APZX

I have a bonus, that unfortunately is just about finished, but the deadline is lapsed, so i can't upload it ?

Got something in. Sorry for the hiatus. After PRC443 I did actually remix Flight, but its currently in the judging queue. And then I jumped on SeeDs of Pandora album project and did a remix of Overture and Ride On. Finally, with all of that sorted out I'm hopefully back for just some lighthearted remixing fun.

Got something in. Sorry for the hiatus. After PRC443 I did actually remix Flight, but its currently in the judging queue. And then I jumped on SeeDs of Pandora album project and did a remix of Overture and Ride On. Finally, with all of that sorted out I'm hopefully back for just some lighthearted remixing fun.

In a word, yes.

In a word, yes.

In a word, yes.

In a word, yes.

XD

@Rapidkirby3k
All right, now I have some more time to write a more full post regarding mixing and hopefully build off of what @Meteo Xavierhas laid as a foundational basis.
Equalization - There are charts out there for starting points when it comes to EQ, but they are nothing more than suggestions and at the end of the day its your ears that determine where the EQ ought to go. One thing that must be remembered regarding EQ and compression (I will get there as it has not yet been mentioned) is the idea of keeping the overall loudness the same when you are comparing the dry & wet versions of the sounds. As I said prior our brains lie to us. One such way that also lie to us is if a sound is louder it will sound better 99.9% of the time. So, to properly compare between a sound that has been EQ'd versus one that has not been EQ'd is to make sure that they are level matched. This will help you make more objective comparisons regarding what your EQ is actually doing.
Next, we are actually less sensitive to cuts than we are boosts when it comes to EQ. This means that you can do deeper and more drastic cuts than you can boosts. Something that you will likely find if you read up on mixing enough is something along the lines of "Cut narrow, boost wide." This is not universal by any means, but instead think of it as a suggestion as a starting place. A practical example is a snare drum. If you want the snare to some more bottom end, maybe start around 150Hz. Want more snap to the snare? Try starting around 5KHz.
You mention muddy mixes in particular. This is typically because there is too much low mid energy in the mix. This is loosely around 200Hz to around 700Hz. So, focus on what is actually going on in that region in particular to try and clean up some of the mud. One thing that I really want to stress is that music lives in the mids. If you can get the 100Hz to 6KHz or so sorted out you've accomplished the vast majority of the hard bit of mixing.
The last tidbit regarding frequency and equalization from me. There is something called the Equal-Loudness contour. Turns out that our hearing is far from linear and our hearing is most linear around 80dB SPL. What these show is how sensitive we are to certain frequencies. For example low frequencies require a lot more energy for us to detect than 2-4KHz. This most likely is a consequence of human speech occurring primarily in that 2-4KHz region.
Reverb - I think I did an okay job of explaining the gist of it in my prior post so I won't really reiterate it here.
Compression - While this was not mentioned by you and only in passing by Meteo Xavier, compression is an invaluable tool to learn how to use. Compression is the only tool in your toolbox that acts directly on the time domain of a signal. Want a big kick and bass? Well, the easy way is to use something called sidechain compression. Got a lot of big guitars and the vocals are just getting buried? Easy button is a little bit of sidechain compression. Is the vocal just a bit uneven in terms of short term dynamics? Compression. Want that bass to be just planted at the bottom? Compression. Those pads and strings just eating up a bit too much of your available headroom? Compression.
So, what is this compression exactly? Well, it turns out that being able to manipulate the volume of a signal automatically not only saves a lot of time because you don't have to automate as much, but it turns out that it can do things like make a sound a bit more consistent in its overall dynamic range. Now, I could go on for honestly hours about different types of compression and such. However, that really doesn't explain what it is that a compressor does or how to actually use a compressor. So, here is my little spiel about a basic compressor.
