rebirth9283

Excellent work. I absolutely loved this mix. Made me remember the game, while making the track entirely unique. Nice work. One of the things I liked most about this track was that, whether intentional or not, it was orchestral without being photorealistic orchestral. Therefore, it kept some of Star's trademark electronic style even while going into the orchestra to produce kind of a Final Fantasy 7-ish electro-orchestra sound. Loved it.

In a word: wow. This mix is simply beautiful. The somewhat drifting instrumentals are the perfect counterbalance to Jill's voice, which is downright hypnotic. Everything about this mix exudes quality and effort. I can see where it took almost a year to complete it... it was worth the effort, guys. This mix, unlike many others I've reviewed, is more than an excellent mix, it's a stellar musical piece that would be perfectly at home standing on its own technical, vocal, and musical merit. THIS is taking music and making it your own, people. I think this trio of remixers (pixietrix, my new idol, in particular) just changed everything about what I expect from a remix. Words cannot express just how excellent a work you have done. Keep it up, you three.

I absolutely love this piece. I'm a martial artist myself, and I've actually worked this piece into my private training playlist (The first VG remix there). The traditional Japanese sound at the beginning is awesome and segues well into the rest of it. I have one lone complaint: the Ryu voice samples, while very good, felt just a tad out of place. But overall, a solid piece. Well done.

I just quoted that 'cause I'm happy that there's someone else like me out there. DJ Chrono, I've been a fan since I heard Kono Sekai De for the first time and got addicted to your other songs. I thought that your transition into my least favorite rap language (English) would turn me off to you forever. Fear not: for you have done the impossible and gotten me to like rap I didn't have to translate. For the sake of making this short, I can refine everything I was about to say about this mix into two words. BRILLIANTLY EXECUTED

I'm still looking for a DJ Chrono mix that doesn't tempt me to open the review with "wow". First, I have to thank the DJ for choosing a language I understand. That comment made, this mix strikes a great balance between hip-hop and Spanish love song. That's a hard thing to do, and DJ Chrono pulls it off beautifully. The fact that, at one point, the song switches to English is handled with notable skill. The placing of the vocal samples is perfect. They all seem to make sense, with the possible exception of "Viva la DJ Chrono," which still serves the purpose of adding Chrono's signature flare to this mix. Keep 'em comin' Chrono!

First, let me say that, since I can't get the lyrics link to work, I have no idea what he's saying. Nevertheless, this song has single-handedly made me into a DJ Chrono fan, almost specifically for the originality (Like the "DJ Chrono!" shouts). I was surprised that one could do something so original and fresh with such a simple theme. True, OC Remix has seen several choice renditions of this piece, but most of them lack the sheer unconventionality of this remix, which is why I adore it with all my heart. There's so much to say that I can't make up my mind what to write, so I should probably just stop right now. Stellar work, Chrono. Keep the foreign language tracks coming.

Well, let me start by saying that, thanks to DJ Chrono, I am now a KDD fan... Overall, a well-executed mix. And getting me to say something good about rap is an accomplishment. That's about what I can say...

Let me first congratulate The Wingless: he actually came up with a remix that left me with no idea what to say about it. To the people who called it overcrowded or disorganized or some variation of those terms: I half agree. There's a lot going on in this piece. If I didn't know better, I'd say The Wingless couldn't decide which cool ideas to implement or to leave out... so he threw 'em all in. I have to say, though, that while the piece is crowded, it sounds good. To the bassaholics out there: Stuff it. This is good stuff even without a driving bassline. You want that, listen to AE. One thing I have to bring up: the keychanges. They sound incredible. A bit weird, but in a good way. Actually, that sums up this entire piece: weird, but in a good way. And that's about all I can say about this one.

So the intro theme from Chrono Cross originated in a game I've never heard of called Radical Dreamers. Interesting... I love the overall sound of this piece. The slow and sad strings along with the lonely cello intro add a dimension of hopelessness to whatever situation whatever theoretical character might be in. The character makes up his mind. And suddenly a militaristic snare line bursts onto the scene, maintaining the solemn character of the piece. The second time through the melody adds to the feeling. The decision is made. A moderate orchestral push brings life and action to the last time through the melody. The character seems to have made it out of whatever jam he was in. And in the end, it all winds down to a single, solitary, music-box-like chime. Nice work Mr. North. You've impressed me yet again. I suppose that means I'm your fan now. Well done.

