The wingless

Zirks and Ohjee pretty much covered it all. From the first note to the last, this song really sounds like A.) a dood with a real guitar and B.) another dood with maybe Fruityloops. Sounds are cluttered and muddy. Yet even those things could be forgiven, were this not a carbon cover of a frighteningly popular song. The more popular the song, the more you have to deviate from the norm. I fear that simply is not done here. The latter "song" is nice, aside from some clashing harmonies with the vocals. If you choose to stick this one through, I'd reforge the song more like the latter half, and do away with the former. But still, the whole things needs work. :/ NO -no note-for-note cover -better production ~by which I mean, more attention to arrangement and detail -cleaner, tighter sound -add *some* variation. I don't care what. Dynamics, phrasing, notation. Throw me a bone here. p.s. I chose Tifa cuz she had huge onez. lolz

Ah, well done Material Defender! Next stop: Beta Aquilae. I can't quite place my finger on it, but the lead synth reminds me, however vaguely, of the main lead synth from Unreal (And by proxy, Deus Ex). It's not a bad thing. It sends you hurtling into the netherrealm of nostalgia, when men were men and VR-helmets were "the next big thing". Some great "Weaving" of the synths. Much of the time, people get their hands on a synth, layer it, get a muddy toxic-revenger type amalgam, and call it a day. Even with the long synth releases, this sounds clean, tight, and well integrated. And, lord ah mighty, dynamics! There is a gripe with repetition here. I don't think some permutations or build-ups would be frowned upon in repeated segments. But if it's good enough for Guidebot, it's good enough for me. YES

If this were Overclocked Intromix, you'd have an instant yes. I love the ideas and the ~-new chordz-~ being used. You've got really interesting harmonics, and really interesting permutations of said harmonics throughout the piece. A part of me questions whether there are some EQ issues, or if it's just my speakers. Certain elements seem to jump at me, and not in a very controlled or deliberate way. But since my speakers are suspect, I'll give you a mulligan on that. It's when the song gets to it's halfway mark that it's weaknesses start to take the fore. Instruments take on an odd, haltingly synthesized quality. And at certain points, there is almost a hoe-down timbre to the piece. The transition, though not dreadful by any stretch of the imagination, seems... out of place? On the whole I like it, but there are too many little details that are tugging at my no-strings... like so NO -That speedy section seems queerly out-of-place. See what you can do to better integrate it

All I know is that you guys were so bad, you made Icy Guy cry

Perhaps it's time for a little ILLUMINATION, gentlemen!

Heh. I've got wood too.

Endblink and WesPip? It's a frickin' Canook roundup.

I just want to be loved by a Canoooook before I die

Are you going to be my internet girlfriend?!?!

Fuckers don't donate to me, and I'm amazing. Why should I help them? indignant constipation face!

Yo Cid... this a good gin and tonic... mix me up a'notha. It's sooooo short though. I know the other judges will be furrowing their brows in a vain attempt to understand "rap" and "flava" and "negroes". But I like it. I'm oft to wonder if there's space left in OCR for short songs. Granted, this minces across the line of gimmicky. But if I'm wrong, Democracy will prove it as such. Productions good. The rap's pretty funny and tight. I likes it. YES Besides, the world needs more black people. Or, more to the point, more black-SOUNDING people.

Y U NO DIRECT POST THIS? FUCKING WHITEY This is a delicious feast for the senses. An orgasmic journey through time and space, where Jeremy holds the key unto new worlds, and in those new worlds, we are born anew in his image. There, under the watchmaker's delicacy of his mind and betwixt his strong and tapered fingers, music become wonder, and wonder becomes something beyond the human capacity to embrace, let alone understand. When we listen to his music and we unite, not just as a nation, not just a people, but as living creatures. As entities. As souls, balanced on the fragile edge between existence and Jeremy's heart. just... fucking whitey. Post this shit. YES

Sweet-ass intro. It definitely sets a mood. I'm afraid I'll have to go against my Indian Maharaja on this one. I like complexity. Rediculous complexity even moreso. The fuzz helps to relay an emotional stint, and solidify the genre he's going for... whatever that may be. (omg. is it Tekno? U vote. U decide!) But the Sultan of Sound has it right, it's a little too repetative. When you have so much distortion and so much complexity your texture, you HAVE to take a break, perhaps two, to help clean the palette. I'd even go so far as to say, the more intricate you get, the more merciful you have to be with your listener. borderline no - Take some time to add some "breathing spots" to the song. -Clean up the repitition. Yeah, the original is basically 4 notes. Don't let that cage you. Let that free you. Savor the challenge... SAVOR IT. -keep the intro. It's tits.

omg. dhooomed. The first thing that struck me was the reverb. The judge in me immediately cried out, "Fuck dood, u use 2 much verb. Lolz. Lfg Elona reach." but the new-ager in me rather likes it. So I'm torn. I think, with the emotional slant you're going for, the reverb works, and to a certain extent, is required. I really like this. It feels like really odd dark new-age genre, which I find intriguing. Production is solid, reverb debates notwithstanding. There's development, dynamics, even a quick little soliloqy [sic] for a guitar solo of sorts. I applaud you on making a Doom remix that, while dark, isn't garishly gothic. Even though, and I will admit this freely, Darkside of Phobos is my favorite Collab to date. very nicely done. Hey you goth kids who like new age, this is for you. Hey you Tori Amos fans who play Doom, put down your rainbow flags and pick up this song! YES

