Marmiduke

Exhibits a lot of freshness, despite the fact it is based off an 80s sort of sound. The infused ethnicity of the instrumentation is what injects this with a really refreshing sound, working with and against the largely digital bass and beat formula that is oh so 80s. Parts of this remind me strongly of certain lava levels in Super Mario 64, but definately moves away from that and onto more unique things. The arrangement is top-notch; full of variety, brimming with new things to try, and that's just something every listener can hope for. Not only does it move from one section or solo to the next, but it does so with a cohesion that I for one really appreciate. This is not an assembly line arrangement; a lot of care and discipline obviously went into it. On the surface, this probably appears as Sandopolis done 80s-style, but there is way more too it than just that. The Middle-Eastern influence, the pristine quality of the sound and the impressive arrangement all do justice to Jose's short but excellent back catalogue. A great listen.

A surprising sound coming from Beatdrop, but it still drops many a beat, so perhaps its not that surprising. No matter the departure in sound, this still lives up to a strong reputation. The intensity is there, and for the most part things sound satisfying. I'm not totally sold on the samples; they've seen better days, but haven't we all? I definately enjoy mixes like this: no-nonsense, all torque. That coupled with the fact that the source tune clearly rocks, make this an underappreciated morsel of awesomeness that, while not sounding like the normal Beatdrop mix, exhibits all the qualities you'd come to expect from him.

The expected level of quality from McVaffe. Pretty stellar from beginning to end; pulls all the right punches and just connects on that right level that all mixers should aspire to. I mean, don't get me wrong, this is a pretty simple remix and by no means a technical powerhouse, but it connects on the right level by taking risks and respecting the source at the same time. The drumwork is everything in this, and everything it touches turns to gold. The piano and flute elements flow nicely in back, but they are really only passengers for the ride that the breakbeats are taking us on. More than melodic support, they are the driving energy and just what the mix required in standing out in a good way. In a mix where not all that much is built upon or examined, it sure does stay lively the whole way through. A basic mix strengthened by some very nice risks and decisions. In other words, another McVaffe success. Keep them coming, I'll keep praising them.

Quality, quality mixing here. Orchestral done with a really fantastical scope. I love it. Sounds pure and ethereal, its quite soothing and yet it has a great sense of large scale and intimidation. There is so much amazing imagery attached to this. I had no problem with the choral samples, which do well to add to the airiness of the piece and give it that extra affirmation that this is a full-fledged orchestral arrangement aiming for that professional level. For me, it hits the mark. Although I realise I'm pretty easy to impress. It would be a shame if this was the last we heard from TheDeath. This is an enormously promising debut and one of my favourite orchestral mixes to come out in the last few years.

Certainly has a very limited aresenal in terms of places it wants to go. We get the one backdrop the whole time, and that's never a nice thing to have to have. I like variety, and while this TECHNICALLY has variety and changes things up, it all seems like an illusion when we find ourselves not progressing anywhere. That's my main complaint here. I'm not too bothered with repetition, because there can be some extremely artful uses for repetition. But this is repetition in spite of going anywhere fresher, which is a shame. Look, I don't hate this by any means. But for me, it never reaches its destination because of it constantly stalling. I wouldn't say it is a frustrating mix, but its definately something that would have benefited a whole lot from tightening and distinguishing certain elements from the others. I do want to say though, I like this a little more than this negative review would make it seem. It's just that it is by no means a winner and I can't deny its flaws.

Reminds me a lot of a few of the creepy renditions of the Super Mario World's ghost house music that are here on the site. This is perhaps more understated, and probably benefits from it more on the creepy, mood-setting side of it. There's a distinct lack of driving melody, which actually becomes the mixes strongest trait. It becomes less about a journey through the usual stages of structured music and just lets the suggestions of tone seep into you. The samples are a huge reason why I think this is so successful. The strings, choir and percussion do a stand-up job in capturing that cinematic horror vibe, and I even think the brass was a pretty acceptable selection. It doesn't lend itself for multiple playings and its not really going to please anyone in the mood of an energetic party song, but given the right time, place and mood, it achieves everything it sets out to and sounds terrific in the process. A different approach to mixing and definately worth checking out.

