Gario

Ah, I've been enjoying this one quite a bit. I didn't feel it was all THAT cheezy overall - if that bowflex ad wasn't in the middle of the track, I would've actually taken it at face value. Also, Ab Solution... I just got it. HA! Anyhoo, it's much bouncier than the source, seeming to take you on a less serious, more fun filled adventure, and I'm digging it. The production is pretty solid, save for a rendering error in the beginning of the track (it sounds like the mic was being turned on). The arrangement is pretty spot on, with some pretty neat cameos thrown in there (I'm thinking of the 'Moves like Jagger' reference at 2:20). Yeah, it's really good - you certainly earned Bentley Jones' praise. Let's see this one go up! YES

ReMixer & real name: Eino Keskitaloe-mail: Names of games arranged: Sonic the Hedgehog (Game Gear) Name of Arrangement: Siilin melankolia Names of individual songs arranged: Bridge Zone, Green Hill Zone Source: https://www.youtube.com/watch?v=qYJkol00JCE MP3 link: WAV link: I'm old school in my taste for Sonic. Less characters and less dialogue the better. Even Sonic 2 seems to have too much. To be fair, I haven't played that much Sonic outside the first one (in 8 and 16 bits), but I did grab Sonic Rush Adventure recently-ish and I would've definitely preferred about 25% of story and characters there! But I digress. I think I must have played Sonic first on a friend's Master System. Another friend got a Mega Drive (and Sonic of course) a little later, and if I had played the 16-bit version first, the slower, more traditional platformer pacing of the 8-bit version would feel weird to me. But it doesn't, and I can vouch for the 8-bit Sonic 1 being a great game for the platforms. Though I know it as a Master System game, it was developed for the Game Gear first (confirmed by Yuzo Koshiro in The Untold History of Japanese Game Developers vol 1). Koshiro's company, Ancient, handled the conversion, and he did the music. Some of the soundtrack consists of SN76489 renditions of the 16-bit tunes (such as Green Hill Zone, which is also featured in this arrangement), and some are original tracks composed for this version (such as Bridge Zone music). The conversions are good and everything is quite chirpy and poppy, Bridge Zone being rather a cheerful track. It segues well from GHZ, same key and tempo and everything. I'm not sure why, but this arrangement is the fifth time I'm dabbling with Bridge Zone. It's not really a favourite piece of VGM for me, but it's a good one, and I really like the game. Unlike the original, this arrangement is a bit dark. It started with an experiment on the keyboard, to see if the melody of the A part would work in minor key, and I would say it does. The A part has a ABAC-type structure, but I found repeating the melody of the first two bars built up a nice tension in the minor mode. After a bunch of attempts trying to shoehorn the B part of the original in the minor mode, I went with the original progression, which does give a nice contrast to the darker verse. (These attempts did yield a usage of a bit of the B part melody as a countermelody in the verse.) I felt I needed a bit more material, so I dipped into the intro part of Green Hill Zone, utilizing the four-note arpeggio and the melody, but having it follow a changing chord structure, so that this part, too, turns dark. I'm pretty sure this track was at some point an attempt of doing things quickly, but that rarely succeeds for me. The chorused bassline utilizes samples of my own playing from Miljoonamiehen muistelmat. I tried to keep the beat simple and allow myself some copy-pasting and previous drum sound usage. I think the resulting stiff groove is all right. I put in plenty of electronic drum samples and noises to provide some colour. The rest of the instrumentation is pretty much just e-piano, regular piano, mellotron and a cheap synth sample from an oooold Fast Tracker II tune of mine. Dealing with the last one took a good amount of work and some feedback from the project directors Black_Doom and (regular collab partner) Jorito. I also added some subtlish atmospheric samples (thunder sheets and rainstick from freesounds.org) after Black_Doom's comments. Source usage part by part: 0:00-0:18 No source in the intro. 0:18-0:35 Part A of the source begins, repeating the first two bars of the melody (with some variation) 0:35-0:52 The melody of B part plays as a countermelody, and at the end the part A material resolves to use its "B" portion 0:52-1:09 Source B part, used fairly straightforwardly. 1:10-1:25 The A part is followed in full "ABAC" structure. 1:25-1:42 A part goes "ABAB", with the mellotron providing the B-part countermelody 1:42-1:58 I hope the GHZ intro is recognizable! 1:58-2:15 GHZ intro is taken through some chord changes. 2:15-2:32 First half of the bitcrushed synth solo is original ... 2:32-2:48 ... until here BZ A-part is either in the background or at the front (apart from 2:40-2:42). 2:48-3:17 B part of BZ is repeated twice. 3:18-3:31 The tail end of the outro has no source. That's about it! This was my second attempt at producing an 8-bit Sonic 1 arrangement for the 25th anniversary project, and I'm glad I was able to finish it. Thanks to the directors for steering & feedback and running the project in general! cheers,--Eino

