Dj Mokram

There's not much that can be added on top of the stellar critiques you've received so far, and I won't bore you with technical FFT analysis and stats. Imma just tell ya how I feel about the arrange, and of course take it all with a bucket of salt cuz I'm nobody and this is just my unimportant opinion. 😉
It's refreshing to hear a take on 'Blizzard Buffy' that isn't the usual fast paced EDM or Metal. The 'meandering' nature of the piece is part of the charm, and I believe you've achieved a cohesive wintery aesthetic coherent with the theme of the album. The slow building intro and winding outro, on top of setting up the scene properly, also showcase an eye for worldbuilding and composition. As someone who both partake in and appreciate the work that goes into an audiodrama, I give ya props for going the extra mile and adding Buffy's stomps and groans to add context to the arrangement in a way that surely fits this 'filmscore' interpretation.
Now let's talk address the elephant in the room, 3 times heavyweight champion: Mr Glockenspiel. While a fitting instrument choice to an Xmas theme, it has been processed in a way that boosts its natural resonance beyond what a human ear is designed to contain 😋. It may or may not be due to the sample itself, but I suspect toning down the salad dressing on the ol' glock would remedy this small, if pivotal inconvenience. 
One thing that would greatly help this remix stand out, especially in regard to the genre you're going for, would be to work on strengthening bridges between parts of the track. The piece as a whole proves you've got the arrangement chops to make this a hit. But each transition feels like an afterthought, almost as if you were ice skating from one part of the source to the next. It's never jarring, but if you put the same care/thought into them as you did for the intro and outro, this could truly elevate the whole song. 🎹
The bombastic middle section from 2:35 onwards sees the return of our favorite superhero, Captain Glockenspiel, which once again shatters my heart by dancing without a care on top of an entire orchestra that is trying its best to convey the source material. It's a bummer because you've clearly put all the stops for this part, and imho this is legitimately well done. But that repeating leitmotiv on glock should be a background dancer, not the vocaloid Diva it's trying to impersonate. I'd also push the thunderous percs back slightly, as they seem to impact overall dynamics, and to let the orchestra breathe so the source melody can properly dominate the soundscape during the fulcrum point, one of the only instance where the audience can hear your interpretation in an uninterrupted sequence.
The last section before the outro features a kick that's (I'm guessing) intentionally simulating a heartbeat and its acceleration as the piece/fight reaches its conclusion. It feels estranged and anachronistic to the rest of the conventional orchestra instruments. Also its overpowering the lows, as any Trap kick should, except in this case the sample's character is clashing with an already busy composition while trying to compensate for the orch lows you didn't write. Otherwise, that section is a wonderful way to wind down before the outro. 
All in all, this is a captivating arrangement that confidently tells its story in a brave yet understated way. It only needs a little more love to reach its full potential, and I'm confident you'll get there in no time, with all the great feedback from remixers and staff alike. Gambare VQ! 👑

