Marmiduke

I would never call this mix strong, nor a promising sign of what OverClocked Remix would become. However, I have to say that its attitude and disregard for ambition (whether intentional or not) results in something that is EXTREMELY listenable and replayable. This is basically musical confectionary. Not exactly good for us, but its fun, colourful, sweet and most of all makes us smile. And there's nothing wrong with that.

This is pretty smooth stuff, which is actually strange because it seems to be like one of those drinks where you throw 4 random food items in a blender and that's your energy supplement for the day. Horrible and demeaning analogy, I know, but that's the impression I get. There's a lot of loungy jazz, some Asian infused 'Crouching Tiger Hidden Dragon' style string work and a sort of quazi reggae/dub influence. The shocking thing is the overall sound is bearable. It's actually more than bearable, it's pretty damn nifty. I'm not sure how the mix would have sounded if it were honed down to fit just one of those areas to full capacity; perhaps it would sound better, perhaps it would have turned out boring and lifeless. I don't know why I feel the need to justify decisions that I didn't make, so I'll just sign off simply saying: The mix works for me more than I think it should. Which is very welcome, in my books.

Well, I guess it was inevitable that the second most recognisable human being of all time would end up on OverClocked Remix. As of 20th February, no Jesus mixes. I guess some areas are just off limits. As for my thoughts on the music, I actually enjoy it quite a lot. The emotion that a lot of people have discussed totally missed me, I have to say. I didn't feel much of anything. Maybe it's because I'm cold and bitter, or maybe because the thought of taking Wolfenstein seriously is laughable. It's just like trying to write a touching drama fanfiction based around the characters of 'According to Jim'. No matter how much talent is there, what's already been established remains imprinted. Also, the music seems just a little too upbeat and full to be considered heart-crushing or tearjerking. That's not to say I don't like this. I really like it. I just like it for different reasons. It's a dark remix, but it's also slightly fun. Much like Wolfenstein itself. Just like in Wolfenstein, we believe Hitler himself could be behind every corner, down every corridor. But maybe, just maybe, he's in a mech. Tongue in cheek stuff like that is what Wolfenstein is all about, and there are traces of it here. As for the clips themselves, I can't give a valid opinion on them. For a university project two years ago, I was given the task of cutting together a piece of music out of the Hitler speech in this mix and Korobeiniki (better known as the extended Tetris theme). I listened to the speech hundreds of time, and I'm sad to say I'm completely desensitized to its meaning. No fault of anyone's there. I've written more than I wanted to, so I'll just say that as a sum of its parts, there's a lot of talent and a lot to enjoy here. But I also think the polarity in this board is understandable. Noone should be offended by anything in this mix, of course, but there are certain things that don't gel based on various issues with the subject matter.

I like that this doesn't sound directly like most other Chrono Trigger orchestral fare. There's a restraint, and perhaps a focus on serenity or reflection. Either way, I feel there is more going on than simply updating and rearranging melodies here. And whoever said that it channels the scores of Miyazaki's films, you are spot on. The flow is really nice, it keeps at a constant rate, which at 6 minutes may be to its detriment, but the variation in themes deviates the ear somewhat from noticing the fatigue of the piece. I thought the Fair Theme was very welcome and nicely arranged, and I didn't even mind the gratuitous Zelda cameo. If it fits, it fits, and everything fits together quite pleasingly. I enjoyed this a lot.

This is one of those rare tracks that I can listen to all night and never get sick of it. It kicks some serious ass. One of my favourite mixes on the site. The melody is a perfect fit for the type of mix this is; a song that slowly unleafs and blossoms before unveiling its true splendour. The beat is warm, the notes are colourful, the result is a very well-made, calculated piece of synth music that I absolutely adore. Fantastic work on all parts. It's well worthy of excessive listening, so get to it, people.

