The wingless

The biggest problem I have is that it IS enjoyable, but it doesn't really fit without the constraints of a composition, per se. I guess the biggest thing I'm grappling with isn't so much "should it be put on" as "can it be put on". On a technical level, it is wildly repetative, and aside from the main lead, there isn't a real melody, per se... But in the end, I'm going to go with YES on the grounds that I found it enjoyable, and if it is found to be too technically displeasing, somebody else will outvote me.

Loved it VGmix. Have no need to explain myself to the likes of you white folks. YES

I have not herrd the original, so this review will be coming from a place ---------> over here. Like old Fat-Ass Protricity, I really enjoy the square-wave/guitar riffing and solo work. It's really high on the kewl scale. However, kewlness cannot stand by itself, I dare say. The vast majority of the song sounds very hollow, as if a range of instrument were neglected or downplayed far too low. But I like it, and I have no doubt it's because I have no perception of the original. I'll vote yes, on the grounds that panelists far more knowledgeable and wordly than I can negate my vote, if need be. YES

The main synths in the beginning are quite grating to the ear. Cochlea-damage notwithstanding, there is some very competant arrangeing [sic] going on here. It's just that some things clash, conflict, and befuddle other aspects of the song in a way that I'm sure is wholly unintentional (on the grounds that it sounds weird-wrong, rather than weird-intruiging). However, I'm not saying no on the grounds that it's not pleasant to listen to. There are a menagerie of things (instrument apporpriateness, cleanliness, and flow to name a few) that aren't up to snuff. That, coupled with that inexplicable X-factor make me have to vote NO

Link doesn't work for me. Anyone else have this problem?

The link takes a big old 404 and jams it up my man-cooter. Anyone else have this problem?

I agree with Mad Dog Vigilante, to a point. At around -2:00 there are some serious liberties taken with the little interlude part. Trust be told, I like the sandwich of familiar/understaded - new/overthetop - familiar/understated. Hell, I really like what I'm hearing. It's fresh, alot of it is downright innovative, and it dares to be something more than just Megaman updated, fruity lupz ahoy lolz!!!1!1 YES

To quote the Picard Song by DarkMateria, "He just kept talking and talking in one incredibly long sentence, moving from subject to subject..." Like Fresh Young Malcy-bee said, this main "riff" plays for so long and so little variation that it's really quite off-putting. Beyond that, the equalizing is cavernous, and although that is an easy way to make your classical instruments sound more authentic (to a point), it also makes the entire piece muddy and inappropriately slurrrrred. It's just not very pleasant to the ear. Beyond that, once the song ends, I'm left with a "and what?" feeling. NO

While I myself am a consumate drumnoob (I constantly tell REASON to do the damn thing for me, I ain't got time to screw around with the white man's drums!) this does speak to me of somebody messing around with the drum machine, stumbling upon something that fit the melody, however awkwardly, and saying, "Eureka! Expectum Patronum" or somesuch. Beyond that, the reverb and release on that piano is so inappropriately CAVERNOUS that I feel like I'm at a live recording inside Ailsean's fatass (I love you, Silent Bob!) Here's what you do: You need more sensitivity with the subject matter. You need to understand it better, get inside it, know it's everything. Then you need to reapproach this piece with the mindset that you are going to capture some important facet of that new understanding. Then you are going to write it in such a way that, on a technical level (that is to say, levels of reverb, drum mechanics, etc.), it proves how much you understand about said material. NO

This piece really is more of a foundation for something than a standalone work. There are a couple reasons I say this. One, the pacing, though purposefully deliberate and steady, is almost too strictly steady. There is no variation or pause to the ever-steady drum march. That, in and of itself, could have led the way for some very interesting moments for improv, or you adding a new feeling/level of atmosphere. The other pittling reasons, my fellow judges have already stated. If you treat this as a foundation layer for another piece (or the same) and simply develop upwards instead of sideways, I can't see a reason to not let it in. But, sadly, as for right now- NO

I spent all that time writing Yowza... and you countered it... made me look like a bitch and everything.

Beard or no... Beatdrop is MAN-PRETTY. Look into those big eyes and tell me you don't want to fall inside like a wishing well... ::sigh:: oh Beaty! I'm only somebody could remix your HEART!

John Woo presents... Metroid... staring Uma Thurman as Samus and that dood who plays Agent Smith as Mother Brain! It's a pleasant little remix. True, it doesn't really push any boundaries or "TAKE IT TO DA LIMIT", but for a sophomore effort (technically, a first) I think it's charming. I personally would like hear a bolder, more fleshed out sound that what's currently coming through my speakers. Maybe a few more risks here and there. The ending is pretty sketchy, from the fortissimo building up of the strings to the oddly punctuated last notes. But on the whole, I like it enough to give it my sticky sweet seal of approval. YES

Perhaps reviewing this after Select Starts has given me... how do you say... a tilt? The major problem I have is, aside from a few chord changes (some of which are... unpleasant) this is the original verbatim. Nothing has been really highlighted, or altered, or augmented in any substantial way, shape, or form. Add to that this piece's remarkably short length, weak ending, and sketchy sample quality. NO

IT"S AN OLD-FASHIONED HO DOWN AT KRAID"S PLACE! YEEHAWWWW! Hey, somebody took a risk. One hell of a beautiful risk. It already scores brownie points for being daring. But as we all know, being daring and being musically sound (pardon the pun) are two wildly different things. Fortunately, this rendition is... remarkably soulful, I suppose is the term I'm reaching for. Reminds me vaguely of the Manson Orchestral tracks I've come across in my travels. I love the way the strings seem to wail and moan during some of the latter passages. Extraordinarily nice samples. I will steal them from Select Start, and their power shall be added to my own. Lovely. YES