Bravo to Mr. Hudson! Listening to this was the most fun I've had in a long time. First off, I adored the pizzacato violin (which is quickly becoming my favorite sound on earth). I love the way the orchestra builds into the beautiful theatrical-quality theme. I can't say I've ever heard the original piece, but after hearing this, I'm very curious just how much of this is Jared's. The entire thing makes me vividly think "flying." And I mean vivid to the point of feeling the wind whip past me. I like flying. I guess it's needless to say that this song will definitely lift one's spirits. It's a real "spread your wings and soar" piece that'll make even the worst day not-so-bad. Mr. Hudson, consider me a fan. Musical Brilliance Award

I don't care who you are or what kind of music you like, Zebesian Midnight is a must-have in any collection. The ambient sounds near the beginning of the peice are pure gold. And it feeds into some excellent synth and acoustic work. I can almost visualize Samus, in her shiny armor, staring up at a Zebesian moon, letting the fear of metroids, keyhunters, and phantoons slip from her mind for the first time since she can remember... Oops, I started writing a story. Actually, what snapped me away from the image I was describing was the jazzy piano and guitar solos. They don't exactly hold to the image, but still suit the mood of the piece nicely. After those, however, comes a high-tempo segment that almost seems like it comes from a different piece altogether. Up to now, it's been perfect, calm mood music. Now it's mood music that reflects motion. An interesting transition. Very smooth and interesting. As you can no doubt see from my writing style, I was pretty immersed in this piece. In fact, immersive is the only word I can think of to aptly describe it. There is no way I could recommend any improvements. Well done, Vigilante. Well done.

GIMME MORE! There. That's as informal as I'll get for a while. This is a very interesting piece. Perfectly to my tastes. I've never played Ocarina of Time, and therefore know nothing of the original piece. But I have to say that, even without extensive knowledge of the original, this is pretty much ear candy. The unique blending of synths and piano was fun, to say the least. The drums (perhaps the most entertaining part) were right on. The layering was nice and the gradual working-in of the various tracks was pure ecstacy as far as musical theory was concerned. And it's not everyday that such things as what I refer to as machinegun-drums fit in with musical theory. Nice work, Wintermute. I look forward to hearing more of your material.

Well, well, well. What do we have here? Let me first say that I grew up on SF2. And I have no trouble admitting that I was an enormous fan of Guile. And I don't remember his theme track. All I remember about Guile was his gritty pilot persona and the fact that of all the characters in the game, he had the deepest storyline. With the wonderful bit of reminiscence out of the way, to the song. With mixes like these, it's no mystery that SF2 is a Capcom game. The melody is (for all I can remember) Guile's theme, but the style of the piece SCREAMS MegaMan (which is one of the biggest compliments I can pay a piece). But overall, I have to say that this one's little more than your standard techno-ish piece. A well done techno-ish piece, but still nothing that would set it apart from the rest.

To be completely honest, I'm surprised to see something this "normal" after hearing the Groin Incident. I use the word normal very, very loosely. As for the song itself, I definitely agree with djpretzel's use of the word schitzophrenic. It does have more awkward twists, turns, and cd-skip-like halts (more like crashes) than anything else I've ever heard anywhere. The use of voice samples was... shall we say... unique. I never imagined that the MegaMan cartoon would find its way onto OCR. And the way that the voices are mixed can only be described as dizzying. But one thing is for sure, they set the mood perfectly. I knew what I was in for the second I heard "Now I've got your power!" This is a very entertaining mix. That's really all there is to say about it. I look forward to hearing more from Mr. Riley on my quest through the site. And I doubt that there's anything of Shael's that won't get this award... =Stamp of General Weirdity=

Well... Uh... For the first time in my life, I'm speechless. Twenty posts down the road to reviewing every remix on this site, and I run into this. It would be pointless to debate musical theory, decency, or even the basics of tact here. I think Mr. Riley has done something that not even I can be long-winded about. I'll just give you the awards and be done with it. =Fit For Human Consumption= =Stamp of General Weirdity=

It's not every day that I call something stunningly beautiful (at least, not in the music world). Today, I see fit to bestow that compliment on Starblaze's "Dreamer." I love the "Voyage" theme from Chrono Cross, and have been dying to see justice done the piece. Thanks to Starblaze's masterful mastering, I finally have it. Everything is clear, crisp, and right on. The acoustic lead is superb, the flute that picks up the melody is outstanding, and the drum track couldn't get better. But what really sets this piece apart is the beautiful piano line. It adds a peaceful element to the melody as it plays the first time through, while the original piano solos give whole new dimension to the piece. The whole song is beautiful, lilting, calming, and heartfelt. If people out there are like me, they're big fans of emotionally charged music. Therefore, they should love this piece to pieces. Thanks again to Starblaze for this amazing rendition of one of my favorites.