A pretty nice runthrough of a well-crafted tune. There's a sense of straightforwardness, especially when compared to Nigel Simmons' "Return to Elysian Lands", however, that comparison isn't really legitimate as they are seperated by years of technological and judging advancements. In any matter, there is plenty of great touches here. I really love the woodwind sound. It carries and makes the mix for me. The choir too is more than acceptable and gives the mix a punch in the arm for its final leg. And it was disguised enough to not sound fake, which is the signs of a lot of attention and well-realised effort. Simple, not a lot of boundary-breaking, and it definately is a black sheep amongst Ailsean mixes. But it's likable, which is the main thing, right?

This is pure, unadulterated win. Perfect medieval synthpop, if there is such a genre. And if there isn't, well... maybe there should be. This mix should be a revelation to people that repetition is not something to be scared of IF you have the wit to harness it. Make something interesting enough, and it won't matter if there's 20 iterations of the same thing, they'll always want more, never less. At least, I know I did. Fantastic intro as well. Really loved all the instruments that were chosen. There is so much done right with this mix. Good job.

There's no doubt. It sounds slightly insane. And I love that. However, it does draw your attention from the music to the novelty, which is a shame because there are some pretty cool little additions and harmonious bits tucked away in the crevices between the big, strange, almost dissonant stuff. It's not the most likable of melodies, let's face it. I don't know how I'd go listening to it on loop. But that's definately not to say I didn't enjoy it. It's Mazedude, of course I enjoyed it.

This has to be one of my favourites, definately of the earlier OCR period. It was this mix that really exploded the wall between videogame music and music that I would regularly listen to. It also was the first that exposed just what can be lurking in the strangest places. Doom for me was just a dark, gritty game that I played through once and never thought of much, and when I learnt that something so beautiful could be extracted from that, my perception on music in general opened up tenfold. Rimco interpreted the melody flawlessly. It contains everything the original does, but seamlessly includes some truly stunning moments that Bobby Prince himself would be jealous of, in a "Why didn't I think of that!?" sort of way. If OCR could be summed up in a mix, this would be my pick. It's simple and complex at the same time, beautiful and macabre, and just plain awesome. I'm gushing now so I'll stop, but I really loved the mix and I'm glad others agree.

Artificial choir is a tricky one to pull off to a listener, because it's almost as if you are saying "This is where I would put an authentic choir if I had one". However, after saying that, I think this mix doesn't suffer much at all from the bogusness of the voices. I think it sounds pretty swell, accompanies the piece and gives that celestial, singing of angels sort of vibe that has a fitting place with the rest of the mix's ingredients. I think the electronic leads are where the mix shines brightest, but its some nice quality mixing of a beaten, bloody and bruised old tune. Chrono Trigger is a war veteran of game music. Crippled, worn and constantly tired, but still has the energy of a teenager. Good CT mixes like this (and there are plenty) tap that spirit, rather than wearing out even more. I approve.

Oh yes, I'm feeling this. I think this is really smart, classy stuff that doesn't just run it's course and fade off like a lot of chill-out mixes can do. It builds in a fluid manner, flows like honey and spreads into a warm, collective sound toward the end, which is a great, evenly balanced payoff. The entire mix is just pure ear candy. Inoffensive and easily overlooked, but a real treat and just amazing music to just shut your eyes and absorb into your head. It seems free of any strong ambitions, which is quite liberating for a listener. It requires absolutely no effort to be in love with this.

Club Kukeiha is Club Kukeiha. Death metal or no, its going to have that Castlevania backbone that should make lovers of metal very satisfied and those who hate it mildly tolerant of it. And if you aren't a fan of Club... why? I wouldn't class myself as a death metal fan, although I do like some of those heavy folk metal bands. People have said that this isn't melodic enough, but truly, I thought there was more than enough to carry the song. Having too complex a melody or introducing new variations too consistently combined with the surging power of the mix would be total overload and would be a mess of noise. As this stands, its just enough energy when those big wall of sound events happen, I think "Nice!" rather than "Ouch." I mean, I couldn't listen to a 70 minute album of this stuff, but I do think that its a very welcome addition, and a benchmark for the encouraged diversity of the site. Great track, Dennis.