Computer, engage phat b33tz. Right off the bat, I'm reminded of some of Aphex Twin's more spastic and richer compositions, which is a good thing. Remixes primarily using soundclips have been done before, but rarely this hard and heavy. My only gripe, and I'm sure other judges might harp on this, is that it seems to use the original score, while layering some supplimental material over it (along with the spastic groove). Even if it isn't the original ripped or note for note, the fact that is sounds exact, which I'm sure the artist whole-heartedly intended, might cross some letigious[sic] lines we've laid down somewhere. I'd really have to defer to the other judges on that one. But as it stands now, I'm down wif da noiz. YES

You'll never be a mothafucking Sith Lord like Da Wingless. You hear me bitch? NEVAR!

Lawerence "Don't Call Me Larry" Oji... I demand that you play many tracks from The Wingless' Unfinished Collection this weekend. These tracks can be found at www.thewingless.com/unf Specifically: Waterways and whatever other asshole song of your choosing. HOLLAND 4ever. Darkesword NEVER!

I realize I'm the like the Paula Abdoool of the panel. But I like it. No, it doesn't really escalate. Actually, it barely develops, and there is a part that repeats quite a bit and is begging for some mad escalation. But what baffles me is that there is so much cool stuff going on (panning, staggering) without the benefit of developmental addition. Makes me kinda sad, though, to think how much cooler it would have been with a nice bell-shaped curve of development. Developers. Developers. Developers. Developers. So I'm torn... but only mildly so. On the one hand, there are some very sweet and well-implimented ideas going on. On the other hand, there simply isn't enough going on to sustain an entire piece. It really is like Ol' Boy Vigi sez: It's a big-budget movie that's got no real story. TELL US A STORY. A STORY THAT BUILDS... LIKE AN ORGASM... OR A SNEEZE... ...Eh, make it an orgasm. I hear those are more fun, though just as messy. NO Reminder to self, edit out that last statement.

When you're forth in line... you get Redundancy + 5 *sigh* Yeah. Everything everybody said. Just like Tom Cruise said in Magnolia: Master the EQ and Tame the volume. Also - interesting side note - The phone number Cruise gives in Magnolia is not a 555 number. At the time of the movie's release, it was an actual number, and the company making the number somehow bought it up and put in an automated message of Cruise doing his schpeel from the movie. The message has been removed in the past, oh, two years or so, but at the time, it was cool. oh yeah... NO

I agree with everything my compatriots have said thus far. So rather than rehash what they've said, allow me to expand upon it. Everything in the main section of the song is at the same level. It creates a level of complexity that isn't very appealing to the ear. What we want is a heirarchy. Flute is superior to synths is superior to drums (or however you wish to align them). The point is that the ear is like the eye. Image "seeing" this song, everything at the same intensity, everything clamoring for attention. But if you order things in terms of volume, attack, decay, release, etc... it's all so much easier (and more pleasant) to absorb. So, yeah. Fix it up gooder. That's my helpful critique o' the day. NO

This song: You there! Me: Yes, sir? This song: N*gage tha PHAT B33TZ, post haste, lest my cane find your backside!! Me: Aye, aye, captain! (Enter: this mix) I just think it's terribly funny to techno this song up. The visual image alone (thousands of Balmora citizens with glowsticks and a healthy dosing of exstacy [sic] grooving under the red and white moons) is comical. But mad repitition and crazy-ass ingame voice-samples will not save all of Morrowind from the scourge of Corprus. It's text-book techno, something we get a bit of flak for. But we as judges also get flak for carping a genre, and not the technical prowess of the song itself. To this end, there really isn't much beyond the main doo-dee-doo theme and mad-drumming. There are no variations, no permutations, no risks. No, you N'wah

Hmmm, said Wingless... I think I'll side with the Prince of Persia (Darkesword) on this one. It's more interesting than annoying or woefully incompetant. And, as you can well imagine, the latter two are what we, as artists, strive to avoid. But that intro main-synth is timed so awkwardly, that it really set a bad precident for the piece, which in and of itself, is something of a wide and long improvization of the title theme. So, in a sense, Vigi is right. It's kinda hollow. But I for one don't think it's TOO hollow. There are some things with which I find fault with. But, in the end, I believe it's worth my vote. YES

Awww man.... not tha robot again! (Chapelle reference #234) Man, I am lovin' dis song. It's about time us Xbox fanboys came out of the woodwork and started making some noise. Excellent synth work here mixed with the Halo tabernakkkul choir. I'm sure some would find the "can't stop"-age bothersome, but I like it. Great variation, dynamics, samples, yadda yadda yadda. It's like a pretty girl that knows how to cook and clean... You, sir, hath won me over. YES

Sadly, I could never commit to one character long enough to make it all the way to the end of Morrowind... D: Regardless, I really like the arrangement in this piece. There is obviously some care and love behind the notes, which is something to strive for, so I'm told. Very nice work at around 3:30. My only gripe is with the samples, which dance on the razor's edge of believability. But I would be remise to mark somebody down for not spending one billion dollars Canadian on Dr. Spoks Uber Synth Packaging ver 2.53, Road to Rome. very nice, you filthy N'wah YES