TGL. YEszzzzzzzzzzzzzzzzz Before I get started, I'd like to quote something that I feel dances the line between cute and audacious: "It is a very good remake from its original version." Let me first, extole the virtues of why this claim is true. You have a very nice epic sound with the baseline (strings + drums) And a very interesting take on the theme And now, let us discuss why this mix is, shall we say, somewhat lacking. Firstly, it is quite repetitious. You have one large chunk of remix, and that chunk replays ad nauseum, sans variation. The main leads are too weak to hold up the rather bold structure of the song. Couple all these threads in a somewhat boring and predictable loom, and you've got a song that, while earnest in its intentions, isn't really going anywhere exciting. NO - remix for variety and excitement. Think of music as fine dining at True of the Four Seasons, not heatlamp'd Chicken Fries. Intricacy! Delicacy! Friccasse! -Balance out your leads. Make them as full as your bass and drums -remix nothing but TGL. I command it.

Fucker can't even say "Sadorf" right! Edit: "This is Super Green X... BLAGHGHGHGH" (Gets crushed by garbage compactor in the Death Star in Episode IV)

Well, I'll say this, your percussion is quite delightful. It's a very pleasant beat, particularly given the source material and the implied emotion. It reminds me, however vaguely, of the old midi days, when young men like me would order Shareware games out of a catalogue. See, the internet wasn't invented back then, but the pony express had just ended, so the average gamer was in a bit of a hotspot. But man, when you saw those big fluffy white packages come in the mail like clouds pregnant with sunlight, rainbows, and dreams, you knew you had arrived. The sweet, sweet smell of 5 inch floppy disks, and the security of knowing you now owned the Shareware version of Kung Fu Louie... Back then, men were men, and the women were glad of it. But, I digress, ever so slightly. Despite it's overwhelming nostalgia factor, the main lead cannot support the entire structure. Nor is the rather gorgeous beat enough to sustain the whole song. What you have is a very solid foundation, with very weak supports. Zyko's right, you could do worlds more with this. Consider this your foundation, your launchpad, and see where this takes you. NO - Think BIG! - Either add or augment to your little lonely lead synth - keep the drums. They is tight.

The intro drums strike me as really out of balance with everything else. They are quite loud (particularly the hi-hat). Later on, the chimy-mini-gongs spike very high in volume. It just seems like the volume is all over the place, as it is oft to do when hand playing and not fine-tuning everything in post-production. But the right side of my brain really enjoys the mood, the groove of the piece. It floats like a cloud inbetween the ears, filling the mind with the lightest, most delicate rains. But sweet Billy Dee Williams dood, the EQ issues are a bit too much for me to absolve you of. Resubmit -Think about a hierarchy for your instruments. What is the most important instrument for us to hear. What is the least. What can be perceived with very little volume at all. What is grating or piercing in what is a seemingly "normal" volume. -Retune the whole song, but pay particular attention to the drums and instruments that suddenly spike high in volume.

Don't you mean a M'bira? Africans FTW ~~~~~ I'm always impressed with artists who can mold something out of nothing. I myself was contemplating doing the Pac Man theme, but in a sort of death-defying maximilist style. But enough about you, let's talk about me Isra always has a keen ear for nuance, emotion, and dynamic-landscaping. I especially enjoyed the different "movements" of the piece, from the opening crawl through the insane asylum where Pac Man has been kept all these years, to the deep spiral of his spider-woven thoughts, deep deep down into that twisted heart that bleeds obsidian tears into a well of irredeemable sorrow. Daring. Deft. Dood. YES It makes me believe, however vaguely, that this is destined for American McGee's Pac Man.

Onward and upwards then, I don't mind the straightforward set up, as that is what it is, a set up for the goodies in the middle, like the plain yellow element of the twinkie, belying [sic] the sweet creamy nectar within. Or that ugly 300-pounder that knows how to bump-'n-grind on the dance floor. Objectification of fatties notwithstanding, there *is* a lot of good interpretive stuff in the middle. It's clean, it's competent, there are some great lead ins and outs, and the intro is vampire-licious. YES DIE, STUPID 6-VOTE COUNT! YOU DON"T BELONG IN THIS WORLD! EDIT: PEOPLE VOTING *NO* HAVE PWNT MY PREVIOUS STATEMENT!

wait. Wait! That second one! That's it. That's it exactly! You must forgive me. Sometimes I find it quite difficult to articulate sentiment and congitive thought into the proper lexicon for the social weal (to wit: dangling participles and gerund statements). Or as Roland would say "I cry your pardon. I have forgotten the face of my Father." zomg. Dark Towarrz!

I have need of your body. Particularly, your mouth

lollz. Any mean person want to take this one?

I've only loved one white woman, and her name was Aurora. But now, that love is gone pixpls. kthx