Marmiduke

This captures what Ecco the Dolphin really is: Underwater sci-fi. Weird combination, but very complementary. The main industrial stuff sounds great, but everything is really topped of by the contrast to the main theme. It's an interesting dynamic as soon as it starts going into a light-hearted horror territory. Usually, I'd think it was a bit schlocky, but the heavily industrial bookends of the mix give it the edge it needs. Also, I think the key change at around 3:08 wasn't entirely necessary with something like this, but handled well anyway. I wouldn't say I was blown away by this, but I think it's interesting in the right places and a bit of dark-ish fun.

The faster portion of this mix sounds like it would fit in perfectly to Motoi's Golden Sun series, which happen to be some of my favourite game soundtracks. So naturally, I adore this. Powerful, sentimental, highly infectious melody work and once it gets going, it moves at an incredibly satisfying rate. The consistency takes me by surprise every time. Never heard of the game itself, but if the music is half as good as this mix, then I may have to track it down in some form. What an unspoken gem. People really need to discover this mix, I'm sure it would win a sturdy fanbase if it was given more of a chance.

I absolutely love this style, whether it was an artistic decision or a result of lack of resources, knowledge or interest is irrelevant. The important thing is the raw grit to the sound of this mix gives bucketloads of character and identity to this theme. Ryan8bit has a few earlier mixes like this, and while his later mixes ARE superior mixes, I think I like these severely unpolished pieces moreso. To me this sounds exposed and more concentrated musically. I guess you could say I like this mix more for what it doesn't do than what it does. I'm also a big fan of the sample/vocal work thrown in here. Very understated but extremely well placed. In all, a very unconventional piece, but one I listen to a lot. Even if I do feel like a tetanus shot after extensive listening.

Wow, I'm stymied at how this made it through two lockdowns. This is as boring a remix as I can imagine. It's the Zelda theme, identically preserved in a formula of dated, by-the-numbers electro work. It may well have been my cup of tea back in the day of OCR's beginning, but this is just boiled water for me now. Shame there wasn't anything interesting in here at all. I hate giving 100% negative reviews.

Unlike a lot of chiptunes transformed into monsterous heavy metal mixes, I still think this one retains all its videogame music roots. The realism is there, but this sounds like a videogame melody, which is in no way a negative statement. Usually the faithfulness to videogame music arrangement is the first thing stripped away in order for a heavy metal remix to sound realistic enough. I really love how this retains those quick and complex choruses that make it unmistakably game music. That's not to say it sounds like it is out of a NES game. I'm not insane. The guitar work is absolutely stellar, while not excessively hard and loud, are more than suitable for me. A rocking mix born out of a lot of talent and some great creative decisions. Terrific work.

Needs more solos. Seriously, this is some very fresh, funky jazz. I like that the leads are loud and that much more distinct from the backing. I think it defines more dimension to the mix. In the slower, non-solo parts, I'm reminded of Neskavartan's awesome Zelda stuff; not a bad thing to sound like. I've never considered Gran Turismo to be musically significant, but now that I have this mix on my mind, I'm definately curious to investigate it. Anyways, successful collaboration yielding some astounding results, as per usual. Doesn't get much cooler than this right here.

Dark sounding material for what I'm assuming was a game infused with the ultra-violent slapstick of Spy vs Spy. This is far removed from music that evokes a sense of comedy, and all the better for it, I think. It's adequate techno that is even more impressive considering how early on this was submitted. I like the dark and mysterious layers in this, and I get a lot more feeling out of this than most of the other pieces out of the first 100 mixes. Surprising, seeings as I overlook this one all the time.

I'm a huge fan of the Metroid score, and I see this mix as a long, hard look at what makes it so great. And when I say long, I don't mean in the mix's length, as this is yet another AmIEvil mix that is petrified of outstaying its welcome. By playing around with the time signatures, this mix really shows off the original piece's complexity in its simplicity, which is what I love. It shines some new light on it and musically examines it at a magnified level. However, besides the variance in time signature, there is little to no actual difference in terms of arrangement, which I can live with. It's been given a more refined pace, a cleaner sound and a hell of a lot of bass. You could do worse to a classic.

