The wingless

"I must break you" --Ivan Drago Very rarely in my judging career am I intruiged by the first few notes. But here it is, at long last! The questionable quality of the samples doesn't interfere too much with the often-enjoyable arrangements. However, this piece suffers *heavily* because of what I like to call dry repetition. That is to say: repetition that doesn't add anything to the whole of the piece. Or put another way, repeition that could better used as something different/varied. Many instances of this piece are dry repetition. And with such wonky samples, it becomes that much more important to mix up the piece. it's a NO simply because the repetition is really gratuitous, and you've more than proved you have an ear for composition... so use it, komrad.

Somebody requested that I remix Halflife 2... to which I politely replied, "Sounds like you've never played the game." So I commend you, kind sir, on remixing what amounts to 2 notes, as per the original. And yet, I seem to recall (though their names elude me now) a few other avant-garde, adroit pieces. And this certainly is avante based upon premise alone. But the sound engineering is very well put together. Well enough so that the ear is never really bored. The two-note restraint is always being played with, advanced, detracted, varied. There's depth and texture and dynamics and, *gasp* forethought! I like this on two different levels. On one level, I'm very impressed that you have the cah-hoo-neeehs to even gambit such a remix. And on another level, I'm very impressed that, in my quasi-professional opinion, you managed to pull it off. YES --though I am feverishly curious as to what my other compatriots will say at this.

Damn that larry! I kinda liked the intro. Piano is really, really high and loud relative to the rest of the piece. Maybe it's my headphones, but it stands out like Christopher Llyod in his rendition of the Judge in Roger Rabbit. and he talked just... like... THIS! But I really like the ideas begin thrown around. Nice groove. Competent use of samples all around. The baseline is pretty unimpressive (da-da-da-da-da-da) and considering bass is the backbone of the piece, it wouldn't kill you to vary it up a bit. And the fade out ending? FORBIDDEN To dos: Fix outro, make a quote, unquote REAL ending Re-equalize the piece, starting with the loud-piano Work on druming Do something with that bass Resubby NO

Ah, the delimma [sic]: When you pick a very, very famous VG song, you're expected to do great and novel things with it. And that's the problem I think herein lies. It's a nice conept, nice execution, nice mix of sounds. But for this particular song, nice isn't really going to cut it. On the technical side, this mix is lacking dynamics and a varying pace. The piece's inflexible nature is noticeable. I would cut out some of the repetition near the end of the piece, since it doesn't really add much to the piece in general. With that free'd space, I'd look to add something different/special/unique or, if all else fails, something really powerful. Do it. Do it now. no (you get a soft-impact no because I liked it quite a bit, regardless)

DEATH! IT SHALL BECOME YOU!

GET YOUR ARTISTS RIGHT, YOU THUNDERING IDIOT

Lex Luthor, you magnificent bastard, you've done it again!

Ahh... my first "Being-torn" moment in a long, long time. Since I'm not terribly familiar with the source material... The song does suffer from repetitiveness, thinness, and that certain-something that feels somehow lacking. Like there is another idea or two that could, perhaps should have been implimented but never was, making the whole piece sound hollow. Nevertheless, these bad points must be paired up against their good points. Good atmosphere. A nice groove... But when all is said and done, I'm just not *Feeling* this piece, and I think it all stems from the lack of variety in the song, either in the form of variable dynamics, texture, or... well, anything. This song simply needs more to sustain it other than atmosphere and a groove. It needs, for lack of a more constructive word, more. NO, RESUB with "variety" and "variable" as your mantra.

So... it's basically Larry teasing you with the promise of his African-forged genetalia, but with the added confusion of him vehemently shaking his head no, as if to say, "Oh, you want wants in my pantaloons? No! I hate you!" Bravo sir. Your gif has made me bi-curious

Rambling David Lloyd > Sex education with Larry and J.A. Burnett

I don't think we should have reservations on a piece simply because the artist doesn't max out their piano skill to 100 in a song. Sometimes, restraint is beautiful. Hell, sometimes I play with 100 lb. weights on my hands, for fear my true power would destroy the piano. I also don't see why conservative should be a bad word in this forum. If it's stigma'd, why not call this piece minimalist (at least the first half). Again, unless I'm just misinterpreting the other judge's criticisms, slow and steady can sometimes win the race. I enjoyed this. For me, this was like watching somebody draw a perfect circle freehand. Nothing fancy, but the entertainment comes from seeing clean and unfettered discipline. A girl and a piano and that certain imperceptable *something* binding the two together. Very nice. Pleasant, we'll call it. YES

Jesus, Larry, your posts and making less and less sense everyday... --- There was another song up on panel that went for the chaotic route, but where that one failed in my eyes, this one succeeds. If you are going to craft a chaotic song, it must have this in ample surplus: variation and detail. In this regard, this song for teh win. I love the sudden starts and drops, and the nice attention to progression. This song is essentially and very-well thought out rollercoaster with conscious peaks, troughs, curls, and loop-de-loops, and death. Very nice. Your NO is in another castle YES