There are two different topologies of compressors and four primary controls to compressors. For the topologies there is what are called Feedback and Feedforward compressors. The important distinction here is where the brains aka the detector of the compressor is fed from. In a Feedback compressor the signal feeding the detector comes after the gain control element (this is the thing that determines the type of compressor like a JFET, VCA, Opto, etc...). In a Feedforward design the signal feeding the detector is more or less the same signal that enters into the gain control element. This is important to keep in mind because it does influence the way the compressor sounds and the way the compressor behaves. In a feedback design the control element takes longer to react because the signal has to go through it before the compressor can do anything about it. In a feedfoward design this is not the case. Some compressors allow you to choose between feedback and feedforward. My suggestion is to simply switch between the two and see which one you like more. It is as simple as that. There are many great and famous compressors in both camps. Pick whichever one does what you want for the sound you're working with.
Now, the important controls in a compressor. Threshold, Ratio, Attack, and Release. All the threshold does is determine at what level will the compressor even start reacting to the incoming signal. So, if you've got say a signal that never goes above -10dBFS, and you've got that threshold at -6dBFS. Well, then the compressor will simply never react to the signal even if it had an infinitely fast attack because it never exceeds the threshold. Now, this isn't strictly true, but that is because it has to do with the Knee of the compressor, but I will come to that when talking about the ratio.
The next control is the Attack. What the Attack determines is how long the compressor must wait after the Threshold has been exceeded before it will begin compressing. So, if the attack is say 1 second. Then the compressor will only begin to compress if the Threshold has been exceeded for 1 second or more.
The Release determines how long the compressor will wait after the incoming signal has fallen below the Threshold before the compressor will actually wait to stop compressing. Going with a 1 second release then the compressor will only begin to stop compressing once the signal has fallen below the threshold for 1 second or more.
Now, comes the fun part the Ratio. The ratio determines exactly how much the compressor will actually compress a given signal. This is easier to explain with an example. If the ratio is say 2:1 then for every 2dB that the signal exceeds the Threshold then only 1dB will come out of the compressor. That is all there is to the ratio of a compressor.
I did mention something called the Knee, and my explanation of the controls assumed what is called a Hard Knee. What a Hard Knee means is that the compressor will only start reacting to the signal once the Threshold has been exceeded. Sometimes though it is desirable to have a compressor that starts to compress a little bit before the actual threshold is reached. This generally results in a smoother compression action. This is called a Soft Knee. And it is typically done in dB. Assuming a Threshold of -10dBFS and a Knee of 3dB means that the compressor will actually start reacting to signals that are at -13dBFS, but at a reduced ratio. The ratio of the compressor will increase in tandem with the signal level until the Threshold is reached at which point the compressor will simply use whatever ratio that is dialed in. Something like Fabfilter's Pro-C or even the Fruity Limiter actually do a good job showing how the Knee, Ratio, and Threshold interact visually.
Armed with that basic primer you can actually start to really experiment with what a compressor will do to a signal.
Sidechain compression now is a cool technique. Essentially, all you are doing is hijacking the brains of the compressor and feeding in a signal of your choosing. Put another way. You're going to be compressing one sound with another. The most common technique these days is that big pump you hear in EDM. In that case the bass, pads, or what have you are being compressed by the kick. This turns down the volume of all of those sounds whenever the kick hits and creates that pumping sound.
I could go on further, but I think between myself and Meteo Xavier you have a good primer to start building your skillset. Most importantly, try different things and find things that work for you. And lastly practice. Mixing is a skill and needs to exercised

