs in pieces like this, so that aspect is right up my alley. Bells (?) around 2:40 are a nice touch. While I do like the overall sound of this orchestral piece, it does come off a bit BGM-ish. There's a ridiculous amount of awesome stuff in it, but I kinda miss a clear melody bringing the parts together.

I like the strings and piano in this one; they gel surprisingly nicely with the overall more synthy sound of the remix. I do agree with Mazedude about the synth usage, though; I think changing it up a little in the second half of the song would have added some nice variety.

First off, this. As for the "dirtiness" of the remix at hand, personally, I find it to be a little over the top. While tefnek's OWA remix had these absolutely badass kick-you-in-the-balls moments, they alternated with cleaner, softer, more "relaxing" parts, while PR's remix is the hard stuff from beginning to end. Anyway, this is good stuff, but nothing I could listen to over and over again.

Very nice arrangement. Considering that I love jazzy remixes, this is right up my alley. However, I am a little concerned about the fact that the judges had to move a remix by the same remixer over the bar yet again by themselves. Yes, we probably would not have heard this wonderful piece otherwise, but I thought the feedback given by the judges is not just about helping the remixers to improve the music/arrangement side of things, but also the production aspects. Taking care of the latter twice for the same person just seems a bit weird. Just my two cents.