Nice. Loving the whole melting pot ideal of gritty sounds and tones; it establishes a pretty bizarre combination that for the most part is easy to get a taste for. Call me traditional, but my view is that dirty guitar-chugging and ska generally aren't considered instantly meshable. The fact it was pulled off with gusto here is an impressive feat. The fact that the lighter elements aren't totally at home with the harder, filthier bookends of the mix makes this seem maybe a little too dynamic for its own good, but in all, it's a better than average hard rock piece that does something more mixes should do; not take itself too seriously. It has fun when it wants to, and that's always a good thing, even if it taints the overall tone a little in the process. The arrangement is awesome and supports the shifts in moods pretty well too. What it basically comes down to is if you can take shredding guitars and ska-playing organs at the same time and still enjoy yourself. If you can't, you're missing out. But I can also understand why this might not hit everyone's rock-loving sweetspot.

A William Wobbler Christmas, eh? To me this sounded more like William Wobbler was crossing the American frontier in a clown costume, but okay, Christmas it is. I'm a real big fan of this, and it's in no way due to me knowing what William Wobbler is. Frankly, the name and that hideous title screen in the game's profile page is enough for me to make up an opinion of it. The music however, as with a lot of c64 games, seems to be fantastic. It's been given a very stylised, very exaggerated reinterpretation here that really fits the melody well. Now, I'm not the greatest advocate for how realistic this sounds; to me, it sounds fake through and through. But that orchestral approach is undeniably strong and sticks to the melody like glue. Out of the entire OCR lineup, this is certainly one of the mixes I remember just on the basis of the level of fun alone. It's an overload of fun and it does nothing to hide that fact. An admirable trait indeed. I wouldn't have guessed this was Christmas themed if not for the title, but regardless this is something I can always get into. There's not enough mixes that just belt out melodies superfast in comedy-musical orchestral style. Yet another niche that needs severe addressing.

Traditionally, smooth lounge jazz is a totally yawn-worthy genre for me, but I find that videogame melodies add an extra stimulant into the genre that keeps me not only tuned in, but actually liking what I hear a lot. Much is the case here. I wouldn't class this as straight up lounge, as it tends to get a bit dense and climaxish towards the end which sounds more remiscent of motown disco stuff. This I actually prefer over a structurally conservative lounge piece. As nice as the smooth, laid back sound is, I'm all for the added guts that almost spring up from nowhere. There are neat little ideas and moments tucked away all throughout this, and additional listens are greatly rewarded; a big asking point from me. Things like holding off on the hook of the piece until the last seconds where everything gets bigger and more layered showcase some nice restraint and very cool arranging. Sure, the whole thing sounds wildly artificial, but hell, this is lounge music. Audiophiles check their prejudices at the door when they go into a genre that keyboards built. Tackiness comes with the territory, and this seems to wear its tackiness with pride. And so it should, it's a terrific mix on all fronts and it allows me to listen to lounge without killing myself. Who can fault that?

This mix really moves, mostly due to the very tight, very abundant drumwork that drives it. Energy levels are constantly in the danger zone, which is exactly where I like them to be (Kenny Loggins reference unintended.) And speaking of things that are painfully 80s, I get that vibe here. This really channels those 80s synth-based bands like Depeche Mode, which is good and bad on different levels. It can be bad because there are a lot of not-so-flattering connotations that come with the territory, so instead of conjuring images of a retro sci-fi universe, it may result in images of Corey Haim. Never voluntarily, might I add. But on the flipside, connotations or no, the music is still good. There may be a confusion of contexts for me, but I still appreciate the hell out of how this sounds in a standalone way. Melodically, it's a one trick pony. But I think the magic in this is the fact it doesn't once even teeter on the edge of becoming stale. As my favourite of Vera's Star Control 2 remixes, this seems to incorporate the shining elements of the past mixes to the greatest possible effect. It's catchy, versatile fun and a superb end to Mark Vera's series of SC2 submissions.