Remixer name: Bluelighter Real Name: Guillaume SAUMANDE ID forum: 30998 Game & Songs: ff10 & Twilight, The Deceased Laugh Interpreter: Guillaume SAUMANDE (piano) Composer: Junya Nakano, Nobuo UEMATSU (only for the first arpeggios) Last Decision: http://ocremix.org/community/topic/34380-no-final-fantasy-10-the-dream-is-clearing-resub/#comment-700195 *NO* Final Fantasy 10 'The Dream Is Clearing' *RESUB* ocremix.org Original DecisionRemixer name: BluelighterReal Name: Guillaume SAUMANDEMail: ID forum: 30998Game & Songs: ff10 & Twilight, The Deceased LaughInterpr... Links: Twilight: https://www.youtube.com/watch?v=1OwyN2VfloQ Final Fantasy X Music - Twilight www.youtube.com "Twilight" from Final Fantasy X. The Deceased Laugh: https://www.youtube.com/watch?v=8XEyt3E5xTk 84-The Deceased Laugh-FFX OST www.youtube.com 84-The Deceased Laugh-FFX OST Hi OCR! Seven years ago, I've made a first version of this arrangement: "Twilight" and "The Deceased Laugh" in piano. My first attempts was made on an acoustic piano and after on an electric piano but with analog recording. Without concluding result… This time, I've recorded this in numeric with an FP80. I feel now the quality is better In response to precedent decision, I've reworked the middle part of the arrangement. The source "Twilight" was interesting to arrange. Junya made an impressive work on this: only 13 harmonies (deep in the beginning and high in the 2nde half), but what harmonies! This piece is so strange, so disconcerting! I was a big fan when I discovered this in piano^^ But it really missed a melodic thread to get sthg cohesive. The precedent version integrated only the arpeggios of The Deceased Laugh. The middle section matched to the 2nde half of "Twilight". At part 4, I've replaced it by the melodic line of "The Deceased Laugh". Part 5 is a little improvisation on some harmonies of "Twilight". There is here a semblance of melody in complete dissonance with the bass. Added to the odd time signature (in 6/8 + 6/8 + 6/8 + 5/8), it greatly contributes to the unease we can feel in this part. With this piece, I hoped get sthg disturbing, frightening! In the original game, "Twilight" appears when the main character has a nightmare, hence the title. New breakdown: 0'00 : dissonant arpeggios (a little influenced by the movie "The Ninth Gate" to announce the following) -> NEW PART 0'20 : arpeggios; one based on "The Deceased Laugh", and continue on the first 4 harmonies of "Twilight" 1'04 : twilight -> hesitating rhythm (notably before change of harmonies) 2'47 : "The Deceased Laugh" the melody adapted to sound with the harmonies of "Twilight" -> NEW PART 3'35 : "Twilight" based on harmonies 0'46 -> 1'00 and 1'24 -> 1'44 -> NEW PART 4'20 : "Twilight" 1'40 -> 2'30 (high version at 4'16 ->4'40) 4'44 : arpeggios on the first 4 harmonies of "Twilight", the culminating point of the piece

