Less Ashamed Of Self

Every once in a while I'll post twice or more in the review thread of a particular song. This is one that's worth it. Still; fantastic.

There is a lot of peaking/distortion on those drums right? That part isn't just me? I believe I heard a wip of this or something at some point. It's hard for me to know entirely what to think this early into it's repetitions. I'll get back to y'all with a more specific review later.

I've only recently remembered how sweet the FFMQ soundtrack was when I listen to the end of Larry's show where it was the theme. Great source tune covered absolutely masterfully. Very funky, very smooth, and very tasteful in it's variations... suprisingly not starting simple and moving towards the variations like most, but rather, keeping them constant and fluid throughout. Incredible, a new personal favourite.

White stains worse. Black's better.

This song is growing on me, especially since it's release in Chrono Symphonic. The rhythmic liberties taken with the source are pretty strong but they are very effective. It does a beautiful job of capturing the mood of the source tune.

I know I responded to this project with a certain amount of intrigue and/or interest. Don't remember what happened with that.

This pretty much sums it up. It is indeed a cool thing that Binster and all of us do around here; pay homage to source material... and it is really cool to hear something this complex and seamless pay homage to one of the best soundtracks of all time. A great mix, an up-and-coming great artist, and potentially, it wouldn't suprise me, the author of one of my favourite songs. Now let's hear you REALLY wow me Binster with a GREAT source piece.

I was considering posting a mock sign me up for this song... oh... no... wait... don't kinda post. Then I realized Doom is dark and disturbing which really agrees with me musically.

Psh... what would you know about piano?

You guys are lucky... Bladiator's favourite game is Captain Novalin. Oh, and learn English Karl; anyways isn't a word. It's anyway. Psh... anyways... where does this guy get off?

How can anyone NOT like mazedude?

I've officially listened to all the OCR's up to date as of my writing this (except those taken out) and this track is one of my all time favourites. When it came up I was head-bashing and giving the horns; a response I think is only fitting for this track.

I will also be one to point out the unnecessary silence at the end. Other than that; a very enjoyable accoustic hip-hop something or other... the kind of song I'd look up & love outside of OCR too.

Very very fluid and flavourful. I enjoyed it a lot.

Acid? DnB? Whatever you want to call it, if you like it fast and hard this isn't a bad track to check out. The synths leave something to be desired but the good old amen snare will never get old. It's like the staple of beats aggresive. IMO, this track becomes substantial when the bass comes in. Could've been better but it's not at all bad.

Delicious... all of the W&W mixes have been great but this one definitely takes the cake. Amazing synths, a great progression, a beautiful feel and some really relaxed positive emotions flowing from this piece. Very soothing.

Rock on. Dan, could I please get some ice-cream that is watermelon flava? I adore po! and Morse and together, once again, I think they are stronger than they are apart. Unfamiliar with the source tune, I am VERY pleased to find that this source features a somewhat uncommon progression. The mix is nice and brave both in progression and instrumentation. My one complaint is the hardness of the piano. Why!? Why does it always have to be piano? Vibes, EP, Organs... Morse... switch it up man. Dang guys, I really hope you continue to work together. These two mixes have been fabulous.

6 days is 'one of the longest gaps in posting'? That can't be right. Harping on this piece for repetition doesn't seem fair to me at all. It takes the original in a LOT of new directions. This is a really pretty piece... I feel like actually posting full thoughts on it: 0:03, anyone else catch the echoey laughs there? Not bad... but could be better. I like mood setting sfx like that... even unto full quotes of dialogue in the minute length range. 0:07, the lead guitar is panned heavy left, which sounds nice against the arpeggios heavy right. Immediately you're into 4 parts and some sexy bongos; LAOS likey. 1:05... eee... we're taking the melody that high up already? I'd prefer notes that high to be saved for either a mandolin or the climax of the song. And it's around here somewhere that I realize the bongos are fake... I can tell from the way one beat focusses over in the left ear. 1:34; these arpeggios and the synth that starts in are a delicious pair, it's a new spin on the theme. 2:00; the obvious and furthest dillineation. Aaand I hear we're into some electric guitar. AWESOME. The track wouldn't be a pass without this part in it. 3:11, it's hard to tell, what, if anything is backwards... that's always good. Perhaps some backman VST was used to help keep the transitions in between forwards/backwards more seamless. 3:38, the fast playing... as it always would be with playing that fast is a little mute-y. It works though, I'm glad you didn't mess it up more... I certainly would've. One of the highlights of the track for me is at 3:51 where the accompaniment does a little soloing. Some great note choices in there. Plus a somewhat sudden and unpredictable ending; come 4:04 you think you've got a good 4 or 16 bars left in it at least... turns out to be 2 and then the ending is this nice fluid note-filled... thing. Awesome. 4:13... *sigh* Why!? That sample isn't even from Zelda 3! Sampling games for songs has been little more than a gimmick in the past, why would this be a good time to use it? The notes in that sample are famous for a mysterious revealing of something, usually a door, but not only does the sample go against the key of the song, but it ENTIRELY clashes with the mood the piece was going for in the first place. I would've been more content to hear an orchestra hit there, or some turntable action. If the samples at the end and the beginning (laughing) were switched, it would MAYBE work, but this doesn't. I think tacking that sample on the end was poor form, and poorly planned out. And what bugs me the most is that I'm sure at least 3 or more knuckle-heads will disagree with me... applauding like retards saying: "Daaar! I know that part! It from game!" Bet you didn't expect two paragraphs of flack about that 10 second decision huh? Overall, a delicious new favourite of mine. Very comforting, very dramatic, very emotional. 9/10... docked to an 8 for the importance of sample choice.

I freaking adore this mix. I keep coming back to it; it's just so catchy. It gets 100 dance-floor-mosh-toe-banging-head-tapping points.

I can't believe I haven't reviewed this yet; it's just got so much character, I love it. It's minimalist for sure but it's very moody, very fluid, and very sexy. I absolutely adore it's unique electronic-lounge flavour and would not be adverse to hundreds like it.

DJP, would you like to have sex with me? This is deliciously unique both for you, for Earthbound, & for OCR. The instruments all flow beautifully. Sexy sexy stuff. Your memories of travelling are very suited for this; it's got a lot of forward momentum. Is this the closest thing to country we have amoung all the OCRs?

I'd consider buying a black hoodie as well.

Hahaha I get it... black... Flik is the highlight for me. I really enjoy that style of rapping, I wish I was better at it and would love to hear more of it.

Very sexy bends on those synths. It's really agreeing with me... a welcome addition.

Cool... but my question still seems to be unanswered... my WIP is ready; what do I do with it?