Nobbynob Littlun

This song is badass. I thought about talking about how this song does an excellent job of setting the mood. I also thought about noting how it transitions between themes smoothly. Or how it embraces the artificiality of the sampling and makes it work to the song's advantage. Or how it progresses in a cinematic, story-telling way. Or how it uses the full range of bass and treble to keep things balanced at all times. Or how it uses periods of silence (whether relative or complete) to great effect. Or how professional the processing sounds. Or how this would be friggin' perfect for a Deus Ex game. But really, all I need to say is: This song is badass.

....,./\... ..//`-||-'\\ .(| -=||=- |) ..\\,-||-.// ..`...||..' ......|| ......|| ......|| ......|| ......|| ......() Seconded. This song grows on me every time I hear it. It's those aforementioned effortless transitions. The song and it's "subsongs" are the perfect length, satisfying and varied without dragging on.

SHOOP dobedo bop bop SHOOP debedo bop Some great music here!

This song is just plain fun, whether or not you're a fan of the artists or musical style. Great job! I really like the... errr, not sure how to describe it... DJP isn't much help either... I guess "squiggly and squirmy bass line" suffices. I really like that!

I like this a lot, despite it's very techno-y feel. Perhaps it's the title of Third Eye, the breathy feel that DJP describes, or a combination of the two, but it put me in mind of Unipulator's "Kizukaseru" here on OCR, and listening to it I can easily visualize a calm samurai being jumped by a few dozen ninja and using his "third eye" to emerge unscathed.

Eh, it's not a derail, the artist is the one putting pseudo-philosophical jabbering in his ReMix, he can darn well expect some discussion on its merit :b What you're describing there isn't really a problem with the death of a language. Rather, it's that one generation will not necessarily carry on the full culture of its preceding generations. It's the same as if my mom died without passing on the recipe for her spaghetti sauce (hint: it's got grape jelly); or if I thought the recipe stunk and wasn't worth keeping (an aside: it's delicious). The language just happens to be one of the things being lost - an accessory to the other bits of culture lost. Of course the guy being quoted in this ReMix is making a big deal out of the language - he's a linguist. If Cantonese and Mandarin disappear from Earth tomorrow, we'll still be talking about K'ung-fu-tzu's philosophies in English-speaking schools. An example. Japanese American sansei often don't speak a word of Japanese, but still retain the important parts of their culture that defined the Japanese and made them successful as immigrants: strong work ethic, respect for social structure, deferred gratification, just for starters. And that's not even the obvious stuff (art, music, food, etc) that people focus on carrying over. Eh, if any bits of culture are only being held by one or two elderly folk in all the world - if none of their descendants cared enough to carry it on - it can't have been that great.

Even if you don't generally like this style of music, or cthonic's style of music, check this out - post haste! This song is just pure fun. Also, is that a timbale? Yes it is. I can't believe djp didn't mention the rad timbale licks.

I like it, and it fits the gnomes for sure... but this style of arrangement really exposes sample quality, which I think is what is grating on me at around 0:30 and hurts the song... I assume that's supposed to be a clarinet, but it doesn't really sound like one to someone who used to play one.

Hmm pretty nice, pretty mellow, but I feel like the percussion that runs throughout is too pronounced. Especially the snare drum. Perhaps a tambourine would suit!

Oddly enough, the bit that I posted about previously as bothering me is a non-issue. On the other hand, the quote about linguistics is bugging me. For one, there's the clear counter-argument that DJP brings up in his review. Then there's the fact that it has a preaching quality to it - but (A) it comes off as sounding very uncertain of exactly what the point of said preaching is, and ( what exactly am I supposed to do about this disappearing languages thing? Assuming I even care. Somehow I doubt that any centuries-old philosophies or bodies of knowledge have only an isolated old codger's language for their sole vessel. Languages are after all merely tools with which to communicate thoughts; there is very little in the way of knowledge directly tied to them. I would expect those centuries-old bodies of knowledge got carried through to a more used language, along with the new generations of children moving over. And of course, that quote says nothing of the births of sub-languages that are developed by groups with specialized interests. Thus, suppose a new generation are leaving a dying language behind. Is there anything that the dying language can communicate that the new language can't? They will most likely carry it with them, adding to the diversity and robustness of that new language. What I'm saying is, I find myself rolling my eyes at the little speech in this song so consistently that, despite my enjoyment of the music itself, I find myself pressing the skip button as soon as the talking starts.

