Marmiduke

Hold Your Colour has been a much loved album for me for quite a while, so I definately dug this. I haven't checked out In Silico yet (I know, I'm idiotically slow at getting around to it). Anyway, it's really awesome to see the really strong Australian music scene having some sort of cultural impact somewhere. We're all just lucky the influence has fallen into the hands of a community of such capable and talented people. As for the mix, do I really need to gush more? It bottles the raw power of Pendulum without feeling to imitative (even though, let's face it, there's a striking similarity). Partly due to the genre hopping, the mix feels more of a carousel of different moods, contexts and interpretations connected by a running melody, completely avoiding what could have been a "What if Pendulum covered Mega Man 2?" scenario. We have enough of those, and we won't have a short supply of them from future submissions. Freaky good mix and proof that OCR is still as rich with ideas as it ever was, perhaps even moreso. Peace.

Man, man, man, maaaaan. This is crazy good. Vampire Hunter Dan is GOD of orchestral remixes. That is all. While others contest with some success, they nevertheless succumb to the volatile levels of awesomeness of mixes like this one. An amazing ballet of intertwining Mitsuda melodies. And always extremely rich and interesting; there's always some sort of background magic happening if you really pay attention, the same as in great classical music. This mix is one of the most rewarding and beautiful pieces on OCR and Vampire Hunter Dan is one of the most important mixers on the site, in my eyes. Don't EVER overlook this.

I feel a little unfair, considering this mix was made way back in 2001 and here I am in 2009 expecting it to be at the forefront of musical production. So I'm not going to be too negative about it. I usually find something to enjoy in every remix, and this one is no exception. At the very least, I can enjoy Nobuo's great composition. But the problem with this mix is that there is a lacking of enjoyable features. It sounds considerably washed out for some reason; I had to turn up my volume quite a bit to get it to normal levels. The drums are very MIDIish and the guitar just isn't the winning backbone that it should be. I also don't think the mix is correctly justified, being a complete cover and even moreso, not breathing stylistic or instrumental life into it. Its length is probably the mix's biggest success; one more repeat of the main tune would have really made it a chore to listen to and a mix to dread. As it stands now, its a harmless track that is over before you know it, and it definately will not have any impact on you at all. If you've heard the source material, you've heard this.

Ah. If only I had the motivation to create a retrospective on the use of rain effects in remixes, this one would be the granddaddy of them all. Not only does it actually use it as an instrument and not just atmos, but there's a totally standalone badass mix in there as well. The whole thing is just a whirlwind of bells, whistles and rain, from a time back when McVaffe was poised to explode onto the OCR scene. A classic.

The SMW ghost house theme is one of my favourite Mario tunes ever, because it has that classic Kondo hook, but it also injected that really dark ominous sound that was an extreme contrast to anything heard in the series previous. The strength of the tune is proven on OCR from the amount of really quality mixes made out of, this one included. I really like that this one shies away from the wall-of-sound approach others take with the source material. Instead of blasting each section of the melody, this one leave a lot of open space, exposing the skeleton of the piece. I really love the strings that come in at 1:25 and continue on for most of the track; they really keep the mix moving while sounding great at the same time. And while there's nothing very new brought to the original, it is still a very successful exaggeration on the mood created by the game level and its soundtrack. If there is one mix that represents the source material most faithfully, it is this one.

The intro and the outro couldn't be more different, which I don't really care about, but I find the intro interesting seeings as it seems to suggest one direction for the mix straight out, and then it's thrust into quite another. In terms of melody, I strongly, STRONGLY agree with the direction taken. The ending turns this mix into what was above average into top-tier stuff. Great guitar, great arrangement, great everything. Love it.

NoppZ is godly when it comes to making mixes that are signature and addictive at the same time. You can tell that this is a NoppZ mix right off the bat, which is important for me because I then realise I am in totally cool territory for the next couple of minutes. The scream samples could have been cut, because I don't think they add anything musically. Atmospherically, I don't see the song as being as macabre as the subject matter and the scream samples may imply. Granted, they aren't very convincing screams and could be labelled as comedic garnish, but my point is that it doesn't make a whole lot of difference to me. The best mixes on the site are the ones that bounce right along and take you with them until their final seconds; something which NoppZ knows how to deliver on. Really great stuff.

I HEART THIS MIX. It really encapsulates the fun of gaming music with its genre-hopping, so-so samples and brief running time. To some, those are negatives, but to me I really can't get enough of it. It's catchy, to the point and also quite different (even almost 9 years on), and one of OCR's earliest gems. Fantastico!