I love the intro for this one: an inclining build that establishes the tribal and dance influences, and also works to a very adequate support for the main weight of the mix. I really can't envisage a better way of executing it. Some of the samples are very classic djpretzel, which is both a joy and a hindrance, but in all, I think this one is a side-step in style from the signature pretzel sound. Maybe just because there is a percussion solo where there would normally be one of those meandering lead instrument solos. It's a breath of pretzel scented air regardless, if not structurally but the way it has been approached. The end result is some quite uplifting jungle dance with a very memorable chorus. Awesome stuff.

Slow, brooding, watery electro. There's a nice contrast of textures here, slicing leads on gelatinous synths. Very cool. One thing I really love about AnSo's pieces is how pristine they are, despite the heavy usage of synths and beats. It really gives you some great depth perception when the sound is as clean as it is here. As always, nice mood, nice atmosphere, nice... what's it called.. that new-fangled term that all the youngens are using today... soundscape! That's it, nice soundscape.

This sounds like a master having a lot of fun with a good piece of music. Filled to tbe brim with some very effective ideas and intelligent exploration of different melodies. The arrangement side of this is absolutely top-notch, and just keeps hitting home runs one after the other, success after success. However, as some have pointed out, each success exists within its own little section of music, so when streamlining it, things do sound slightly stilted. In no way does this sound like a bunch of ideas thrown together, but there is a noticeable stop-and-start mechanic that could have possibly been filed down. I can't decide if the piano was too close, or the strings were too distant. I think the strings may be a little too obscured. Not flawless, but the flaws are at least easy to swallow, especially when the mix is this high-end. Good stuff.

Tremendous effort here. Noone can weave synth tapestries quite like Rayza, and his comeback has produced on of his best works. The musicality of every miniature element in this is off the charts. Actually that's exactly what this mix represents for me; soaring past safe levels and into alarming amounts of awesome. A welcome return from one of the more memorable signature artists of OCR.

Dreamy, deep and quite chipper for me too. It can make me sleepy and want to play Peggle until 4am at the same time. Nice floaty piano fare. The ending does snap you out of the dreamscape a little, due to the piano work not clicking into its right place 100%, which I've learnt was intentional. I must admit I did tilt my head at those moments, but I don't think it necessarily sounds rotten. Despite the deep sound, I think this is a very simple-natured mix with clear aspirations and some very ear-pleasing moves to show. A good zone out, feel good mix.

Very nice organ work, although when it gets into the rhythmic organ stuff, it starts to lose its impact and becomes a little more Banjo Kazooie-ish. But that is not so much a complaint, and more an observation. I think this mix is a great package. All bases are covered really, lots of rhythm, solos, synth melodies. Yet still, it stays consistent in quality throughout. I didn't have any problems with the instruments used myself, but I can see the areas that people might turn their nose at. Regardless, there's not much wrong with this one. It's tidy, it's elegant. It's great work.

Simplicity be damned, I totally feel this one. It expands on the theme just enough, there is some nice synth exploration and some excellent progression. Of course Nobuo gets a lot of the credit, but the sound of this more than classes this as a worthy remake. There is an emptiness aside from the synths, and the overall concept of the mix is not going to suit a lot of people's tastes, but I can appreciate what is going on in this one. Understated and very cool.

Of course, this just reminds us that we need more Alex Kidd. On the site, in our mp3 players, on our videogame consoles and in our lives in general. Although, maybe not this track specifically. The strings are the only thing that save this. That, and the obvious nostalgia factor. Things get somewhat muddled, and the entire thing creaks with age, but bleh. At the very least it is good soundtrack material for reminiscing about the old days when this mix was considered 'cutting edge?'.

I have to disagree with most people here, which hurts, because I absolutely love the work of The Wingless, I adore Morrowind and I'm positively fanatic about the source tune. I don't think it is a fair assessment, but regardless, every time I listen to this I am disappointed. First of all, this is a superb sounding mix, as are all The Wingless' mixes. However, Jeremy Soule's original is one of the most equisite melodies composed in recent years for me, and I get the feeling that it is trampled on here. The stop and start mechanic detracts from where the theme seems to want to flow, and the strength of the melody always seems just out reach; frustratingly so. The source seems distant; recognisable but obscured and twisted in an uncomfortable way. The arrangement just doesn't sit right for me in ways where the other Morrowind mixes, 'The Final Stage' and 'Fear Not', really excel. I get that the focus of this mix is to be restrained and complacent to the theme, and it does draw out the meditative aspects of it quite nicely. But I hate to see things go to waste, almost as much as a I hate trashing this otherwise fine mix. I wish I wasn't so precious about the melody. But that's what hundreds of hours of hearing it in-game will do to a person.