I'm afraid I'm going to have to go with Judge Vig on this one. I found it... tedious. And while I like cheesy movies, I do not like cheesy synths - unless they are placed in balance with tones that are sufficiently non-cheese. Unfortunately everything here seems to be pure cheese, and not particularly interesting cheese at that. No amount of fine, nitpicky effects processing will make up for repetitive repetitions of repedity (1'08 for something to finally happen? Seriously?), long drags of not-quite-harmony (2'07, seriously?) or ultra-cheesy synths. I don't want to sound like a jerk here, but did everyone just say, "Oh hey, AeroZ is doing Zelda3" and just want to believe that it's good? :/ I think a large part of it is just that this song did not lend itself to the style. I do think, though, that if AeroZ did a short - maybe 1 to 1'30 long - ReMix of Zelda's dungeon music, it would work quite well. But not this. Sorry, but... no. Just... no. Ick.

The drums' hollowness is actually a good thing in my book, adds to the feel of it. Come to think of it, they remind me of the drums in Castlevania: SotN, "Final Toccata"... looking it up... at around the 4:15 mark in that song. So yeah. I also really like that low baseline synth in this. A good spot to hear what I'm talking about is 0:36. Actually this whole thing reminds me of the main theme song for Legacy of Kain, Soul Reaver as much (more?) than it does Castlevania. Doubly awesome. The only thing that I'm meh about is the electric guitar. It just sounds too... high in pitch and heavily processed, given the other sounds surrounding it. It doesn't balance out. Balance of high and low pitched sounds is a big deal imo, and that balance is so neatly found in the first minute of this song, the rest of the song is... well, it's too good to be a letdown, but it's not up to par with the first minute of the song. Regardless, good stuff, definitely a keeper!

I was listening to the full album, and even before reading djpretzel's comment on its Pink Floydishness, I was thinking the exact same thing. Very Dark Side of the Moon, so much so that I had to see if it was posted here so I could say as much. Need I say more? Download immediately!

I normally am turned off by the kind of cheesy synths that this mix has to sport, not to mention an intro that toys dangerously with repetition, but everything comes together in such a nicely textured, expansive way... I shall enjoy it in years to come.

THAT, ladies and gentlemen... is how you put a saxophone to good use.

I am so glad this didn't get relegated to Overlooked Remixes. This is... amazing. I'm definitely getting an Incredibad vibe here. It's a keeper!

Regardless of your musical tastes, this is a song that - without lyrics - tells a story, and is worth giving a listen to. Nobou Uematsu would be proud.

Triad Orion and XZero pretty much cover my thoughts on this. My only objection is the blaring (as others describe it) generi-trance synth that dominates the song about halfway through and is present throughout. Aside from that, this would fit very well into any Mega Man game, just as well as the original did. Honestly, I think if you replaced that one synth with just about anything, the ReMix would be excellent rather than merely good. A live cello would be awesome. lol

I generally find the repetition of trance intolerable, but while that is present here, the vocals add so much to the song that the trance stuff doesn't bother me at all.

I think one of the best things about this remix is that it still sounds like video game music; you can stick this right back into a Panzer Dragoon game, and it'd work great. To me, that is an incredible bonus in a ReMix.

I think what is key in the performance of this piano piece turning out so well is that the volume of the piano is not constant. Sometimes it is loud, sometimes it is very quiet, which gives our ears and mind a rest before the next "musical push" as it were. I think that's very important for any song, but especially for solos where you only hear the one instrument.

Sounds very much like the Metroid Prime series soundtrack, especially in the latter half. If you wanted to take this song through a third incarnation and give it more energy, you've got a seamless FF4/Metroid dual remix in the making already. Not that I don't enjoy this second incarnation you have up here

Honestly, some of those hentai samples are delivered with such finesse that I think the song would be for the worse without them. I'm particularly thinking of the intake sample you hear at... 0'40-0'41, 1'49, 2'06-2'07. Heh.

Funky! I like it! And yeah, that brass bothered me too. But the bass at 1:16 made up for it.