Contact Information Tuberz McGee Callum Kennedy tuberzmcgee.bandcamp.com Your userid: 25567 Submission Information Name of game(s) arranged: Spyro: Year of the Dragon Name of arrangement: Dragon Egg Flambé Name of individual song(s) arranged: Sunrise Spring, Sunny Villa, Midnight Mountain, Agent 9's Lab, Icy Peak, Charmed Ridge, Cloud Spires Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://www.youtube.com/watch?v=QxhcNBJgSxs&list=PL613D5BC154DC64FE Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This mix was made for the Playstation 1 Anniversary album and then that unfortunately fell through so here we are. I've always wanted to tackle Spyro music, as Stewart Copeland is an incredible composer and I spent days of my youth sitting around listening to his jams on my small television. It was the best. I didn't really set out to accomplish anything with this mix, other than paying homage to Spyro. That's it. It's only natural that it turned out as some form of prog rock thing. Yeah, it was a lot of fun to make. Not really sure what else to say here. I guess I'll give a source breakdown. 0:00 - 0:42 - Sunrise Spring 0:42 - 0:58 - Sunny Villa 0:58 - 1:14 - Charmed Ridge 1:06 - 1:14 - Midnight Mountain 1:14 - 1:30 - Cloud Spires 1:30 - 1:34 - Icy Peak 1:34 - 1:50 - Sunny Villa 1:50 - 2:05 - Charmed Ridge, Cloud Spires, and Midnight Mountain 2:05 - 2:14 - Dope Drum solo 2:14 - 3:02 - Agent 9's Lab 3:02 - 3:10 - Modulating passage 3:10 to the end - Sunny Villa, Agent 9's Lab, Midnight Mountain Link: Enjoy~! - Love Callum xoxo

Your ReMixer name Mellow Sonic Your email address Submission Information Name of game(s) arranged Mirror's Edge Name of arrangement Menu Theme / Title Theme Name of individual song(s) arranged Still Alive Composer(s): Solar Fields

Link to the song: Remixers: Ivan Hakštok, finbeard Games arranged: Sonic The Hedgehog 2006 Name of arrangement: The Ultimate Ab Solution Names of songs arranged: Dreams of an Absolution Links to the original soundtrack: https://www.youtube.com/watch?v=tZBctzSajNI Hak comments: This song was done last year for Time Travel Month on Dwelling of Duels, but I've reworked it a bit in the meantime and figured I could submit it to ocremix. I asked Chuck to do the vocals since he's awesome and this song was awesome but he made it even more awesome by, as he said, "spraying bullshit all over the song". Chuck comments: "adam levine is a hack and i'm coming for his job & wife like that movie where they take the guy's face off" - chuck simpson, 2016 P.S. We even got compliments from Bentley Jones himself: https://twitter.com/Bentley_Jones/status/66294752229449728