There's not much that can be added on top of the stellar critiques you've received so far, and I won't bore you with technical FFT analysis and stats. Imma just tell ya how I feel about the arrange, and of course take it all with a bucket of salt cuz I'm nobody and this is just my unimportant opinion. 😉
It's refreshing to hear a take on 'Blizzard Buffy' that isn't the usual fast paced EDM or Metal. The 'meandering' nature of the piece is part of the charm, and I believe you've achieved a cohesive wintery aesthetic coherent with the theme of the album. The slow building intro and winding outro, on top of setting up the scene properly, also showcase an eye for worldbuilding and composition. As someone who both partake in and appreciate the work that goes into an audiodrama, I give ya props for going the extra mile and adding Buffy's stomps and groans to add context to the arrangement in a way that surely fits this 'filmscore' interpretation.
Now let's talk address the elephant in the room, 3 times heavyweight champion: Mr Glockenspiel. While a fitting instrument choice to an Xmas theme, it has been processed in a way that boosts its natural resonance beyond what a human ear is designed to contain 😋. It may or may not be due to the sample itself, but I suspect toning down the salad dressing on the ol' glock would remedy this small, if pivotal inconvenience. 
One thing that would greatly help this remix stand out, especially in regard to the genre you're going for, would be to work on strengthening bridges between parts of the track. The piece as a whole proves you've got the arrangement chops to make this a hit. But each transition feels like an afterthought, almost as if you were ice skating from one part of the source to the next. It's never jarring, but if you put the same care/thought into them as you did for the intro and outro, this could truly elevate the whole song. 🎹
The bombastic middle section from 2:35 onwards sees the return of our favorite superhero, Captain Glockenspiel, which once again shatters my heart by dancing without a care on top of an entire orchestra that is trying its best to convey the source material. It's a bummer because you've clearly put all the stops for this part, and imho this is legitimately well done. But that repeating leitmotiv on glock should be a background dancer, not the vocaloid Diva it's trying to impersonate. I'd also push the thunderous percs back slightly, as they seem to impact overall dynamics, and to let the orchestra breathe so the source melody can properly dominate the soundscape during the fulcrum point, one of the only instance where the audience can hear your interpretation in an uninterrupted sequence.
The last section before the outro features a kick that's (I'm guessing) intentionally simulating a heartbeat and its acceleration as the piece/fight reaches its conclusion. It feels estranged and anachronistic to the rest of the conventional orchestra instruments. Also its overpowering the lows, as any Trap kick should, except in this case the sample's character is clashing with an already busy composition while trying to compensate for the orch lows you didn't write. Otherwise, that section is a wonderful way to wind down before the outro. 
All in all, this is a captivating arrangement that confidently tells its story in a brave yet understated way. It only needs a little more love to reach its full potential, and I'm confident you'll get there in no time, with all the great feedback from remixers and staff alike. Gambare VQ! 👑

“Once men turned their thinking over to machines in the hope that this would set them free. But that only permitted other men with machines to enslave them.”

Frank Herbert, Dune 1965.

There's not much that can be added on top of the stellar critiques you've received so far, and I won't bore you with technical FFT analysis and stats. Imma just tell ya how I feel about the arrange, and of course take it all with a bucket of salt cuz I'm nobody and this is just my unimportant opinion. 😉
It's refreshing to hear a take on 'Blizzard Buffy' that isn't the usual fast paced EDM or Metal. The 'meandering' nature of the piece is part of the charm, and I believe you've achieved a cohesive wintery aesthetic coherent with the theme of the album. The slow building intro and winding outro, on top of setting up the scene properly, also showcase an eye for worldbuilding and composition. As someone who both partake in and appreciate the work that goes into an audiodrama, I give ya props for going the extra mile and adding Buffy's stomps and groans to add context to the arrangement in a way that surely fits this 'filmscore' interpretation.
Now let's talk address the elephant in the room, 3 times heavyweight champion: Mr Glockenspiel. While a fitting instrument choice to an Xmas theme, it has been processed in a way that boosts its natural resonance beyond what a human ear is designed to contain 😋. It may or may not be due to the sample itself, but I suspect toning down the salad dressing on the ol' glock would remedy this small, if pivotal inconvenience. 
One thing that would greatly help this remix stand out, especially in regard to the genre you're going for, would be to work on strengthening bridges between parts of the track. The piece as a whole proves you've got the arrangement chops to make this a hit. But each transition feels like an afterthought, almost as if you were ice skating from one part of the source to the next. It's never jarring, but if you put the same care/thought into them as you did for the intro and outro, this could truly elevate the whole song. 🎹
The bombastic middle section from 2:35 onwards sees the return of our favorite superhero, Captain Glockenspiel, which once again shatters my heart by dancing without a care on top of an entire orchestra that is trying its best to convey the source material. It's a bummer because you've clearly put all the stops for this part, and imho this is legitimately well done. But that repeating leitmotiv on glock should be a background dancer, not the vocaloid Diva it's trying to impersonate. I'd also push the thunderous percs back slightly, as they seem to impact overall dynamics, and to let the orchestra breathe so the source melody can properly dominate the soundscape during the fulcrum point, one of the only instance where the audience can hear your interpretation in an uninterrupted sequence.
The last section before the outro features a kick that's (I'm guessing) intentionally simulating a heartbeat and its acceleration as the piece/fight reaches its conclusion. It feels estranged and anachronistic to the rest of the conventional orchestra instruments. Also its overpowering the lows, as any Trap kick should, except in this case the sample's character is clashing with an already busy composition while trying to compensate for the orch lows you didn't write. Otherwise, that section is a wonderful way to wind down before the outro. 
All in all, this is a captivating arrangement that confidently tells its story in a brave yet understated way. It only needs a little more love to reach its full potential, and I'm confident you'll get there in no time, with all the great feedback from remixers and staff alike. Gambare VQ! 👑