Most DAWs have a control to control the width of a sound. In Reaper there are four different modes for the way the mixer handles panning aside from the pan law. The Stereo Pan mixer setting has a normal pan knob and a Width knob. Set the Width knob to 0 to mono a track for example. Failing that Voxengo offers their Mid-Side Encoder (MSED) plugin for free. Click the Side Mute button and the signal will now be mono.
 
Some further notes regarding reverb. Reverb is traditionally a send effect. In ye olden days this meant that if you wanted reverb applied externally you used an auxiliary on the mixer and sent that off to the reverb and returned it into the mixer. I mention this because it is an important factor to consider when you're mixing as a natural consequence of this limitation was a homogeneity in the way that reverb sounded. Another thing to keep in mind with reverb is to actually control the frequencies that are entering the reverb and/or exiting the reverb. If you go read up on mixing you will see that you're told not to send bass instruments into reverb. The reason has to do with keeping the mix's low end from getting too cluttered. But if you say add a HPF before the reverb? Well, now that simply is not a problem. The same applies to the high end of a reverb. While it may sound counter intuitive at first by using a simple HPF and LPF entering into the reverb you can exert even more control what is actually going on with how your reverb sounds.
Going further is not thinking of reverb as reverb, but instead thinking of as another pan knob. Except that instead of panning left & right; reverb pans forward or backward in the mix. The more reverb a sound has the further back it will sound and the less reverb it has the closer it will sound. By using the same reverb across the instruments in your mix you can then use reverb to place instruments in front or behind others creating the illusion of depth. Couple this with controlling the amount of the dry sound that goes into the master and you have complete control over the depth of the sound. This is one of the reasons that you see the option for Pre-Fader Listen (PFL) in your DAW.
In dense productions you may want to avoid using an actual plugin and instead opt for using a delay plugin instead. The reason being that at the end of the day reverb is really nothing more than a ton of diffused echoes. A properly configured delay plugin can emulate a reverb in the context of a full mix, and since it is a delay plugin you have considerably more control over the echoes themselves.
Turning over to the comment about cutting bass from bass instruments. This may in fact sound crazy, but it is very sound advice in certain situations. See, our brain lies to us. One strange oddity of how our hearing works is if you say remove the fundamental out of a bass sound but leave the rest of the harmonic structure the brain will quite literally replace that missing fundamental harmonic. This is because all the rest of those harmonics are there, and thus that fundamental harmonic must also be there. So, by removing bass you haven't effectively lost anything and you've just gained valuable headroom.

Got it done, keep at it everybody.

It's results time.
Hleet received 6 points and gets the last place wooden spoon.
Souperion got 10 points and ends at third place.
And the winner of PRC441 is TheVideoGamer and APZX with 13 points.
TheVideoGamer and APZX both of you are the winner by unanimous decision. Both of you may pick a source for PRC443. 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 (23 March 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/votes/index/PRC441 for the votes and comments.
 
PRC442 already started:
 

Not only has it not had a PRC remix yet, but it also has not appeared on OCR. Only the tracks Shotgun and Title are on OCR. And on ThaSauce, which I can only see back to PRC94, there are zero entries for Plok. That actually kind blew my mind as Plok has such an odd, but awesome soundtrack.

Not only has it not had a PRC remix yet, but it also has not appeared on OCR. Only the tracks Shotgun and Title are on OCR. And on ThaSauce, which I can only see back to PRC94, there are zero entries for Plok. That actually kind blew my mind as Plok has such an odd, but awesome soundtrack.

Not only has it not had a PRC remix yet, but it also has not appeared on OCR. Only the tracks Shotgun and Title are on OCR. And on ThaSauce, which I can only see back to PRC94, there are zero entries for Plok. That actually kind blew my mind as Plok has such an odd, but awesome soundtrack.

Wa-ho-ho, this thing is seriously happening. Reminds me of Mario Kart.

Man, this tune is freaking groovy!

Wait this hasn't had a PRC remix yet!? This tune is so freaking popular....how has it not made to PRC!
It's also an awesome tune, with one big missed opportunity, that i'll try and fill in this round. 
I will try and get an entry this time!

Uhhhhhhh, well this was actually unexpected... lol
Thank you everyone for the comments and votes! But yeah I seriously wasn't expecting this outcome!
Edit - @Bundeslang I'll try and get you a source in a few hours or it will be sometime tomorrow

Thanks. The source is indeed for PRC440, not PRC441. My mind was already in the future, I also typed that you won PRC439, but this round was PRC438.

Uhhhhhhh, well this was actually unexpected... lol
Thank you everyone for the comments and votes! But yeah I seriously wasn't expecting this outcome!
Edit - @Bundeslang I'll try and get you a source in a few hours or it will be sometime tomorrow

Gratz to AZPX. It was a great listen this round.

It's results time.
TheVideoGamer got 3 points and the last place wooden spoon
Bundeslang just avoided the spoon and gets fifth place with 5 points.
Hoboka gathered 8 points and fourth place.
Wassup Thunder ended with 11 points and third place.
Souperion got 12 points and second place.
And the winner of PRC438 is AZPX with 15 points.
AZPX you are the winner. You may pick a source for PRC440. 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 next Wednesday (26 January 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/PRC438 for my vote and comments.
Next season already started: https://compo.thasauce.net/rounds/view/PRC439