CONTACT INFORMATIONS Remixers: classic_gamer_76, That Headband Guy, mattmatrice, IplaiGames Real Names: Kevin Blondel, Mike, Matt Matriciano, Andres Gomez Email Addresses: Websites: https://soundcloud.com/k-vin-blondel-480441550https://soundcloud.com/thatheadbandguy https://soundcloud.com/mmatrikshttps://soundcloud.com/masseve Forum User IDs: 33015, 33437, 32637, 33964 SUBMISSION INFORMATIONS: Game: Tomb Raider: The Last Revelation Platform: Microsoft Windows, Sony PlayStation, SEGA Dreamcast, Mac OS Release Date: 1999 Arrangement: ‘A Journey's End’ Song Arranged: Theme Composer: Peter Connelly Original Music: https://soundcloud.com/peter-conz-connelly/sets/tomb-raider-iv-the-last COMMENTS: I don't think this mix is gonna pass, but I want to give it a try and get additional feedback on this one. Plus, it's the series' 20th Birthday this year -- so hopefully it will inspire other, more talented, remixers to come up with a ReMix worthy of the name ^^ Chose to arrange the 'TR4 Theme' for it is my favorite Main Theme in the franchise... and also because EmptyMy already did a perfect arrangement of the classic 'TR1 Theme' back in 2002. Guitars/Bass: That Headband Guy Rhythm Guitars: Matt Matriciano Programming: Kevin Blondel Mixing/Mastering: Andres Gomez After very helpful feedbacks from AngelCityOutlaw, T- Ape and some of my friends, I eventually got in contact with That (talented) Headband Guy to record the chorus and lead guitars as well as the bass I wrote for the track. Not being able to find a drummer or a flute player, I searched for some decent quality VSTs and tried to make them sound as realistic as possible via humanization -- I hope I did well enough. My good friend Matt then joined the party to provide additional rhythm guitars. I finally asked Andres Gomez to take care of the mixing/mastering process for us, for I feared I might screw everything up if I had to do it myself. Seeing all those great remixes being rejected because they're either too conservative or too different from the original source material, I still can't figure out how to correctly balance a mix for it to be accepted. In order to help the judges making a decision, here are a few notes about the track: Chorus Guitar: 0:00-0:38/2:42-2:48/3:03-3:10 -- Start with a few notes originally played by the harp, then arranged into an alternative melody. Drums: Almost all original, except for the ending cymbals. Synth Strings: Always playing 'chords' or melodies from the source theme, sometimes slightly arranged. Bass/Flute/Rhythm Guitars: All original. Sine Lead: 0:32-1:25/2:32-3:05/3:47-4:01 -- Recurrent background melody of the original theme, played by a pitched percussion instrument. 2:08-2:24 -- Original. 3:14-3:20 -- Played by strings in the original theme, in a similar section. Distortion Guitar: 0:42-1:30: Messing around with the classic Tomb Raider melody, often played by an oboe throughout the series. 1:56-2:30: Original. 2:47-3:10: Basically, the Tomb Raider melody as it can be heard in the TR4 theme, at a similar section. 3:15-3:20: This free note is played by a horn or brass intrument, in one of the beginning sections of the source. 3:20-3:36: Cameo of 'ステージ1、ファイナルステージ' [Stage 1, Final Stage] from 'Raf World' [Journey to Silius] by Naoki Kodaka, which Mike and I played around with (love the game' soundtrack so much :3). Special thanks to Eilaire who allowed us to use one of her many amazing cosplay pictures for visual support purposes when this remix was posted on social medias. Be sure to check her amazing work when you're done listening to this mix: http://eilaire.deviantart.com/ Cheers classic_gamer_76 (First track)

Hi Guys Remixer name: ScandalJayKneel Real name: Jack Densley https://soundcloud.com/jackdensleymusic (Website in the making, but this is all I've got currently) Game: Command and Conquer (1995) Name of arrangement: Re-Act Song arranged: Act on Instinct Original composer: Frank Klepacki Original track found at https://www.youtube.com/watch?v=n4AUY-v1nsE Featuring OC remixer Laarx on guitars! This was the first game that I ever owned, strangely enough on the PS1 but was available over several different platforms. This song will always hit the nostalgia button so I wanted to pay tribute. I wanted to show what the main themes in this song could really be like if the production side was stepped up. With this in mind I wanted to make the song heavier, changing the original key down a tone, introducing some electronic elements and some chip tune; the chip tune synths are used to double the guitars and add texture. The way the song was going i wanted the drums be like Chris Adler from Lamb of god and some sections with the guitars to sound like Slayers Raining Blood. This was definitely achieved. Good friend and OC remixer Laarx helped out by playing the guitars on this track and really captured what I was asking of him and also he contributed to a lot of the layering and harmony in the chorus and ending solos. I hope you'll enjoy it as much as I do. I look forward to any feedback. Kind Regard

Haha, shoot. You don't have to compete for the tracks yet - you're in the clear. The whole 'Survival of the fittest' thing is for people that miss a deadline listed, which is not for another month or so. A WIP tomorrow would be great, though - I look for it.