I think a lot of people must mistake this as filler music or background stuffing just because it doesn't grab your throat and kick your ass, which is a real shame. There is a lot more than just a placid groove mix here, and come on, it's McVaffe: an OCR forefather. Quality from start to finish; easy and laid back approach to melody, while all the McVaffe mastery happens behind the curtains. Try not to zone out with this and listen to everything that is going on. It's wonderfully varied and thought out, and a very underrated piece. AND obscure games FTW!

There are people who make Chrono Trigger sound boring, archaic and stale. And then there are people who make Chrono Trigger sound interesting, surprising and downright fine. A piano mix that doesn't disappear up its own behind is how I would describe '600 A.D. in Piano'. While there is a time and a place for insane piano hammering and avante-garde improvisation, I really appreciate the simplicity and attention to serving the source directly that kLuTz submitted here. I personally prefer this over 'Town Life in Piano', mainly due to my personal preference of source melody, but needless to say I have a fondness for piano pieces that remake, redefine and recollect gaming memories without letting off creative fireworks to obstruct it all. There is a time and a place for all walks of music; simple, faithful piano pieces deserve their time in the spotlight once in a while. This mix is one of the best to start with.

Proof that piano can extract emotion out of anything. Two of the most peppiest melodies from MK64 modified into something warming, touching, soothing and reflective. Elaborate piano mixes are awesome, but there is always a great need for mixes that simply change an arrangement in such a way that you also change the way you feel about the source tune. I have thousands of memories with MK64, but this mix really allows me to focus on the deeper moments: bonding with friends and siblings, the wins, the losses, the days of the N64 and how they will never return. Almost chokes me up. Piano can extract emotion out of anything, including me.

I got this when it first came out months ago and I greeted it with a huge "Meh." Something didn't quite click. Maybe it was my bias against Ragnarok. I have never played it, but I have awful memories of a friend who refused to play everything I recommended him because of Ragnarok. Regardless, I hit the mix again after it came up on random selection and was really surprised at what I had previously been numb too. The beat is quite infectious, and those disco staples: those hard strings and brass, are freaking fantastic. 'Hamadatan' is floating around my playlist too, which I was also pretty unmoved by when it was first released. So here's hoping I'm proven just as wrong with that one.

I loooooove buildup mixes, even if they don't amount to brain-combusting climaxes. There's such an art to great buildups; they are very idiosychratic in the way they sound, and it really sounds like the mixer knew exactly what he wanted and how to achieve it. I hear a channeling of Basil Poledouris, which is such an awesome body of work to be aspiring to, or as may be the case, accidentally sounding similar to. Many props for a very fine orchestral piece. Loved it.

I really love Russian classical stuff, which would surprise a lot of people that know me. But just let it be known that the influences weren't lost on me. There is a lot of Polovetsian Dance similarity going on in the mix, but that only makes me want a choral section. Overall, a classy and ambitious remix with a really rich sound. Equal parts Brodin and Prokofiev (Wiki it, people) and great representation of a style that doesn't get much attention outside of Tetris mixes (which are still pretty awesome). Some of this seems like it could work over one of those awesome Russian propagandist movies from the 20s.

I get a strong Blade Runner vibe from this, which is perhaps not surprising, seeings as grungy futuristic opuses go hand in hand with Blade Runner. Needless to say, I loved this mix. It's almost calming in its pacing, but also quite ominous. I get imagery of decaying industrial complexes lit by neon. Maybe I'm a little too big a fan of Descent. Very strong mix from a very strong score. Keep up the restrained, melodic electronica.

This is quite an exceptional mix, in more than one sense. For starters, the quality of sound is well above average, and secondly it is a great representation of how successful novelty genre mixes can be pulled off. Whenever I hear someone say "It's Dire Dire Docks in the style of rockabilly" or indeed "T-Hawk's theme in a Spaghetti Western style", I balk and say "Why? Why not just create a unique style with a combination of inspired ideas that lets the melody flourish on its own accord." 'New Mexican Thunderbird' is the reason why I'm a listener and not a mixer. Because I would never have been able to foresee how well the theme is manipulated to suit the Western musical persona. The vocals, whistling, strings and percussion are cliche but in the best way possible, and I'm positive this piece would have been half as enjoyable if the novelty wasn't taken to the extreme imitative territory that it does. Extra kudos for those vocals.