Results
In 1st place with 14 points: HarlemHeat360 In joint 2nd place with 11 points: Wassup Thunder & The Vodou Queen In 3rd place with 9 points: Coloradoweeks In joint 4th place with 7 points: Souperion and Kat In 5th place with 4 points: General Grunt And the last place hero with 3 points: APZX Nobody created a bonus mix. HarlemHeat360 please PM me with your source pick for Round 129. You are going to share a slot with Wassup Thunder in MnP129's Double Dose round. Ideally for next week (Roughly the 24th November)
Next round will be a Double Dose round. 2 sources for the price of one! 
Congrats to everyone who participated, you peeps did great! Awesome turnout this round, 8 entries! That's a huge number.
Comments:
APZX - Ok i'm using this section to finally muster up and review this monster entrant of yours. Although MnP doesn't really have rules in regards to track length as such, this one to me personally did come out as excessive. I'm all for 15-20 minute entries, especially if needed (And done well), but 30 minutes is way too much for me (And personally, after being here for quite some time, and looking at a lot of past rounds on all the compo's, you are quite possibly a record setter for the longest submission on ThaSauce period). This isn't a dig at your entry, it's a bit of...say concern for how long it is. But hopefully that shouldn't be a dampener on my comments.
Anyways time for me to take a look at this, and properly articulate my thoughts.
Since you've pretty much remixed every source, while telling a story, i feel it's appropriate to break it down source by source:
Ok first off, the dialogue are spot on. The effects on your voice is amazing, and the way you paced the story is fantastic. Now i have heard of the story, but i haven't invested the time into reading it, because i'm not a big Creepypasta nerd. But i did look into it, and the ending got me, not so much it was scary, i don't often get scared, but it was a seriously good twist. The story plays out like an internet forum conversation so it's kind of easy and effective to have the replies come in varying degrees. I like that it's not all sudden. but rather the reply comes maybe after a source remix. The big criticism however of the dialogue, is that the music doesn't give the voice chance to breath. When i hear one of the source remixes (As kind of background music), in contrast to your voice, i find it hard to make out what you are saying. When i have the text with me, it does sort of make it easier, but i still can't really hear your voice as such. The good news is that when a source remix comes in (At full volume), you don't speak, so it's great to hear each remix clearly. I also love you took each source in a different approach, i wasn't hearing the same style for each, and how you progressed with the story was also really good too. You kept it chilling without any sudden cuts, and i especially like how this wasn't just a remix album, but rather you made each source a part of the story, that was really good. I could go on further, but i feel like i need to discuss each source remix individually as each one was done in a different approach.
Ghosts n' Goblins: Great piano work in this one, really makes it feel like it belongs in Micky Mania or some kids show, it's very light, but very spooky. This is the kind of source that could work with big drums, in a rock kind of remix/or synthpop thing. It's a great opener, but could be developed a bit into like a 2-3 minute part (Which is funny, because the whole thing is long as it is lol). Nice work on that!
Spinal's Theme: This is very electronic, and reminds me of some kind of hip-hop trap song. The original orchestral version is almost given a full 180 in this. Great drum line, and the spooky voices give it a bit nice clarity, although i don't like the excessive delay tails that they come with, it distracts me from the music. I do like the bass in this one a lot, it's very thick and deep and and really makes me groove. I do miss a bit of the melody in this, the basslines get a bit too much attention in contrast to the rest, but i do like this idea a lot. Great job on this source!
Damned: This just suddenly comes in without warning. I feel it needs to be transitioned in. The whole thing could have smooth transitions to really allow the story to come to life. Although i've said it isn't just a remix album, i do feel parts get close to that, because there isn't really any dynamics or fade outs to slowly anticipate the music coming in. The one thing i love in this source rework is the pad and piano combo, it's not only super spooky, but it really adds depth to what is essentially just solo piano. The pad is thick enough to really make it stand out. The voice in this is really hard to decipher, the music is too aggressive for the voice, but as a whole lovely work on this section.
Mad Forest: Lots of similarities in instrument usage, however not everyone has the tools to make rock music or orchestral (Like me), so i understand. Great drums in this, almost like a balance of synthpop and electronica. In this one, you repeat the main melody a bit, which is fine, but i do feel that it doesn't feel like a smooth way of building you up into the source. While i do like the drums, i feel bigger beats are needed to match the intensity of the synths. The basslines and melodies are lovely here, great choice of sounds. It's still got a lovely spooky atmosphere that fits the source perfectly, which a lot of these remixes do very well. Great work on this!
Dead Sea: The music immediately starts when the voice cuts off. Well ok, it starts a little earlier, but it's still there. Personally i would fade in the music to account for a smoother transition, but that's just me. Great ambience here, very haunting, and the plucks resonate well in this one. The spooky stabs also seem to add a layer of darkness, cementing this as a mix of electronic Castlevania and orchestral horror music. This one so far is my personal favourite, because it's the best mixed, and the most fitting in the horror music line-up. It does need a bit of polish, as do all of the parts, but the idea was great, and it was again my personal favourite of the bunch so far (I'm reviewing this as i go along) Great work on this!
Ceremony: The story sounds awesome when there is no music, and just silence. Not only is the tension heightened, but your voice is very clear, and it works almost like a narration. This should be a staple throughout the whole piece. I like how you managed to transform a lot of the electronic elements into almost expressive orchestral sounds. This one feels almost sparkly, while still retaining a dark undercurrent. It's like something happy is trying to get in, but yet can't i love it. The impact of the drum is a nice touch, keeps it from being a single pad line, but a full almost ritual in a sense. The melody sounds like gamelan's in the original, and was created in a way to be almost like a clear chant/ostinato. In this remix, it gets blurred as a series of long reverbs and decay's, which is great for originality sense, but for me i like the original idea in a sense better. It fits that spiritual feel more, and is just more clearer in a sense. I guess taste is personal. Great work on this though!