I got a kick out of how gosh darn funky this whole track is. It's bouncy, it's clever, and it shows that the arranger had a lot of love for this relatively unknown track. I gotta respect that - always puts a smile on my face. MindWanderer is right in calling the piano mechanical. In the beginning it's pretty cringe worthy, since it's so exposed, but as the track develops it fits with the rest of the arrangement. Some dynamics would've helped ease the listener into the track better, but it's not really a focal point of the arrangement, either. I can let it slide. The production is pretty slick. I can hear what MW is saying about the highs, but they don't quite bug me as much. It could be just me, though. Great work! YES

Yeah, this post comes off as a bit of a humblebrag, there. Absolute pitch, while certainly useful, is actually fairly common among more accomplished musicians, as a whole. It's useful to have, but you can still make due musically if you don't have it. On an interesting note, it's also something that people can have 'fall out of tune' over the years, too, so it's not something you want to overly rely on (my absolute pitch, for example, has fallen about a step flat over the years, as reproducing a 'G' often comes out as a 'F#' - a bit of stealth braggin' done right, there!). As far as your post, though, that sounds more like decent relative pitch, not absolute pitch, which is actually a skill you MUST have in order to be a decent musician. Virtually everyone utilizes relative pitch to a certain extent when they compose and arrange, and if someone doesn't use it well it's something that can be taught (perfecting it is something conservatories and universities focus on for the first year or so of education). It's not rare - it's something that's a requirement if you are to be a musician, at all. It's pretty strange to come on to a board for people who've dedicated much of their time to rearranging video game music and boast that you can recreate music just by listening to it (and comparing that skill to Mozart, who wrote his first opera at age 12). I'm half thinking that you're joking, because that's a pretty silly thing to do - it's like bragging to other fish in the ocean that you can swim. Just sayin', is all.

Absolutely true. However, that DOES mean that there are PLENTY of Funiculi Funicula remixes out there that aren't hosted on OCR, if you're willing to look. It's a pretty famous piece, after all. EDIT: I mean, just take a look at this thing, it's hilarious and awesome all at once, lol.

It's indeed a claim you can stake. I'm not too familiar with your music, though, so would there be a chance that you could PM me some samples of your work? Thanks - I'll hold that track for you until then.

I agree that the source is clearly there and the production is great, but I am at a complete loss to how the arrangement is static. The sections change up significantly from part to part, with a variety of instruments being swapped in and out. At most, it might hold for a few measures longer than necessary from section to section (building with small variations over time, as MindWanderer says), but I didn't find it to be a big, deal breaking issue. The instruments used are signature Alexander Brandon, which could be a point against the track (being that this IS an Alexander Brandon source), but ultimately I thought the instruments were used well. The track had some great peaks and valleys that gave enough variety to the energy levels throughout, so I'm going to say it's really not a static arrangement, in this case. I found myself really getting a kick out of the energy of the track, even though it DOES sound like it belongs in a later Unreal Tournament game. I'm all for giving this the front page treatment. YES

Alas, I don't think I named it correctly on the front page (Sorry!). That track actually was covered with a solo piano performance by Evory, so I don't think that spot is available... I'm not one to shut a decent track down, though. Send me what you have, and I'll see if we can make it fit. I have some ideas of how it would fit with bookending an album like this, so get in touch with your WIP.