For Best Remix of the site, earning the Rebirth Stamp of Approval, the winner is **Metal Gear May Cry** sent in by Jared Hudson. I adore this piece with all that is in me. When Jared sits at a computer to work on an orchestration, we all know to expect a miracle, and Mr. Hudson has delivered. Where to start... The first note: a full bell, string, and choral note that hits swiftly and suddenly, not entirely unlike the bus you never saw coming. He caries through the remainder of the beginning with brilliant use of the haunting pipe organ and a moving ascending piano part that leads perfectly into the first real push of the piece. Second part: in comes the kettle drum with a savage, military rhythm as brass, strings, and piano again charm the ears with a very dramatic refrain. The music puts together the suspenseful image of a battlefield. You can almost visualize a lone soldier standing against armies. Piano interlude 1: a quiet spot. The calm before the real storm. Anyone who has ever played Metal Gear Solid 2 is familiar with the feeling that this interlude creates. It's that moment, hiding behind the crate from countless enemies, when the battle that is only seconds away has been as planned as it is going to get. It is that moment when one's mind is made up, and the only thing to be felt is an out-of-place peace, accompanied by thoughts resembling "here goes." And as if on cue... Sons of Liberty Theme 1: The main theme of Metal Gear Solid 2: Sons of Liberty takes center stage and brings thoughts of fighting a winning battle to the forefront. The use of brass alongside a subordinate piano, all undertoned by a harmonic choral track, creates a feeling of conflict, but a sense that victory is never far away. Piano interlude 2: Slower and more calming than the first, the impression is given that the battle has been won and that it is over for now. However, the still-driving kettle drum rhythm and brass that accompany the last half of the interlude give the impression that, while the battle is over, there will always be other battles. But wherever there are battles, there are heroes not far behind. Sons of Liberty Theme 2: The main theme repeats again, this time more dramatic than the last, maintaining the second interlude's sense of victory won. Then, as suddenly as the piece begins, it ends on one strike to the drum, one crash of the cymbal, and silence. Being an aspiring author myself, I love things that tell a story. Metal Gear May Cry does just that: it conjures thoughts into your mind and takes you on an emotional roller coaster ride until it all comes out favorably in the end. Congratulations to Jared Hudson on the construction of a truly masterful piece of work. =Rebirth Stamp of Approval=

Nice work, Mustin. I mean this is some good stuff. Very rarely does Mario music inspire the mind to thoughts of tropical beaches and beautiful women serving fruity coctails in bikinis, but this relaxing samba piece does just that. Needless to say, it kept me entertained. I'm not sure how much of the original theme was in the song, but that might just be because I don't particularly remember the original piece. But all the same, this little thing is amazing. One complaint (I always have at least one): It's too short. There, I said it. Other than that, keep up the good work, Mustin!

Okay, what in the flaming depths of HELL was that? Dale North, I'm usually a fan of yours, but this time, I'm going to have to dissent. I can't deny the musical quality of the piece. Even though basic music theory (as well as all tenents of decency) went out the window, the instrument sampling was incredible. That, if left alone, would have earned this piece a sparkling review. However: It is impossible to overlook that infernal moaning that is so damned prevalent in the background. Granted, I should have expected something like this from the title. Truth told, I tried to make myself believe that Dale North, whose material I usually deeply respect, was better than that. Dale, if you're reading this, I have no doubt that making this piece was... fun. But I beg you, leave this kind of thing to Shael Riley. I consider this a blatant misuse of your otherwise amazing talents. And just a side-note: Those moans didn't even sound authentic.

First of all, let me say that I am a fan of smooth jazz. That said, on with the review. I never get tired of hearing Dale North's material. His talent for arranging good music into better music is astounding. This particular piece had me in the groove from the first note. That might be because it's a good note, it might be because I have a soft spot for electric piano. Either way, that first note got my attention and the layering in of other instruments (chimes, strings, etc.) held it. And then you made me laugh. Mr. North, what possessed you to sing "Come to Bob's Pizza" in the middle of a song? It fit nicely, but effectively shattered the mood. But even after that, I found myself still in the groove. Even more surprisingly, I was still able to take the song seriously even after it turned into a jingle for a ficticious pizza joint. Overall, a very good song. Get it.