Solid. Solid, solid mix. Love the energy, love the inspiration. I'm a little foreign to the SMRPG soundtrack, but the melody sound pretty awesome and I can still appreciate how the 60s surf brass builds upon it. The sax sounds amazing and I really got the vibe that a 5 piece jazz-rock band could set this on fire. The Pulp Fiction soundtrack is as iconic as they come, even though it is only celebrated for the choice in existing tracks and not the creation of new ones. Regardless, whenever I hear this style of music, I think of Pulp Fiction. Great inspiration. Keep up the genre experimentation, OCR. You can never have enough variety.

I really admire how this mix is balanced on a borderline without making it sound strenuous or any effort at all. A borderline between joyous and melencholy. A borderline between loyal and liberal with the source material. It seems to get the best of both worlds somehow, and never leaves me wanting more of the opposite. The mix would not be the same without the vocals, which seem to accompany the melody rather than string it along. I'm also a big fan of the awesome piano work that exposes some nice nuggets of melodic variation from a source which many may claim to be mined completely barren. I say there is gold in anything, so long as you are creative enough to find out how to get it. And this mix (and many others) proves that. Great new spin on Zelda. Never be afraid of making music that makes you feel rather than feel like dancing.

Could a mix get any smoother? The star here is the violin work that milks out gobs of sweet sweet melodic interpretation. Woah, listen to me. 'Gobs of'? Who am I, djpretzel? Hope he doesn't have a tradmark on that. Very coooool mix, and a nice change of pace from the average OCR fare.

Apocalypse Now is my favourite Muse song, so I was destined to love this mix. I don't think it is overly Muse-ish, however. The beginning and end are unapologetically Muse-ish, but the real meat of the mix is a definite straying from the path. While I liked the strings overall, I did note they sounded different. But then, I'm a string freak and always notice them above all other sections of a song/piece. The impression of the mix is just awesome. It's muscled, powerful stuff that isn't afraid to be quirky. Great characteristics for a mix that might have otherwise suffered from homage-itis or pretentiousness. I'm kind of a noob when it comes to FF7 music, but I'm quickly learning why its so heralded. Certainly some of the strongest additions to OCR have come from FF7 source material, this one included. Nice job.

This mix brings me way back to when GTA3 had only just been released for the PC, and I would drive around Liberty City with a select few songs playing on the .mp3 radio station. 'Insomnic' was THE song to bash around a virtual city with. That was a long time ago, and I still think it holds up. It definately doesn't have the technical or even the creative prowess of post-standardised OCR, but it has a hell of a lot more fun than many mixes. And come on, that underground section is cool, inspired stuff. A long time and a lot of music has passed over me, eroding my memory, yet I still remember it very well. It's a personal (perhaps even a guilty) favourite from classic Overclocked.

Anyone mixing two or more source melodies into the same track NEEDS to listen to this mix first. Seamlessness is what this mix is all about. Like a film like Battleship Potemkin, which will be forever studied for its flawless use of montage, this mix should inform all future transitions. mp has done a fantastic job in making it seem like Nobuo composed each tune with the hidden intention of them all fitting together like they do here. Get a real brass section to hammer this out and it would be utterly perfect.

What a great expansion on an overlooked gem. It channels Super Mario Galaxy's epic orchestral approach, even though it predates it by about 5 years. I also got a Donkey Kong 64 vibe in some places. Take that as an insult or compliment, but I for one think it's nothing to be ashamed of. When those big moments happen, it never sounds like a REAL orchestra, now that I'm spoiled with choice from Mario Galaxy and other authentic orchestral game music arrangements, but it hardly detracts from what this is. Like an oak from an acorn, this is a big mix grown from small beginnings. It's very easy to see why this was such a big deal when it hit OCR all those years ago, and how analoq got to where he is today.

Every time I hear that intro, I think: Well, time to crack out LttP and play a little. Nice little hit of nostalgia. I really love this mix, because I really enjoy mixes that promote a natural flow from beginning to end. There's mostly tranquil ingredients in there, with a slight dusting of urban, but I appreciate the tranquil things the most. There is a liquidity to the instrument choice and the improvised nature that I find very cool, and extremely easy to listen to. Many props.

The sense of musical transportation is really apparent here. It's becoming rarer and rarer these days to find music that strives to be more than just be pleasing for the audience to listen to. The energy established by the drums is sort of an antithesis to the nature of the melody, however it works. While the melody is one of the most uplifting there is, it could easily be mired and grow stale. The rapid beats provided give it constant stimulation, which is why the sum of the parts can sustain vivid imagery. It's very consistent, and a great track overall.