Simple, but it has a certain 'classic rock' swing to it that I can get behind that's complimented with a deep, heavy tone throughout. Conservative, but definitely a different feeling from the source, there - even in the earlier portions of the track I had no issues with it. The latter portion of the track does a great job playing with the material, though, and is certainly the strongest point of the arrangement. Production is just where it needs to be for something like this, so there's not much else I can say other than rock on, PirateCrab. Rock on. YES

@ACMenes I suggest popping in about a week or so from now to check in on the progress & touch base - from what I gather from another project that Darkesword is running there's a family emergency that's putting him out of commission for a short while. I don't want him losing artists because he wasn't able to respond, as I'm certain he'll get back to you as soon as he's able.

Sweet! There's no pressure to get something in QUITE yet, so feel free to take your time if you need to. First deadline is literally just for non-WIP claims, so you're covered.

Double-post time! It seems to be the right time to start getting this ball rolling hard, so here we go! @bLiNd @Moseph @XPRTNovice @Cyril the Wolf @PabloComa @zykO @Eitzpii @Jorito @Sbeast @DjjD @Amphibious @Alephmale @Quinn Fox Giving a heads up for people that want to claim tracks without submitting a WIP, this is the last week I'll be taking those claims. After this, there will be two things that will happen: 1. There will be a concurrent competition that I will be organizing that will be utilizing the sources that remain. If one of these compos are available, this will be the strongest opportunity to get a spot on the album as a newer or less recognized arranger moving forward. I will be taking three sources at a time, and aside from the first round (which will be a freestyle round) I will be adding genre conditions/preferences. One more detail is that you will have one month to complete a competition track; ample time to submit something of solid quality, but it's short enough to keep you on your toes and push you toward finishing. While the sources are being set aside for the competition, though, I will NOT be accepting WIP claims on the track, so if you wait to make a claim past this week I can't promise the track will be available solely to you (though you may put your track among others into the competition). There will be some advantages to working on your track in a competition format, though, so keep an ear out for it! 2. If the competition schedule doesn't claim your track, you still have the opportunity to claim it yourself, but I will ONLY accept claims with a functional WIP attached to it from this point on - there will be no more red claims on the board from this point forward. If you still want a chance to nail your claim, now's the time. Of course, if you've made the claim, awesome! I will be keeping an active, watchful eye on your progress moving forward, so be ready to be bugged by me soon. If you're one of the venerable members that have a near finished track from ages ago, I will be spending the next week getting in touch with you one-by-one, seeing if there's anything I can do to help get you guys the supplies to finish your track (getting in touch with musicians to help, offering feedback if needed, etc.). I've made a cursory attempt to get in touch, but I will soon be actively pursuing your finished WAV. I am hoping to have these particular finished WAVs long before the final deadline, though, so expect me to be giving you guys some annoying nudges from time to time. Alright, here's hoping I start seeing people pushing forward with their music soon!

Contact Information Your ReMixer name Mellow Sonic Submission Information Name of game(s) arranged Unreal Name of arrangement NyLeve´s Falls Name of individual song(s) arranged Dusk Horizon the track is original by Alexander Brandon

Contact Information Remixer Name: Garoad Real Name: Michael Kelly Email: Website: garoad.bandcamp.com User ID: 18771 Submission Information Game: The Silver Case Name of Arrangement: Lunar Phase Name of Original: The Silver Case Original Composer: Masafumi Takada Original Song: https://youtu.be/NP2Y5HODNNw Masafumi Takada's use of synthesizers are a big inspiration for my own music. I wanted to remix his track 'The Silver Case' as a tribute to him and also to a wonderful game!

Contact Information PirateCrab Daniel Woodyer https://www.facebook.com/PirateCrab / https://www.youtube.com/piratecrabUK 28881 Submission Information Sonic The Hedgehog 3 Aquapump Hydrocity Act 1 "After joining the Materia Collective (https://www.facebook.com/MateriaCollective) and having done several pieces of music with them, an opportunity popped up to do some work on a Sonic album. Hydrocity has been sat in my WIP's since 2013 roughly, and I'd never progressed past the original iconic melody. So I challenged myself, this song HAD to be on this album. No questions. The result is what you hear now! Come at me Sonic, time for some more!"