Yow, this is hot! It's a well-oiled machine, and that oil is aflame and burning with a heat that could melt diamond. It's intense and perfectly executed. Even though the melody didn't shine as brightly as I usually prefer, a few seconds of listening and I completely forget. Dripping from every pore with professionalism and downright asskickery. This is one you can just sit back and experience; there's no point thinking about it. Over-analysing something this good would be an impractical, non-productive waste of everyone's time. Beatdrop just keeps getting better.

This actually reminds me of the swanky musical direction that the next few Mario Kart games would go down, with their jazzy turnpike levels. Those were awesome. I must admit, I remember reacting strongly against this mix after my first listening, but I also distinctly remember hearing it play in the background some time later and just falling in love with the sax. The sax was the hook I needed to further access the experimental, and often pretty scattershot noisescape that is thrown into this mix. After a few listens, there is so much to admire and enjoy here. I would definately not call this smooth, nor would I say it is abstract, although some parts are more abstract than others. It's very Mazedude, and it is very worth the time spent growing accustomed to it. It may take longer than some more accessible songs, but the payoff is just as sweet.

This sounds so much like Karnivool's first album (despite preceding it by 4 years, loll?), which means one thing. I love this. The instrumentation and melody suggests a Middle-Eastern/desert style flavour, which I dig, and the guitar work just suggests pure awesomeness. Actually, I'm pretty sure they do a little more than suggest it. I'm actually becoming less and less surprised to find so much quality from OCR's earlier years and from artists who have since moved on with their lives and careers. The more I listen, the more I'm impressed. Mixes like this prove that the products of the past can be as relevant as those of the present and the future, despite a culture and an industry that disagrees. And in a way, that's what OCR is about. A stylistically superb track that checks every box in creating effective, dynamic and just plain classy videogame remixes.

It must be quite a task to transform one of the prettiest melodies in gaming into a sweaty, spitting, tattoo-covered punk anthem. But Ailsean makes it sound effortless. It's got that essential rawness to it that completely puts the theme out of its element, but I really think it works in its favour. There's a lot to the original composition that is revealed once you throw the basics, like tempo and context, to the wind and just hammer it. In a way, it's a good decision not to expand too much on arrangement, because the subtle, natural elements would likely get too confused, especially with the various cameos throughout. I think it could have worked, but it comes with a great risk, and I'm just glad it works as good as it does now. Terrific job, Ailsean, wherever you may be.

Cello sounds mechanical by today's standards, but everything else holds its ground reasonably for me. As far as the musical direction, this hits the target perfectly. A sweeping, emotive portrayal that represents the theme in ways that could never be done in the game. It compliments the melody in such an effective way. It never seems overdone, never seems manipulative. Fantastic execution. I also really loved the delicate, musicbox ending. The potential emotion of the theme was really milked in this mix, and I'm all for it. Very impressive orchestral arrangement, even today.

There's an extremely jarring beatskip that is too signifcant and too obvious to be unintentional. I don't get what the motivation was, but I don't know whether I agree with it. It's like a massive comma dead in the middle of a word. For some bizarre reason, it makes the mix seem injured. Also, the swiftness of the mix is just such a tease. It gives you the comehither eyes, draws you close and then spontaneously combusts into ash, leaving you standing cold, naked and alone muterring "Buh... Buh... But... It was just getting good." The mix has some dated production as well, but that doesn't bother me nearly as much as the other areas in which it could easily have dilevered, but actively chose not to. Oh well, there is always the other AmIEvil mixes.

The lack of progression hurts this otherwise harmless take on Ninja Gaiden. I didn't mind it at all; the melody is worthy of looping a few times, and there are hints of some added oomph to the hooky parts with the percussion, but overall, there isn't much in this mix that I find especially interesting. However, it's the sort of thing that will never prove to be a chore for me to endure, which I guess is all you can hope for with something as straight forward as this.

A djpretzel mix, through and through. There is a sense that this was a "quicky", and there is overbearing sense of familiarity in the arrangement. There isn't a whole lot to it, but really, does there need to be? djpretzel does his thing, and then it's over. It's not crazy, it's not sublime. It's just a mix with an intent to please and I can't see a reason why it would fail to do that.