Concrete Cave: This is what we call the Jazz piece, and already i can sense you opted to go for that 80's FM bass and drum-machine. A wise choice, it feels like your amplifying the jazz, but also the electronic parts. I am feeling at this point, that i could do with maybe some acoustic instruments, in the sense that nearly every track feels like an electronic arrangement. Now i do feel a bit hypocritical to say that, because nearly every remix i do, primarily features electronic instruments, and i do know how difficult it is, to gain access to acoustic instruments. I don't hate the all electronic approach, i just feel it might maybe give it a bit of contrast who knows. The main melody in particular could work on a Saxophone or a reed instrument. As of now it doesn't feel as expressive as it could be, but again that might be me. All in all though, great work on this!
Gothic Neclord: Another case of where the voice stops, and the music comes in. This kind of goes into my critique of the whole thing not being as smooth as it could be. Although i love all tracks and approaches here, if i've got to be honest, this is the weakest so far. There is a weird bit of distortion going on that i don't feel is intentional, specifically when the bass comes in, and the organ doesn't feel like it belongs there, even though it's necessary. I like when the drums come in, although i do find it interesting to use rock drums, maybe i'm used to a more dance beat for this. The drums sound great when you reboot the tune, but then the bass reduces it to background noise. The whole thing still sounds really good, and like i said, some people might think differently. All in all, great work on this!
Haunted House: Didn't even get a chance to let the last source fade out lol. Already into spooky choir territories, alongside some really cool piano work. Apart from the Damned remix, this might be my favourite use of the piano in your composition/journey so far. It keeps the momentum going, while still keeping the whole thing creepy. I also like the background FX, it's very atmospheric and haunting. I do notice, and again this isn't a hate towards the whole thing, when i listened to it, i thought the idea was super cool, and unique and that really left a mark on me, but i do notice these tracks were probably made in a short period of time, largely because a lot of them feel like repetitive loops, especially in this one, there isn't really any major dynamic changes or sound experiments going on, you've just really added synths to the source. My theory is that the story is the selling point, and the remixes to the source kind work as an extra thing. Still though everything i say is to be taken with a grain of salt, not everyone might feel the same way, and again the idea is super cool on the whole thing, really lovely idea. Great work on this!
Undercity: Again the source didn't have a chance to fade out. Also interesting i didn't hear any voices before the remix, maybe you were on the last paragraph or something. This one doesn't bother me, but it was an interesting revelation. Love the brass in this one. It doesn't sound realistic to me, but it was a joy to really bring out a bit of the natural orchestral sounds to close it off. The background FX were a bit loud for me personally in this one, it feels like you went a little too hard on the wind. The orchestral vibes were really good though, it's more epic than i'd expected. Of course there's still synths in there, to keep with the vibe, but honestly great work with this. The background parts need a lot of work, but the rest was really good, still fits the haunting feel. Great work on this!
And great work on the whole thing, to accomplish such a feat is nothing short of applause. I would never go to this great lengths, or not at least succeed in the way you've set out for it to. Sure it needs a bit of work and polish to really make it awesome, but the whole thing was really fun to listen to, it's a joy to hear you approach each source in your own style. The ending could have been more satisfying than sudden, but really though i still can't commend how impressive the whole thing was, really hats of for going for such a feat. Well done on the whole thing!
I feel like i've gone on a bit too long with this "review", so i'll summarize with pros and cons. It doesn't mean i hate this (Or have problems with it), it's more so what i've written is essentially "What i've liked" vs "What could be improved" kind of thing.
Pros:
For nearly 30 minutes, i did not feel bored or tired. If anything, it felt shorter than expected. Each source was well produced, even if it could do with polish. I loved each one. The whole thing was a ton of fun, and i loved the idea, and more importantly the impressive feat you took to make this. Your voice and the processing was amazing, really fits the spooky fit. You told the story super well, definately was immersed in the whole thing. Lots of cool unique approaches to how you remixed each source. Great work! It was more than just a remix album, it was a full blown journey. And because it was a journey, i didn't feel like i needed more. Cons:
Although i did say it wasn't just a remix album, i do feel each track just comes in without context/warning or any sort of anticipation. It just suddenly arrives. I feel the tracks were made in a short period of time, since a lot of them used very similar sounds, and relied on a fair bit of repetition in some parts. I suppose it's the sources fault for being repetitive in a way, but i still feel more could be expanded upon in these sources to make it very varied and engaging. Some sources come immediately after another. I would let the sound fade out before moving on. When there is music, the voice gets masked, so much so i can't understand what you are saying. It's best to let the music be it's own voice, and the narration be another. That way it really amplifies the spooky nature of the idea. Some of the sound FX like bird calls and laughing can be a little intrusive, especially in the Spinal remix, that one had a little bit too much delay on it. With the exception to the last track, i felt more acoustic instruments could have worked here. I know i shouldn't be saying this, since i too overuse electronic sounds a lot, but in this sense a bit more piano or string, could take it to the next level. Most of what i'm hearing is similar electronic sounds, so it feels more like one piece, than multiple pieces. Again the story is the selling point, and i try to be as open minded as possible, so not everyone will agree with me. It's just me being in the moment. Again you did a really amazing job on this, it's a lot of work, and the whole thing was a lovely idea. I don't want to keep talking, because i've already taken up so much text with this monster review, but i will say in the simplest of phrases, well done, keep at it!