Hi guys. I just discovered you. Great work. Congrats. I composed the soundtrack of ‘Line Defense’, an arcade mobile game: https://soundcloud.com/legalradiation/line-defense This is the remix I created for the original score (mp3 file attached): ReMixer name: Stam real name: Stam Sarris email address: website: legalradiation.com userid: 34066 Game`s Name: Line Defense (iOS) Name of arrangement: Line Defense Remix Name of individual songs arranged: The original soundtrack of the game Composer: Stam Sarris The game was released late August on the appstore and got featured by Apple under “Games We Love”. It is an action arcade mobile game for iOS devices. At the moment we are working on a major update and that`s the main reason I composed the remix of the original soundtrack. You can find more info here: http://line-defense.com/press/ Thank you, Stam Stam Sarris / Game Designer, Composer LEGAL RADIATION TEAM www.legalradiation.com

I will close this off agreeing with most of what MW and Liontamer brought up above. I will point out that the Harpsichord popping out at 0:11 makes sense in the context of when all the music is playing together, but it really doesn't make sense to pop through that much at 0:11. Context is important - if something really soars above the other instruments like that, tone the levels down a bit until it makes sense to bring them up again. There are also considerable limiting issues with the production present throughout, but due to the dirty sound you have altogether that doesn't quite bother me as much as Liontamer. It's something to be aware of, though, and you'd be better off if you fixed your levels so you didn't have those limiting errors in your track. The biggest thing that brings this down for me is the issue MindWanderer brings up, though - the repetitive and static nature of the arrangement. Instruments are generally used in the same manner throughout the entire track - lead doesn't change, the growls are used in a similar manner throughout the track (save for at 1:17 - nice incorporation of it through that part), the drums vary little throughout, etc. Along with the almost straight repetitions that are present in the track, this leads to an arrangement that doesn't have much new to offer the listener after a minute and a half, which is a shame. The ending doesn't feel like it's finished, which almost makes this sound like a solid (if incomplete) work in progress. It's a great start, but I think there's some further development required before we can give it our stamp of approval. NO

Damn, nearly eight minutes long. You're merciless - making us mod eval people work hard for you. Ah well, you make up for it by giving us some cool music to listen to - it all balances out in the end. EVAL Get started with the good, here - the arrangement is absolutely great. I love the handling of the themes, especially the integration of the various themes throughout (especially utilizing 'Spirit of the Night' as a compositional glue to keep the different sections related - nice touch). When everything is clicking, everything really DOES click. Slick lead work, awesome drums work, and overall a very driven arrangement that seems to tell a story. With a 6+ minute track there's bound to be a few things to point out, though. The aforementioned drums are mixed pretty far behind the mix, which is a shame since they're actually quite well done (particularly, the snare and toms are mixed way to far behind the mix). Letting some more highs through on the snare would be a good idea, as well, as it sounds pretty dull, at the moment. The synth choir that you use in various places (like at 1:12) sounds pretty weak, partly due to the attack on that sample. You don't want it swelling that much, or else on the quicker runs it loses prescence. A similar note can be said on the horns, but for a different reason; tweak the attack a bit so there isn't as much swelling on every single note, as it makes the performance sound mechanical when every articulation is the same. At 4:45 the guitar gets far too wet, there, causing all sorts of clashing in the layering. I dig the delay there - it's a nice effect - but having pretty heavy reverb on top of that is overkill. Tone that reverb down to a minimal amount, it's wet enough with the delay as it is. At the end there is a great deal of silence; be sure to cut that off before submitting. You'd have a decent shot if you submit the track as it is (I would consider giving it a borderline YES, as it stands), but I do highly recommend giving the drum mixing and balancing one more look prior to submitting this, as that drags the track down more than anything. I would love to see this on the panel sometime soon, though, and hopefully posted on the front page, so hopefully my suggestions help you get there sooner rather than later.