Expertly crafted buildup mix. It constantly reminds us that we are being led somewhere, and it's going to be crazy when we get there. And it certainly doesn't fall short, either. The mix is at its best when it's utilising the layered guitars to their full capacity, and thankfully, that consists of a good portion of the mix. Certainly, the climax is an enlightening highlight, but there are several really awesome, powerful mini-climaxes sprinkled along the way. As far as the simpler, thinner sections like the intro and bridges went, they showed consistency and quality, but are obviously dwarfed by the very conventions they hold together. I think this mix is all about the guitar, and the guitar sounds wicked. Heavier and more to the point than the norm; it's a hell of a ride. Recommended if you enjoy the contained-blast-of-metal-in-both-ears approach to game remixing.

While I don't condone covers (especially Latin infused ones, guh), I find myself very forgiving of this one. For starters, I'm actually a big fan of the original tune and consider it the granddaddy, or at least one of the granddaddies, of modern day structured game music. And it never allows itself to get boring. So all of that is instantly transferred over to this mix. On top of that, even though the mix is very barren arrangement-wise in the first three quarters, I feel that it does start to becoming interesting towards the end, experimenting with my favourite portions of the song is ways I've never heard before and I'm pleasantly surprised by. It is a case of too little too late, but in my mind, it does justify the mix without making excuses. This is a joy to listen to because its a warm, uncomplicated rendition of a great theme. But it would also come to represent a species of remix that would soon become extremely rare on the site. I for one am glad there isn't an overabundance of these mixes, despite the fact I dig this one.

Amazing work with textures in this one. A thick tapestry of unconventional sounds molding into one another. It's mad scientist stuff. I'm just glad someone had the stones to marry digital retro and acoustic classical, and even more blown away by how well it works. I think even moreso than the very unique and absolutely stunning instrumentation and performance work in this piece, I'm really loving the arrangement. It's not everyday you get something understated and chock full of ranges and tones. This really does go on it's own personal, deranged sonic adventure, and I was with it every step of the way. The cello work in this alone makes this one of the most professional sounding mixes to be released here, but it is the other major foundations of the track that exude the most brilliance for me. This mix does a lot of things in its running time, but it does not disappoint.

Very remeniscent of the Joshua Morse sound, actually I'd go so far as saying there is arguably more Morse in this mix than any other, given the unusual length. Concerning the length, I liked it and prefer it to something directly to the point, in the door and out again style. As it is now, it crams a whole lot into its running time and does it with patience and consistency. Musically, it's basic groove fare. Fresh sounding and piping hot, but nothing that is going to turn my aural landscape upside down. The piano and strings do an excellent job of introducing new threads to inject some crucial variation into the piece, and as a result the mix runs smoothly and never bores. Perhaps not as interesting and lively as what would come from J Morse a while later, but it still fills its 6+ minutes with a lot of funk and ultra-laid-back disco vibes. It's a little light for my selective tastes, but there's still a definite time and place for this on my playlist as well. A mix that is nothing if not ambitious in the world of mellow videogame mixes.

Simplistic and unambitious, but definately a case of less is more. There is a very limited amount of straying in this, and there's positively no oomph factor anywhere to be found, but this has a certain something that makes me a fan. For one, the little amount of arrangement it provides comes in at very opportune, very wisely plotted moments to keep me satisfied. A 100% midi cover this is not. The alterations are never severe, but they kept me from getting grumpy, so that has to count for something. I do think that this mix only starts to get really interesting in it's last thirty seconds, but hey, I like the basic approach, the less-is-more attitude and I'm actually really liking the synths used. An exercise in effecvtiveness vs restraint, and a rewarding one at that.