I feel that I need to provide a bit more explanation to my submission. At least some of the backstory. See, originally I had done some work with my chosen theme, and because I was a bit bored I threw up Ghosts n' Goblins and just tried to be silly with it. And at this point I was basically done with my take on Spinal's Theme. At this point I just decided to give a more thorough listen to the sources and listened to the Castlevania pick. Again purely for the funzies I opted to do a bit of a minor remix. Really, just a cover that I decided to make a bit silly.
It was at this point, I thought that it would be fun to add some spoken word elements to these three to try and sort of thematically link them together. At least in a really loose sense. So, I went to the interwebs looking for Halloween appropriate poems or short stories. Then I remembered about creepypastas, and then went down that rabbit hole. At this point in time I ran into Candle Cove, and I thought to myself, "You know? This could actually be a lot of fun!". So, the next morning I sat down with my mic and recorded the entirety of my Candle Cove take. I tried to just take bits & pieces that initially worked, but it always felt like it was just missing something. It was at this point I made the terrible mistake to try and fit every source together in a loose framework based around creepypasta. To me there are a few outliers that I just could not make work, but without all the sources there was really no way to make to creepypasta work in a reasonably flowing manner. So, I do agree with you @The Vodoú Queen that Concrete Canyon is way out of place, but I really could not think of a decent place to put it nor could I think of a way to do a remix that would have really placed it well either. The best way I could think to do it was to try and loosely link it to the bit about the main villain and the skin. So, that is the reason for the sore thumb, but at the end of the day I like to think of that track as more of the calm before the storm as it were thematically. In the sense that you've got some werewolves going around having fun before things start getting too real.
And really, I did this mainly, purely, and just because I can. It was meant to be something different. Something that you just put on and think to yourself, "What did I just listen to?"