Opening both the 2012 and 2024 versions side by side in an audio editor, you can tell from the waveform data alone how much extra effort had been poured into this remix for over a decade. Let's listen! 🎧
On the prod aspect of things, I ran analysis with a Blackman-Harris function, both 128 and 512bins on linear and logarithmic scale, to positive results. Spectrum analysis didn't make me fall off my camel either, you've got nice stereo separation and likewise no alarming RMS. However I counted more than a 150 clipped samples throughout, which might be related to that enthusiastic -12.23db LUFS integrated with a 6LU loudness range (accounting for DC offset as well). Either slightly limit your master bus output just to be safe, or keep rocking the '0db sample peak' lifestyle. Up to you. 😉
Arrangement-wise, there's been massive improvements in texture, sound choices, dynamics and overall balance from your 2012 original, pioneering mashup. Melodies are less muted, the mix sounds clearer throughout and the soundscape is so much fuller now. Imho, your greatest success here is instilling new life and movement into the piece, making this revision much more engaging to listen to. 
Case in point the first section from 0:15 to 1:00, where the industrial percussions have increased in presence and intensity compared to the 2012 version. But conversely, the source's melody is also more prominent and distinct during that part, which creates an interesting contrast, rather than an irritating dichotomy. The second section from 1:15 has undergone a shocking transformation, where the melodic material used to timidly defer to the classic Roland drum kit, but is now emboldened and confidently riding shotgun with the rhythmic bed from 1:32 to 2:05, before the eerie, melancholic twist of the original remix metamorphoses into an array of decisive stabs complemented by surgical percussion hits, which now makes the 2:05-2:38 section hugely more climactic. As for the ending section from 2:40 onward, I applaud the pivotal choice to swap instruments for the lead which confers it an exotic yet contemporary quality, meshing beautifully with the thunderous drums in this dreamy yet tangible soundscape.🤩
There's a lot of subtlety and detail about this arrangement that people hopefully will notice and appreciate. Like in spite of the whole remix being centered around a repeating leitmotif and written with a singular sound palette, you can distinguish the theme associated with each source in relation to its time period and cultural inclination. Which to this day remains a testament to your ability as an arranger to assimilate material from different sources, then interpret them with both cohesiveness and distinction. I can still revell in the care that went into creating this ambient/industrial tribute with delightful Deus Ex influences, yet I also realize that such flavor might not suit everyone's tastes, and might be looked down upon in some leet circles...
In any case, it's wonderful to see you revisit and reinvigorate this old work in such an elegant fashion, so many years later. I can only commend your diligence and consistency in the pursuit of this ideal, in the spirit of Ryu Hayabusa. May this labour of love capture the judges' hearts and ears, just as it captured mine back on Game Duels. This truly made my day, thanks for sharing this Eino. 🙏✨