Glad it wasn't just me, heh. This is pretty stellar stuff. Strong orchestral showings are my long-time weakness, especially when they are particularly this well executed. I'm liking the samples, despite a few people having issues. Percussion and strings come through well enough for me, and by that I mean, they reach my standard. There's always work to be done if we really want to improve, but I'm happy with how this sounds. Anything extra is unnecessary but welcome. This brings out what I love about Jeremy Soule. He crafts these extremely solid yet totally simple melodies that are so direct and long-lasting despite not being elaborate or intricate. This mix stays true to Soule's melody, just giving it the body and arrangement that a well conducted orchestra can allow. And that I like very much. It has bombastic qualities and delicate qualities to it, and not a whole lot of flaws. Left me wanting more.

This mix has been with me quite a while. Back when I was just nuts for Zelda, I listened to this a lot (as well as a couple other mixes), so there's almost a tattoo of it in my neurological pathways. Brings me back to my time in school, and to a time when I really wasn't into music much at all. In a way, you could say this was one of the bridging tools I used to learn a greater appreciation for music. So even though my opinion of this is that I now think it sounds quite robotic and not as full as it should be, I'm really not going to hold that against it. I enjoy this as an excellent assortment of melodies presented by an obviously faux chamber orchestra, and I don't know whether it would have ingrained itself on me half as well if the instruments weren't as harsh or direct as they are. That's a good thing, in my book. I don't want to say that this mix only appeals to me because I was once naive enough not to hear its flaws. On the contrary, I think this has the perfect middleground of not sounding too fake or too real, so that it creates a hybrid that is strangely superior to anything I imagine in its place. That alone doesn't make the mix, of course. It's the arrangement that justifies the instrumentation. Stellar conversion of the old Gameboy tune and weaving other tunes in makes it a real trip through the Zelda generations. There's plenty to appreciate here and plenty to complain about if you hate synthetic instruments badly pretending to sound like real ones. Regardless, I'm still a fan after all the years and all the listens.

The intro is ghastly, but what springs out of it is definately djpretzel-like in terms of quality and sound (at the time). It's not quite as complex arrangement-wise as it probably could have been, but what's here is kinetic and lively enough to get me into it. With a mix like this, I'm really not fussed on synth samples and all that jazz; all I care about is if it does anything interesting and if it stays interesting. And it does both. Strong tune + strong electronica = double strength! A broad, simple yet valuable mix.

A big-hitter that's tucked away in the OCR catalogue, obscured by an epically unimaginative title and the unknown name of a one-time submitter. Even still, it's hard to forget this once you've heard it, not that you'd ever want to. There's something special running through this that I can't really explain. bazooie has taken some techno conventions and sounds, churned them up and rearranged them into the most effective, invasive product possible. The result is something that clings to you and haunts you. And what sets this above other mixes that manage to get inside you is that this also works as something that just sounds really cool, even fun and energetic at times. The bridging theme at 1:30 is such an awesomely inspired miniature side-journey that is just as exciting as the main one. And the vocoder effects intertwining with eachother and the other synth elements of the mix are as beautiful as they are demented-sounding. This one is like a dream where I can't remember if it scared me or moved me. Or perhaps... it moved me so much it scared me? Deeeeep stuff. As highly regarded as they come.

The disco reference flies completely over my head. Disco? Where? Luckily, the reference to the 'delightful' hits the nail on the head. If it does anything, it most certainly delights. This doesn't aspire to shake the foundations of the euro-dance sound that this derives from, which is a shame because that sound is becoming a bit of a cliche for me. Maybe it's because I tend to resist overly sweet things, but this specific genre is something I wouldn't want to deal with every day. However, despite the fact this mix does nothing to break from conventions, it does utilise them quite well to bring out some nice touches to the melodies and to bring them together in a more than coherent way. That's something that is inarguably enjoyable, I'm sure. Additionally, samples are standard and predictable and there could have been more arrangement of the source. The mix has flaws, basically. But when Millenial Fair comes in and starts playing, it's hard not to forgive them. It's pretty much guilty fun; not much more than a sickly sweet, well-constructed run-through of three very catchy songs. For some, that's all they need. Though for me, I'm left wanting a little more substance.