What a great mix. Out of the ordinary, of course, this is Snabubula after all, but I think its strangely accessable as well. Fast paced guitar + piano jazz blended up with a zesty Middle-Eastern flavour. That's the sort of craziness that just may work, and clearly does. Complex, asymmertical, unpredictable. Never change that approach and you'll be just fine, Snab.

Confession: I didn't laugh. I'm not a fan of "theatre" mixes at all. I think they pollute the music while putting too much emphasis on telling a story or being funny. Mustin has another remix that was put up a little before this one called 'Needles' which does a similar thing; meshes a medley and a narrative into something that combines quite awkwardly and detracts from what is really quite exceptional music. In this mix, 'Team Gato' especially there is some amazing, competent pieces of music in there. The first two pieces are up to standard with LOT of higher caliber standalone mixes. While the general consensus seems to be that the last segment is the best, my opinion is that it is the most generic and unoriginal of them all. No, I didn't find it funny. I think comedy can have a place in mixes, however (Niggaz 4 Life, I Got the Spacebeam, even Music of My Groin) but those mixes have the music as their top priority. This remix sounds like the concept was concieved before the music was, which is not a great way to create. And even despite that, the music is pretty great, just mired by the heavy conceptual stuff.

It sounds like an evil circus drowning in a wetland... Trust Mazedude to conjure something so wicked and bizarre. He is a great experimentor with sounds and signature remixing. The mix itself isn't soaring in favourite lists I'd bet, but it is so odd and so zany that it would be a shame to overlook it. If someone asked me "What's 'Japanese Swamp' like?", I'd reply "It's not very Japanese, but it is VERY Mazedude." And that should be more than enough reason to listen.

People need to leave the "Rise From Your Grave" sample alone. Seriously. This mix without their excessive use would be like Die Hard without Alan Rickman. Would have still been awesome, but it wouldn't be classic Die Hard awesome. I also enjoy that the Genesis sample quality is quite shit. The mix is really a Catch-22, repetition wise. The establishment of the "Rise From Your Grave" samples really supports the melody. I think they are really beneficial. However, it then means it must be applied to every such cue in the melody, or else it would sound naked. I think pretzel made the right choice. It all adds to the mix's disregard to eardrums and its emphasis on unadulterated enjoyment. There are times where this mix just BLASTS, and I love it. I hear the hairs in my ear disintegrating as it happens, but it's worth it. Anyway, I feel ashamed that I've given so much attention to the sample gimmick and not the actual music.

I was a real avid Pokemon Red player back when it was that huge phenomenon, so I remember this theme pretty well. The Pokemon soundtrack is criminally underrated, I think mainly because of the backlash against the popularity of the Pokemon iconography that happened after the bubble burst. But I really urge you to sample some of the remixed tracks from Smash Bros. Brawl and see that there is some DYNAMITE source music to pull from. It's really complex, melodic stuff that is dying to be put to further creative use. I wish I had the talent. Anyways, I wouldn't call the Team Rocket Headquarters theme DYNAMITE source music, however Tweek has transformed it into a really nice piece of electronic spasticity that I have a certain affinity for. The source can get pretty damn repetitive in the game, but never does in the mix. Handfuls at a time of different ideas and interesting variations and techniques are thrown in at no expense, which is most important when dealing with a source tune that isn't very captivating and more on the verge of just annoying. I especially love when the mix goes into rewind. It seems like its something that won't work for a lot of ears, but for mine, I really dug it. Always good to see under-represented games in the spotlight, and hopefully this and the other Pokemon remix on OCR wakes a sleeping giant. Its 2009, where's that Pokemon Project Album already?

