Melbu Frahma

Music, itself, is a myth.

This remix is extremely slick, taking Shadow's theme in a totally different mood and direction from the original. Loved the interplay of the guitar with the brightness of the synths, sort of mixing the seriousness of the guitar with the happy, chill synths. It also definitely has the unknown/mysterious feel of Shadow contained within its notes, too (somehow). It's next to impossible for me to listen to with bobbing some part of my body along. Easily one of my favorite FF6 remixes on the site.

Lol. Meant Tidus - my tired brain switched names. And that wasn't an entirely fair statement, once I thought about it; it was probably closer to half an hour after you meet Yuna.

One of the first remixes on OCR I listened to, and still one of my favorites; holds a definite place in my heart. It really is pure, unabashed rock, and is great fun to listen to. I, too, notice the 'wrong notes' but I guess I'm less musically discerning or something because they didn't bother me in the slightest, because I enjoy the whole song. Actually, my favorite parts are when the rock fades back and the piano comes in to the forefront, so, eh.

Limit break time! Second form reviews: Descent 'Lost in the Mines' Final Fantasy 'Warriors of Light' Final Fantasy VI 'Agony of Obscuration' Wild Arms 'Succumb to the Wilderness' Pokémon Red Version 'Out of Antidote' Total (as of 12/23/11): 5 Total reviews (both forms): 26

Seconded. Descent: Destination Saturn is easily still my favorite flight sim game that I've ever played - and I've played many. Yeah, the physics in it may not be perfect, but it's still an amazing game with great music and definitely needs more love on OCR. On to the track: EXCELLENT job of blending Callisto and the main theme together; I felt they dovetailed together just perfect. It took me a few more listens before I could spot the briefing music, though, although that's probably because I was too busy reading at the briefings to pay much attention to the music in that section when I was playing, lol. The piano at 1:02 was an excellently timed surprise that worked perfectly for me. A good combination of sounds overall - I felt like I was back in that blasted Callisto mine with only 500 Vulcan rounds and a concussion missile to my name. Great stuff, CFX - I hope to hear more from you soon (even if it's not Descent stuff).

Same, tbh. Not to mention I predicted 99% of the "story twists" by the time Rikku finds Zidane washed up the first time (~1 hour in?), which, I will put up with almost ANYTHING in a game except a story that I can predict dozens of hours ahead of time. Although I felt like X had better music than 13, too. And a more enjoyable battle system. Anyway. Back on topic - this seriously feels like a low point in FF music to me, unless it turns out to be a joke/bonus track or something. But I'm really not holding out hope.

I'm still hoping it's some kind of tongue-in-cheek joke that the music department got in bed with the PR department over. "Hey guys! Let's totally mess with American consumers and make them think there's stuff like that actually IN the game! Ha ha, it'll make for great buzz!" But deep down inside, I know the truth. :-/

And Crulex too. Three heavy hitters! I've been saving a limit break for his second form.

Mistaken Love Secret Library You're Not Alone! Bran Bal The Place I'll Return Someday would be my humble requests. Steiner's theme and Pandemonium would also be excellent. Thanks Fishy.

If it makes you feel better, Meteo, I for one am definitely excited for this project's completion and have been keeping an eye on it... so you got at least one fan.

No. No, they really don't.

I'm still waiting for the Final Fantasy where the last boss fight is actually against some sort of massive chocobo. Or a baby one.

Vampire Hunter Dan's masterful use of silence - something he uses to great effect in many of his remixes, such as To Times Once Forgotten - and a wide variety of instruments keeps the track always changing, never boring; an exceptionally strong arrangement, altogether. VHD's brass writing, as usual, is particularly good, and aside from one or two moments that sound a touch less than real, there's no problem with the samples used either. Particularly beautiful ending, as well. In short: It's VHD, it's an amazing arrangement, you should listen to it if you haven't already.

A very beautiful, delicate piece of music, with extremely good interplay between the instruments. The timing issues mentioned in the write-up are definitely there, and definitely distracting, but not to the point where the piece is rendered unenjoyable. I'm also not entirely sure I like the percussive element that comes in right after the dragon cry; it works, I suppose, and it does fill up some of the space, but I feel like the mix might have actually been better without it. I would definitely be interested to hear what it sounded like without it, at least. Regardless, these are minor things that don't come anywhere near ruining it; definitely worth giving a listen or two to.