Hello everyone!
As you are probably aware, on December 11, 2024, OCR will be turning 25 years old. And what better way to celebrate this than to do what the community is all about: collaboration.
So, after running the idea past folks on the Discord, I've decided that we ought to get the ball rolling with a project while we are still over 11 months out. Namely, I want to put together an album that both looks forward and looks backward, that celebrates the 25 years that OCR has been around, acknowledges this time period in VGM and also promotes the ongoing growth of the community's musicians, new and old, younger and older.
Therefore, I present the idea of TimeShift (working title). The premise of the album is simple:
1. Any ReMixer BORN BEFORE December 11, 1999 may contribute from sources that were RELEASED AFTER this date.
2. Any ReMixer BORN AFTER December 11, 1999 may contribute from sources that were RELEASED BEFORE this date.
By doing this, I hope that the album challenges all ReMixers to look at sources that they might not necessarily be familiar with. In so doing, we can all stand to gain some fresh perspectives on sources (I had actually considered calling the album "ReFreshed Pixels" for this reason!).
Further Rules
3. All new ReMixes. In other words, don't grab a ReMix you did that's already published on the site and add it to the album. This is as much about the challenge as it is the celebration of the time period. Have an unreleased WIP, even one you've shown off in the forums/Discord? Cool, it's valid. And yes, you can ReMix a source that's already been done.
4. One game, one claim. I don't want the album to filled with veterans' takes on Megalovania or City of Tears, and likewise we already have enough Corridors of Time and Terra's Theme for the younger crowd... Of course, don't let me stop you from being the one and only ReMixer who chooses Undertale or Hollow Knight, or Chrono Trigger or FF6!
5. Multiple sources are fine, but please ensure your main source comes from your valid time period. Adjudications may apply.
6. Release dates means original release. 
Cross-territory must use the first release date. For example, if a game was released in Japan in early 1999 but in North America in mid-2000, it goes to the younger ReMixer group since it's early 1999. No, just because a classic got a remaster 20+ years later does not qualify it for the veterans unless there's brand new musical material exclusive to that remaster. Adjudications may apply. Expansions (because they were a thing at the time of OCR's founding; remember those?) are valid if they contain brand new musical material exclusive to that expansion that wasn't in the original base game. This also applies if the original was released before OCR's founding but the expansion came out afterwards (making the expansion open to veterans). Adjudications may apply. 7. Typical quality standards apply.
8. The current final submission date (which is open to change) is September 11, 2024. Release date is the 25th anniversary: December 11, 2024.
Suggestions
We have a thread on the Discord where folks can post soundtracks that they can suggest for the album, especially from sources younger than OCR. It's not a requests thread, though: it's designed to get gears turning and ideas flowing.
Roles
Ah, now here's the tricky thing. I've been around the ridges on OCR for a very long time but it's only just recently that I've started to take a more active role in the community. I would certainly love the help of some experienced director(s), artists...heck, let's make this a full celebration and evoke the days of yore with a website too! Please let me know how you may be able to help me out here!
And, of course, this wouldn't be an album without someone to make music to go onto it. I encourage every ReMixer who wants to take part to let me know! And if we can get some sleeping giants from the old days involved somehow, that would be absolutely fantastic.
So that the album can get off the ground, I need expressions of interest from:
Co-director Mastering Engineer Artist(s)  (unless you want my poor art...) Website Designer (not as necessary, but preferred) Apart from expressions of interest, I am definitely open to comments, suggestions and feedback.
How to Join
Hit me up on the OCR Discord! Simple as that.
Claims
Tentative
Sketches
Cohesive WIP
These games currently have WIP's and are closed for selection:
Animal Crossing: Wild World (2005)
Mo.oorgan