I get a breezy vibe from this that I think might belong tucked away in a soundtrack for one of those uber-bright and glossy animes that almost make you throw up with cheerfulness. Not that this mix makes me want to vomit. In ANY way. The breaks in the main melody are CRUCIAL and I'm very glad they were included. The mix teeters on the edge of repetitive ear-strain just as one of those classy flavour changes are injected. Love the Latinesque cue. It introduces a "Hey, anything goes, bitches" feel, but doesn't feel alien or out of place at all. Perfect pacing and some really nice creative decisions made. I hope that doesn't sound too patronising. Regardless, some great mixage.

Yyyeah, well noone's going to mistake this for a new mix. It's a bit of fun. Blasting brass is always good, even if the samples sound like they are straight from a mid-range 90s synthesiser. But that is not worth slamming, since there is absolutely nothing wrong with sounding fake. I actually think striving to sound realistic is a limitation, so whatever. Old and not exactly necessary listening, but still a fun track that shouldn't offend anyone except elitist audiophiles.

This could almost be the soundtrack to the destruction of the Earth, it's so sad and epic in scale. The emotional element has been really well presented here, I really feel directed down the path the mix intends me to go, which isn't the case for a lot of mixes that attempt melancholy. I love the scaled back structure and arrangement also. More ambitious mixers might have needlessly chosen to make something busy and intricated; but for the mood of the piece, the choices that were made here really work and really appeal to me. Impressive stuff.

Simply, DarkeSword knows how to put a song together. And by that I mean, he knows how to structure a song really well to display restraint and also hit the sweet spots of the melodies. By no means is this mix structurally fresh or risky; it is really quite conservative in that regard. But what is built within is what really counts. The interweaving of the two melodies in the center of the piece is handled well, I thought. I'm undecided on whether or not that element could have been expanded upon. The idea could quickly grow stale if repeated, however I do think the mix is over too quickly without wringing enough juice from the material. As it stands, Wind Scene achieves a cameo appearance in the piece, whereas it might have served better as a more solid foundation to the main melody. Regardless, what's here is bright, tranquil and cruisy all at once and seems to really stick with you after a few listens. I'm a fan.

Nice meditation on a theme. The melody really folds in a rhythm, like listening to the patterns of waves on a beach. I really like that. Of course all the variations are there, but they're not emphasised, which is cool and allows for a smoother ride. Of course, it isn't Abe's Odyssey without Abe mumbling or belching or something, and I for one am very happy the mix is detached from the game in that regard. Some things can only be fully appreciated in isolation. When the music is this strong, extended runtimes and repetiveness are not a flaws but gifts. Thanks TO.

Ah, this one brings back the late night OoT sessions I had when I was supposed to be sleeping, bleary TV eyes and all. The arrangement here is the winning aspect for the mix. I mean, I really, really love the arrangement. The two themes aren't just slapped together and forced to stick, nor are they mutilated to accommodate each other. They simply mesh in a really natural way, mainly because of the attributes of the piano and the skill of its player. Dhsu has a great way of stripping down really fantastic melodies and flexing them to get the most out of them, without damaging the way we experience them or remember them. This mix is just another stellar addition to an impressive body of work. Love it.

I'm actually surprised that the heavy John Williams influence didn't last too long. Obviously the beginning is very stylised in conjunction with Williams' Jurassic Park score, but I really liked how it wasn't pigeonholed into being a gimmick piece. It really comes into its own, with the great interpretation and the really successful samples used. All in all, I wouldn't describe this as 'Williams Does Dark World', I think there is little overall connection except quotes and basic influence. It's always great to hear these tunes made uber and realistic; the melodies are two I won't ever forget after dozens of hours spent in the Dark World/Death Mountain areas. Hope there's a lot more to come.

Wow, this would go a long way to strengthening the Dragon Warrior/Quest atmosphere if it was used in game. It has a really authentic sound (despite some of the samples not being meticulously realistic) and captures that whole chamber orchestra movement style that I have a fondness for. It's extremely different from all of the other orchestral offerings; restrained, varied and well-paced. I particularly admire the amount of material that is fit into the rather modest 4:23 running time. There's a lot to enjoy with this mix; it's a novelty piece but one that explores an area of music previously unrepresented. All in all, pretty damned classy.