I think this is one of the *very* few time where adherence to the original is the remix's greatest strenghth. I completely agree with Zyko on this one. In fact, I'll go right ahead and say I can't *rightly* judge this song because I'm horribly biased towards Y's sound tracks... come with me, won't you, on journey of self-discovery and reflection... The year was 1993 or so, and on alabaster-white christmas day, young John Allen opened a large present to reveal the resplendant ebon casing of the Turbographix 16 CD-rom. A thing of power. Of beauty. Of wonder beyond all wonder that can be conceived of in human thought, feelings, or action. And in my 12-year old innocence, I was at peace. And then I loaded up the fucker, and found out it was broken. Beyond that, Toys-R-us had no more CD-roms in stock, and would not have them for, quote, "Some time". My world, what remained of my world, was ripped asunder. Annihilated. From that day foward, I knew neither love, nor fear. From that day foward, I was born of darkness. And yet, one tiny, nigh-imperceptable point of light twinkled in the air that year. My cousin, then 23, had a turbo-graphix 16 CD-rom. For one single, shining, and yet, horribly bittersweet day, I kissed the face of God. I got to play Ys III (which in hindsight, turned out not to be the face of God, but Satan's Ass Polyp in turns of gameplay). Fin The point? The point is he nailed the style, the timbre, the *essence* of the Ys sound right on the head. And it takes me back to those glory days of yore when men were men, and the women were damn glad of it. In terms of sheer replication and nostalgia, it's quite remarkable. Certainly, this will raise issues of whether a remix is intended for replication or reinterpretation, but I will not expound upon that. As Foucalt once wrote, "Sit yo' ass down, nuggah". Muddled? Yes. Few variations in dynamics and density? Certainly. But beyond that, there are no real glaring sins against music in this piece. Not enough to warrent a resubmit I think, but then again, please bear in mind, on this song, I must plead total and complete obedience. YES Next week on Wingless, I'll tell you how I lost my virginity to the Oakland Raiders... Every single one of them

I wonder if this is one of the more thought-out cases of phat b33tz overlayed on a theme we've had in a while. I completely agree with the detractors. Zero variation in the dynamics, especially when you consider the high density of sound, is a no-no. When you've got so much going on, two things really stick the hell out: detail and the big picture. Subtle changes in the details would have brought worlds to this piece, which in turn, would make the big-picture much more effective. Here's what you gotta do, Pie-zan Go through this thing with a fine toothed nap-pick and see what you can do with the volume. Crescendo's, decrescendos, pauses, dynamics. The whole shebang. Do that and come back to me and tell me that isn't the best damn song you've ever heard in your life. NO, but resubby fast on the grounds that it is chaotic without enough variation and fine-detail to transmute that chaos into listenable high-density goodness.

I trip-o-leed the post. I apologize! Anyways, play the Wingless cut on that Xenogears CD. I hear he's da bomb.

Wait a minute... Lex Luthor gots him a WHITE woman!?!

Wait a minute... Lex Luthor gots him a WHITE woman!?!

Wait a minute... Lex Luthor gots him a WHITE woman!?!

Always had a softspot for the FFX2 soundtrack, so staying objective will be, as you can well imagine, difficult. But I will struggle, if for no other reason that to curry the favor of that deep, dark, phallocentric demi-god we call Pretzel... ...huh? It's funny how many times the word "subdued" is thrown around in the review of this song. I think it seems to straddle manic and subdued in some rather curious ways. I really enjoy the texture of the sounds thrown together. Very clean, very crisp. Not a loose end in sight. YES

Major Issues: Sometimes *plunky* playing gets irksome. Organic rhythym sometimes gets a little too liberal, and feels more awkward than charmingly human. Major selling points: Poignant. Great sensitivity to the source material. Uniquely minimal treatment of the source material. Eerily reminescint of DSHU's rainbow road (which is a good thing) Major selling points outweight the Issues. Therefore YES OMG. PIANO FOR TEH WIN! and similarly NERF PALLIES!

Never YES

I see rampant stupidity hath festered among the Judges in my absence! This mix is quite delectable, a joyous child sired from the electronica future and the 70's funkadelics. Truly, we have a entered a golden age of the trans-genre mix! As much as I loathe repitition, this mix exempt because in each phrase, some new (however minor) element is being added. Beyond that, the repeats are so rich in texture and concept that they are a joy to re-listen to. YES

Firstly, I don't think there is much to totally deny this song from entry in OCR. There are, however, valid points about issues that need change, least of all are drums and transition. In all honesty, I think this piece is at 90% of its total 'coolness' capacity because of those issues. It's still 90% good, but that other 10% is somewhat glaring to the educated ear. Good enough for OCR? I think so. Good enough for a resubmit, I think so too. I'm giving this a yes, on the stipulation that you yourself see the wisdom in the critiques given here, and really focus on transition and drumwork in your next piece. YES

Oh my god. You did a Defenders of Oasis remix. I fucking LOVE you. By making this song, I now owe you a life-debt, and I will serve you until such time that my life is of no further use to you. The biggest problem I have is with issues of EQ and mixing. All the instruments seem to be mixed at the same volume level which simply does not fly with the sensitivity you're trying to produce in this piece. THe most glaring offender are the strings, which are quite loud and overpowering in the mix, when they would be better served under the flow of the other instruments. Also, consider doing more than just single line notes with the strings, as they sounds quite fake already. Consider doing something with building the drama with the piece more. It doesn't really build, and when it does, it doesn't build to much. Really try to run the spectrum between sparse and complex, pensive and richly evokative. You know: the good shit. As is, no. But if you quit, I swear to Elune I will hunt your ass down and turn you into my own personal hand puppet.

There are too many technical recording-syncing issues for me to pass, though I love what I hear, regardless. Rerecord this shiznit in the studio (read: your Dad's garage. Mind the Blue Hybrid) and resubmit As is: NO