Blue Reflection (2017) Vylent Chrono Trigger (1995) JSABlixer
  Earth Defense Force 2025 (2013) Eino Keskitalo Final Fantasy XIV: A Realm Reborn (2013) & Final Fantasy XIV: Shadowbringers (2019) Pixels & Paradiddles Final Fantasy XVI (2023) Xaleph Fire Emblem: Shadow Dragon and the Blade of Light (1990) & Fire Emblem Gaiden (1992) JSABlixer Horizon Zero Dawn (2017) Mel Decision & Treyt LISA: The Painful (2014) 100%ROEMER
  Outer Wilds (2019) Ridley Snipes SimCity 4 (2003) Dyluck Stardew Valley (2016) Moebius feat. Lucas Guimaraes ValiDate (2022) adrian gravitygauntlet All of the following claims are currently regarded as tentative until a WIP is received:
Dark Souls III (2016) / Elden Ring (2022) / Bloodborne (2015) / Sekiro: Shadows Die Twice (2019) / Demon's Souls (2009)
- The Vodoú Queen
Deep Rock Galactic (2020)
OR
One Step from Eden (2020)
- colorado weeks (& Ridley Snipes?)

Donkey Kong Country 2 (1995)
- JSABlixer
Halo: Combat Evolved (2001)
- adrian gravitygauntlet

Horizon Forbidden West (2022)
- H36T
The Legend of Zelda: Twilight Princess (2006)
- Geoffrey Taucer

Metal Gear Rising: Revengeance (2013)
- CNDR

Neon White (2022)
- Michael Hudak

Sands of Destruction (2008)
- TSori
The Witcher (series) (2007—)
-sake_hime
 
Let's not let this significant milestone in our community's history go past without acknowledgement or celebration. Let's do this!


Edit log:

EDIT 1: Change of date. Clarified rules #3, #4 & #6. Request for specific roles. Tentative claims. Thread of suggested soundtracks in Discord.
EDIT 2: (Apr 6) Updating claims. How to join project.
EDIT 3: (Apr 12) Updating claims.
EDIT 4: (Apr 29) Updating claims.

My, how time flies. It is October now, almost time for Halloween, and then it won't be long before Thanksgiving when we're all stuffing our faces full of turkey and pumpkin pie. I hope you're all doing well.
@Cyril the Wolf, don't forget about your track. Wouldn't want to disappoint someone.
 

First message sent to everyone. Check your PMs.

Looking at relaunching this in about 3 weeks (less depending on technology decisions and if I can finish this one song).  We'll be hosting a compo as well during the relaunch.  If anyone has any anime or cartoon remixes they're sitting on or if they want to throw something together in the next 2-3 weeks, submit them soon so we can put them up on the site.  I'll be on our discord if you want to reach out (https://discord.gg/NSWpWmfqxq).

One more week before final due date submission for all finished tracks. If all goes well, we could be looking at a 60 track~ album! That's fantastic if it happens! However, seeing as it is roughly 7-8 days away from final submission, we are no longer taking auditions or applications at this time for additional claims - not unless you can bust out something within a week's time that meets OCRemix panel requirements. 😅 For everyone else who has been waiting on this album, y'all in for a real treat! Fans of the game and music are going to get a really awesome experience!

Would love to jingle the bell once more, if life permits.

Would love to jingle the bell once more, if life permits.

