watkinzez

Confused on how to pronounce online screen names? No more! Three cheers for on running the Chrono Symphonic project! And a round of applause for for the arduous job of mastering!

wow you really have no idea what you're talking about. ...And?

Not being a huge fan of Morse's work in the past (a bit repetitive in some songs), I'm pleased to say that his recent offerings on 'Bound Together' and his collabs with po! have got me interested more in his work. Compared to 'Watermelon Flava', this one requires more attention when listening to it. We already knew that po! rocked the violin thanks to The Underdog (to anyone who hasn't listened to that one, do so now. You won't see it on OCR). The violin solo here doesn't disappoint. Pretty good work here guys.

This gets much better further through the song. On the outset, I was thinking, 'gah, stupid Zelda lullaby cover', but it kept building up to the great electric guitar section at 2:00. I compare this to one of the other acoustic Zelda mixes, Saint 420's SoS, and where that song tended to delve in repetition, this one manages to spice it up a bit. And the end. Daaar! I know that part! It from game!

Did I comment on this one? Apparently not. Excellent song. Amazing genre conversion. Some people may say it repeats ad verbatim, but it doesn't really need much more in my opinion. One thing though, after going back to the original version (I played Substance in 2004), I felt that only using a fraction of the lyrics was holding the remix back from its full potential. I understand that the voice clips were taken from the trailer, though, which only had the first two lines. I think I can forgive you.

Ah, mine was here when I came home. It fits this time, and it's pretty damn comfortable too. Of course, being American made, a little thick for the climate here, but it's cool.

I love remixes like these. You listen to it, get in the groove, and then you hear the source material and think "Shit, I can't believe someone did the song like this! Awesome!" This is indeed the hotness. Very intelligent and well thought out way of using the source material, and yes, the percussion does rock. The general variation throughout the piece keeps it fresh and able to hold up to repeated listens. Nice name too, cool game reference. OMG make more plz.

This is going to be good. Judging by the tracklist, it'll be a long show.

Am I the only one who can understand Rexy? Bloody Yanks. I'm not a god damn yank. You're an Aussie and you've never heard of Perth, West Australia? Aust - ral - ia? Ain't that near Germany or sumthin?

Am I the only one who can understand Rexy? Bloody Yanks.

Funny, Prot's experience with this mix is very similar to mine. I loved this one a lot when I first got it, so much that it persuaded me to check out the game to see what it was like. I was astounded how similar the original was to 'Kick my Axe', which dissapointed me sonewhat. The song is very well done, high production values all round, and does work as a cover and upgrade as such. I guess this is just a different approach to remixing. Either way, I still love a good cover, and in that sense this one hits the spot. The talent is easily spotted in this well made mix.

Po! definitely knows what he's doing, being a veteran in the remixing community and a musical powerhouse. It's tough work trying to establish a groove without getting too repetitive, and that's where this song succeeds. If you label this type of music as elevator music, then that's one groovy elevator you're travelling in. An OCR classic.

Wasn't this Prot's only OCR that he hated? Must be too many drum loops and groove bias. It is true, this pales in comparison to Ari's DKC2 offerings in sound quality, arrangement and variation. By itself, it isn't a bad listen, though the drums do leave something to be desired. Sounds a little 'tinny' overall, but that was the overall style that he was going for, I suppose.

Yeah, this ain't too good four years down the track. The leads are way too loud compared to the rest of the song, and the bass get grating after a while. The mastering isn't very cohesive- the forefront is hard yet the drums at the back echo into nothingness. Not to mention the FL default keyboard that even I've used in the demo drowns everything when it appears. Sorries.

Yes! Some variation on the source material. This starts off identically to Chris Abbott's '1999 (2000 Mix)', but veers off in a completely opposite direction. Obviously, this is what Mutagene does best- creating an aural soundscape to relax to and lose yourself in. Cool beat and solos. This one's a keeper, for the people who only want the cream of the crop.

Not bad. As Ari said, an interesting take on the source material. It's not so long as to get exceeding boring and repetitive, and during the three and a half minutes it manages to variate the tune enough to make it a decent remix. Nothing that really makes it stand out though.

The soundscape at the start of the song works well- it feels full and rich after the preceding beep intro. Problem is, the song is so underdeveloped. At its current state the it just doesn't go anywhere beyond the basic drum loop with a few variations. There was some great ideas here that desperately need expanding.

The song is a little close to the originals, but I thought it but a nice spin on them. After checking out the game after hearing this mix and hearing the tunes, the thought that came to mind is how NoppZ put life into them. Specifically, the Londinium music is was sped up and a little groove bias added. It did tend to drag on a bit though- the three songs I felt didn't mesh that well to form a cohesive song. The transitions weren't bad however. Nice overall.

Well, nothing needs to be said about the sound quality present- if you crave high quality samples, you ain't gonna find them in The Coop's work. Once you're past that, you'll find a well orchestrated song that is a polar opposite to "Resurrection by Breakbeat". Pity it's over a bit too soon, as the composition is good stuff.

An early DJP piece. By definition these are never minimalist- always big, bouncy beats and loud techno stuffs. Given its age, this isn't half bad- the vocal clip always manages to get a chuckle and the beats are well layered. Like a lot of his older stuff, the mastering isn't amazing, but its a nice nod to the OCR stuff of old.

This mix is transporting. Not many songs on OCR can be described as such. What it does with the materials it has is quite simply awesome. The instrument quality used isn't the best, but the way they are put together is masterful. I haven't heard anything quite like this, which makes it a memorable piece. Even if you've never heard of the game (I haven't), this one is most definitely worth a listen, and if a "Best of OCR" compilation was ever made, this would deserve a spot for being unique and different, and doing it well. (Sorry to bring in the concept of rankings- I would disapprove of such a compilation. The fact still remains that this is the best of its kind on OCR)

Er, well.. this is an old mix, so you shouldn't be expecting much. Problem is, this song is like crack- you shouldn't like it, but it's so addictive. And I hate that percussion that Joe Redifer used in ALL his mixes. So yeah, not exactly the best, but what were you expecting?

An early DJP work. First off, this wins because it covers Alex the Kidd. Simple and fun, listen to it without any amazing expectations and you'll come away happy.

Even though it really isn't, I usually associate this song with Ari's earlier works. That is, before he really started kicking ass with his DKC2 songs. Not to say this one is poor, but actually quite good. Was the source in Age of Empires II? I've certainly heard it before. Very well done transitions, and the choir specifically was interesting to me.

Yeah, so my original baseball jersey arrived about 2 weeks ago, and it didn't fit. So I bought another one. Yeah, now no one can accuse me of leeching from this site.