Props are in order for a fine curiosity piece. But what else can you say about something like this? I'm guessing it has survived through the lockdowns because it's brimming with novelty, but mix wise this is so eh. It's sketchy and pretty damn rough sounding, but I'm a big fan of the innocence in this and the total lack of seriousness. In a way, this could be considered a boundary-pusher in terms of instruments and experimentation. It's a pity it isn't just an a capella remake of the game music and sound effects. With polish and some fresh ideas, this could have been so much more. I actually really love this. But I can't say this is a great mix. It sounds more like the product of a lot of time and a lot of boredom to me.

Yay for chiptune dancefunk. I really like the fact that even though there is a lot of synth-play in this, it's done in a more subtle way than you'd find in a straight electropop rendition. This way, everything can melt in and create one vein of gooey damce. Things get most interesting in the final third when the layers are really piled on, but the entire mix is remarkable for its sleek, chippy fun. People shouldn't be worried that this comes from an obscure source on the dreaded N-Gage, nor that it didn't win the competition it was arranged for. This is purely fun, purely danceable retro funk with some nicely used sounds and some really great attention to detail. Although it didn't win, we the listeners, are all winners for having heard it (/corn).

This confirms one thing: OCR has a dangerous lack of epic concept mixes like this one. This is big, expansive, theatrical stuff with a continuous stream of moments. As a result of this having an aural narrative to tell, the piece is constantly evolving and growing richer. As a listener, there's nothing more satisfying than hearing something gradually metamorphisise both expectedly and unexpectedly. I really like the electronic approach taken here. It's dynamic and because the sound is constantly being refreshed with new material and interpretations, there's no space left for a single repetitive instrument or phrase. And on the other hand, every element sounds like it is given a substantial amount of attention and room to explore. One of the things I admire most about this is the ability for this to sound neither sluggish nor rushed. Some people may not realise how much discipline and talent is needed in order to make something so fine-tuned when it comes to pacing, let alone everything else a remixer has to worry about. It would have been a gigantic shame for this to have never reached the site. It's a major release, as far as I'm concerned. It really is a great opening and overall summation of the quality of VotL. Happy to finally have the chance to praise it here.

With trance, it's either powerful or it's nothing for me. Thankfully, this one knows when to inject itself with a bit of buff when it needs to and really pounds the melody. I really enjoy the balance between the hard and soft, the tough and the delicate textures in this one. That's what stood out for me most. Bongos up against the strong electronic beats, flutes versus dance synths. And the best thing is, both sides comes out the victor because none of the instruments seem undercut or hampered by the others. While I did find the piano and the flute were played somewhat hard and shrill at times, I think this is a very accessable, easy to embody trance mix with a strong focus on melody and variation. Which just so happens to be one of my favourite things ever. So, Sir_NutS gets a gold star from me. Score.

I think cohesion, or lack thereof, is the one enemy of this mix. It's pretty apparent that every movement in the song exhibits some fine remixing, but as far as pacing and flow goes, it doesn't quite nail the sweet spots. What Scaredsim does, he does extremely well. The soft and cuddly rock context is always tricky, but this transcends the negatives and makes lame rock balladry cool again, much due to Scaredsim's centrepiece guitar work. As a spine for the mix, it does keep it relevant to itself, but I don't hear all that much communication between the three stages. Regardless, it's not every day you hear a cheerful rock mix that's guilt-free and actually stimulating to listen to. It's not like I'd ever pass up the opportunity to hear Scaredsim play out some great melodies; I just think that those melodies could have clicked more to create a more robust singular piece. Highly enjoyable, though.