Whoa - was NOT expecting that chiptune to come in there around the 0:30 mark, very nice. The combination of guitars and electronic sound has a really interesting interplay in the track, as they alternate being exposed and playing together. I particularly liked the synthy sound being used as an echo that showed up around the 1 minute mark - a very nice touch, that. Great stuff for a first post - I hope Seventh Epic submits more to OCR.

Wow, I can't believe I haven't done a review for this track already. Time to fix that. While Reuben's solo piano pieces are definitely excellent in and of themselves, I am eternally grateful that he chose to depart from that route for this piece; while the piano intro is hauntingly beautiful, the track doesn't really take off until that deep "hoom" around the 1:30 mark... at which point it goes from being a great track to an exceptional one. The gradual addition and blending of percussion, woodwinds, and other sounds builds perfectly toward the "cliff" overlooking Cosmo Canyon, and I always get a chill at 2:26 and then, again, at 3:13 when that final "step" up occurs. An almost perfect handling of the gradual build; the only thing I would've suggested would be to maybe build one more step even beyond that, or at least lengthen the end section, because I'm left wanting more, more, more of all of the sounds playing together at the end - it ends too soon. Easily in my top ten of all time OCRemixes. To quote WannaPolkaLlama,

So, confession: FF8's OST is actually one of my least favorite Uematsu scores - certainly my least favorite of those FF games I've played (5-10 and Tactics). While there's definitely some songs that stick out as gems among the rough in it, (Balamb Garden and Fisherman's Horizon coming immediately to mind) as a whole it rather disappointed me. "Silence and Motion," however, is one of the those tracks that definitely stands out for me; it's an extremely quirky, unique piece that captures the strangeness of Esthar almost perfectly. Fishy manages to capture that quirkiness and preserve it in this remix, while at the same time managing to develop it a bit further - and most interestingly in a way that is very different from what I usually think of as a "Fishy" remix, showing a great range from the artist. Great part writing and great choices of sounds all throughout; if I had to make a negative critique, it'd be that the pause around the 2:50 pointd didn't completely sell me on it. Otherwise, a great piece.

Gotta second that - honestly felt like the weakest part of the mix was the vocals, just because of how - to steal OA's word - airy they were in a lot of places when compared with the rest of the track. It's still definitely good stuff, though - awesome synths and bass, and a beat that makes it next to impossible not to bob your head. Or your foot. Or your finger. Or something.

I've been trying to, myself - I think at least 9 of my (currently) 15 reviews are from that set. Lately I've switched over to trying to review stuff that hasn't had a review in at least two years, although I made a couple of exceptions. C'mon! Let's finish him!

A piece that has quite a lot going on at the same time without sounding overcrowded, the track really does a good job with its transitions and not losing the interest of the listener even at a 6-minute length. Enjoyed the good interplay between the various parts, and definitely enjoyed the track as a whole, particularly the part that starts around the 40 second mark - particularly once that crystallized sound hit around 1:05.

Such a complex and interesting arrangement, that constantly changes; loved it instantly. In particular, I found the woodwind and string writing to be extremely good. My only complaint with it at all was the ending - wasn't feeling what Shnab did there - but overall, great stuff.

I could listen to the first 26 seconds of this song over and over again for days without getting tired of it - simply gorgeous music. The variety of instruments and sounds really keeps this piece interesting, bouncing between synths and organ. Epic.

So, the first section of this song really threw me off - I have a hard time rationalizing it and the mood with the rest of the piece. Everything after 1:10 was simply amazing, and I would listen to that part again, but the part before it... major turn-off. And while I kind of get what he was going for with it, I still can't make myself like that section. The last four minutes of it, however, definitely deserve the listener's consideration - I had no complaints at all about that section, really, except that maybe the fade-out felt like it began way too suddenly.

The track took a listen or two to really grow on me, but once I'd really listened to it I fell in love with it - and with the source, once I'd taken a listen to it. In fact, I loved this track so much - and the original music of Aquaria, once I listened to it - that I went and got the free demo and played it, and then got the game. So that's something. But yeah. It's a badass piece of music, and definitely worth a few listens to - I really can't find anything wrong with it.