It's July 9th. It's hot, it's humid, and people are still setting off fireworks at one in the morning. But you know what else is being set off?
That's right, it's time to start recruiting for the next An OverClocked Christmas album! Yep, we've got a good five and a half month before the due date, so let's see how many people are interested in taking part for the sixteenth entry in this (usually) happy, seasonal project.
As usual, this project is open to any and all OCR members, regardless of whether you're a posted remixer or not. You want info? YOU CAN'T HANDLE THE INFO... but I'm gonna give it to ya anyway...
When's The Project Deadline?- December 20th, 2022 at 11:59 P.M. EST.
This is now a REALLY hard, non-negotiable deadline, since it's very close to Christmas. We've had lots of last-minute entries and updates over the years and, to be perfectly honest, it shouldn't be that way. With months of time, having to hold off as long as possible for people made things pretty hectic for myself and Dyne in the past. Treating this project like a college paper that doesn't get worked on until the last minute got annoying rather quickly when it kept adding up to lots of hurrying year after year, with last second updates to artwork and retagging/reuploading things. As such, you have until one minute before midnight EST on December 20th to get me the final WAV or MP3 of your song. After that, you're shit outta luck until next year. I need time to do everything, including possibly making a little website to host this project if Dyne isn't online for one reason or another. So this deadline's set in stone... PERIOD.
What Information Does The Coop Need?- When you send me your final versions, I'll need what name you want to use (real or remixer handle) and the name of your remix. Please, come up with something when you send me links to the file, rather than just giving me a file called "ff6-owa-v3f.mp3" and nothing else. You don't have to tell me what song you're remixing, but I do need a name. Plus, if you have a website you'd like to pimp, supply that as well and I can add it to the MP3 tags.
What Can Be Remixed?- Any song, really. Traditional Christmas carols, video game music, published music by a signed artist, music from TV/cartoons/anime... whatever gets your heart racing and into that Christmas spirit. This isn't an official OCR album, so you can draw from more sources than just VGM. Plus, you can take a non-Christmas tune, like the Main Theme from Space Harrier, Stage 6 Mission 2 from Metal Head, or I Defend STM from Truxton II, and turn it into a Christmasy one. So know that it's not limited only to songs that are Christmas-like to begin with. All that said, do keep in mind that if you want to submit your song to OCR later, you'll need to keep this site's guidelines in the back of your mind. But for this album, you can take it in just about any direction you want and get as crazy as you'd like (but please, no "Silver Bells" done in farts or something).
How Long Can My Song Be?- As long as you want it to be. There are no restrictions on this, so whether it's 1:30, or 9:51 with a five minute guitar solo ala Metallica, it's all good. But again, if you want to submit your song to OCR later, keep their guidelines in mind.
What Genres Can I Remix In?- Again, the door's wide open here. Rap, Metal, Pop, Piano-solo, Orchestral, Jazz, 8/16-bit, Barber Shop Quartet, A capella, Death Polka... it's up to you where you want to take it.
What Format Should I Submit My Song In?- WAV or an MP3 of at least 192KB/s quality. I'll be tagging the MP3s and making MP3s from any submitted wavs, so you don't have to worry about that. But, if you'd like your website to be in the MP3 comments section, be sure to give it to me when you submit your song.
How About A Little Music To Get Us In The Mood?- To help everyone along, here's a YouTube list of Christmasy tunes made by Ocre a number of years ago...
https://ocremix.org/community/topic/32727-an-overclocked-christmas-~-now-recruiting/?tab=comments#comment-676914
What's The Website's Address Again?- It's got a new home at... http://williammichael.info/aocc/ This album will still be downloaded there as well, as Dyne will continue to host the albums on his site.
How Do We Contact This The Coop Person?- If you've got questions, comments, concerns, want feedback, or your track is done and ready to be sent to me, you can PM me here on OCR, or send me an E-mail at thecoopscorner@gmail.com. Just be sure you remember to include a link to your remix, or attach it to your message.
 
So yeah, there you go. You've got over five months to get something done for the lovely people of OverClocked Remix and the billions of listeners around the world who've become followers of our project.
Good luck, have fun and make everyone some Nice Work™!
 
Artists involved thus far...
The Coop (director, cover artist and remixer)
Cyril the Wolf (remixer)
Audiomancer (remixer)
Lampje4life (remixer)
HoboKa (remixer)
Souperion (remixer)
Wassup Thunder (remixer)
Dj Mokram (remixer)
colorado weeks (remixer)
Nase (remixer)
The Vodoú Queen (remixer)
Rozovian (remixer?)
Seth Skoda (remixer)

I'm planning on relaunching, I've rewritten the front end, backend, and migrated data to a more consistent format.  We also have several songs ready for the launch scheduled in the late summer / early fall.  I'll likely need technical help on the software side, finding such help has been difficult.