This is a remix you'd be hard pressed to complain about. To tell the truth, I approached this piece with a mentality of "can a good remix really come from Wolfenstein?" After all, there wasn't a whole big bunch of memorable music to that game, and what actually was there ran in five to ten second loops. how could anyone possibly do something good with that? I'm glad Mazedude managed to do it. The array of sounds and samples used is very impressive. From the opening use of snare drum and piano to the closing use of the same, with all of the industrial-style material in between, the piece had what can only be described as "that special something." As for the samples of Hitler: I can see where they would offend some demographics. But, truth told, they do add something to the piece. I say this for a reason. When playing Wolfenstein 3D, how many of us really remember that the setting is World War II? More importantly, how many of us, as we're running around maze-like levels blasting guards, really remember the cause behind the war that the game is based on? In general, how many of us, while fighting in a game, really remember the true objective of the real fight that took place in which real people gave their real lives to overthrow Hitler. The voice samples used in this piece, in a haunting fashion, bring the reality of World War II into what had previously been just a game. I applaud Mazedude on an amazing remix, and thank him for, by using the voice of the man that personified evil, paying tribute to those who gave their lives to stop him.

This piece is musically unviable. There is absolutely nothing to the structure, there is no respect for musical theory. There is nothing that should make me say that I am impressed with this piece. There. Now I can stop being a music critic and say what I think. While technically... uh... interesting, this is a very, VERY funny song with a certain propensity towards getting stuck in your head. And the crazy part is, I like having it stuck in my head. This easily surpasses Music of my Groin. As I sit here writing, I'm still chuckling (and this was my tenth time hearing it). If you're looking for a technically impressive remix, look somewhere else. But if you want nothing more than unpasteurized, all-natural, 100% pure hilarity, DOWNLOAD THIS SONG. But, DJP, one request. More comedy stuff, please. I think Shael Riley needs a run for his money.

Peeples does a wonderful thing by the Doom soundtrack with Synthetic Demon. He took a mediocre atmospheric piece totaling six chords and turned it into a masterpiece. Simply put, if Doom ever gets put into the movies (hey... it could happen...) the film soundtrack would not be complete without this remix. To peeples: well done.

The Pancake Chef's serving of Chill Wind is definitely hot. Those who have played Chrono Cross at any length will recognize this immediately as the mood music for the Viper Bluffs, which is a suspenseful favorite among players. The Chef's rendition is just as good. He starts by slowing the tempo down a bit and throwing in a hip-hop beat that I originally thought didn't belong there. However, as I got used to it, I figured that maybe taking Serge for a walk through the 'hood wasn't so bad an idea. The sample of the original piano track works well blended behind the street beat and somewhat modern-age strings and synths. The exotic wind instrument that follows the original melody the first time through sounds out of place among the hip-hop, which seems intentional and quite good. The synths following the melody for the rest of the peice seem to represent almost an adaptation of the melody to the music around it. In essence, the music itself tells the story of Serge, beginning in its own world, being thrown into a place it doesn't belong (flute in hip-hop), then adjusting to the world around it. The only problem with the piece is that it has no climax. No part of the song really stands out above the rest. Overall, this is a very good piece. The Pancake Chef has served up yet another of my favorites. This is a definite must, even for a non-hip-hop-fan like myself. And one last thing, the title is a gem.

What the heck was that? Whatever it was, I liked it. I like the Chrono Cross stuff. I'm not quite sure what the style of this piece would be called, though. It's too country for jazz, and too jazz for country. Overall, the slow feel of the melody is retained from the original. The progression of instruments used is an alluring quality of this piece, beginning from a lonely acoustic solo (nice work on that, by the way), then going to a harmonica solo as the drums cut in with a jazz-like beat. Without raising the tempo at all, the Pancake Chef manages to bring the piece to a climax by blending the emulated harmonica with his own guitar track. Finally, he lands the piece nicely, using a carbon copy of his opening solo to slow the music to a stop. Thanks to the Pancake Chef, an improved rendition of the music that set the somewhat sad and solitary mood for Serge's journey to another world is available to all of us. If you like slow mood music, this remix is a must. Pancake Chef, if you're reading this, I wat to know a few things. First, what exactly do you call this style? And second, what's the next piece you will be remixing in this style? Scars Left by Time or Unstolen Jewel might be good choices.