Huge BioHazard game and music fan here!
This one is excellent. Reminds me of that infamous cargo-holds battle with 2 gatling gun majinis, multiple Reapers and the armada of assault-rifle majinis.
Saying that RE5 has a stunning score would be an understatement, with gems like Assault Fire, Sad but True and of course Wind of Madness.
Though at this point, I'm not sure exactly what amount of talent or what kind of expensive sound libraries it would take to remix these honestly...
But I strongly support the idea, as there aren't many RE mixes out there (and I'm also working on changing that).

Congrats to @Souperion and @TheVideoGamer! Amazing entries from everyone (Hleet included) and many thanks for the feedback as always.
Now what delicious, third rate remixes am I gonna cook with the brand spanking new wooden spoon Bundeslang graciously awarded me? xD

Congrats to @Souperion and @TheVideoGamer! Amazing entries from everyone (Hleet included) and many thanks for the feedback as always.
Now what delicious, third rate remixes am I gonna cook with the brand spanking new wooden spoon Bundeslang graciously awarded me? xD

Congrats to @Souperion and @TheVideoGamer! Amazing entries from everyone (Hleet included) and many thanks for the feedback as always.
Now what delicious, third rate remixes am I gonna cook with the brand spanking new wooden spoon Bundeslang graciously awarded me? xD

Always a pleasure to be part of these, enjoyed everyone's work.

It's results time
Hleet posted a bonus mix.
DJMokram got 13 points but still gets the last place wooden spoon.
TheVideoGamer managed to get 17 points and gets second place.
And the winner of PRC444 is Souperion with 18 points.
Souperion, you are the winner. It was close but enough. You may pick a source for PRC446. Send the source to me (with a MID/MP3 file, otherwise send a second source with a MID file) by PM, other options are PM me @ ThaSauce or by e-mailing to bambombim@gmail.com (I prefer a PM @Ocremix). Send your source as fast as you can, but before this Wednesday (4 May 2022), 11:00 AM ThaSauce time (18:00 UTC, 19:00 GMT).
You may select any source from any game, but not a source with an OverClocked remix or a source which has been used in PRC before. An overview of the past PRC's can be found in the following links (I recently updated this site):
http://sites.google.com/site/bambombim/prc
http://bambombim.googlepages.com/PRCRemixList.doc (also downloadable via the link above).
https://compo.thasauce.net/rounds/view/PRC444 for the votes and comments.
 
PRC445 already started:
 

Vote is in. Always a blast coming back to this compo, seeing everyone having fun and challenging themselves still. <3

Cast my vote, and it was fun listening.

Welcome to the voting stage
The mixing stage is over. This round has 3 songs and 1 bonus mix by Hleet. The following people compete against each other:
Souperion
TheVideoGamer
DJMokram
 
 
To vote, do the following:
Visit https://compo.thasauce.net/rounds/view/PRC444 and listen to all the entries
Scroll to the form at the bottom of the screen or click PM.
Fill in the entries from first to third in the ThaSauce form or fill in your top 3.
State a reasoning for it.
Participants are encouraged to vote and leave feedback. They get a 3 point bonus, but they are not allowed to vote for their own track. They only need to fill in their top two (and can use the third spot to select the bonus mix they liked the most). 
Always look in this thread to find out who's the winner of the round after the voting stage instead of only looking at ThaSauce for the results.
Hleet has a vote that counts twice.
 
You have until Monday April 25th 2022 10:59 AM ThaSauce time (11:00 UTC, 12:00 GMT) to vote.
 
If you vote by PM make sure that your top 3 is clear. I prefer something like this:
(To)
(Subject)
PRC ## Vote
(Message):
1: (remixer A )
2: (remixer B )
3: (remixer C )
(reasoning)

Haha, yeah, that game was also among my first video games of my life. 
Gameboy was such a great experience 
 

Props to @HLEET for digging up this fine tune. Made my nostalgia tingle.