OCR04502 - *YES* Legend of Zelda: Majora's Mask "DRWNXD" *PRIORITY*

[Emunator]

ReMixer Names: Ridley Snipes, Treyt

Real Names: Trevor Burch, Trevor Tuls

ID: 17937, 18602

Email: 

YT: https://www.youtube.com/@ridleysnipes

Game: LOZ Majora's Mask

Song: Stone Tower Temple

Composer: Koji Kondo, presumably

Arrangement Title: DRWNXD

 

Last-minute spontaneous shitpost turned banger? Let's find out ¯\_(ツ)_/¯

 

So you may or may not have heard RAVE by Dxrk ダーク. This is just that, but Zelda. Phryigian cowbell phonk house nonsense crushed into oblivion. A polarizing genre perhaps, but 300+ million spotify plays says a lot.

 

While initially just a dumb idea, it sort of became a personal production challenge learning how to crank out ridiculous loudness while still maintaining some semblance of dynamics. Takes a lot more than a clipper on the master if you want it done right, and there are plenty of artists that take the concept to an even further extreme (cough Kordhell). It could have been worse, sorry not sorry Hemo!

 

I don't have too much else to say; the source is pretty simple and I wanted to keep this simple as well. Spooky, tribal, visceral. Props to Treyt for being so readily available and helping me crank this out in 8 days; he's a certified gamer.

 

Cheers!

something something Ben Drowned creepypasta

 

[Liontamer]

Opens up pretty grimy. Distorted beats at :15 aren't my thing at all and are teetering on dealbreaker, at least initially, but let's see how prevalent they are. Yes, I get the "Dxrk" reference, and the beats stink there too.  The arrangement's melodically conservative but well personalized. The distorted beats finally stopped at 1:14, replaced by something else from 1:24-1:29; ah booooooooooo, they're back at 1:47, why? Too dry and just creating an ugly, crackly, ill-fitting quality disparity because they're so loud and upfront, both louder and drier than anything else.

Nice job altering the source's rhythms from 1:31-1:46; combined the with dropoff of the beats, a good way to create dynamic contrast. If the source files disappeared, I'd squeak this by. The arrangement's solid, with an expanded sound palette, it's just the honorific production choice of rolling with this dry, distorted beat being so loud that's debateable for me. If others aren't wowed by that choice just because it's purposeful, I could see some conditional YESes as a result. Just because I think it sounds awful doesn't mean I can't past that singular element though. Solid theme treatment, Trevors!

YES

[prophetik music]

you should form a group called Too Many Trevors.

the comparison to the reference track is immediately recognizable - the beats feel very similar (if a little less grimy) and the plectral lead is very reminiscent. agree with larry that it's a pretty straightforward adaptation. i don't have any issue with the beat at all - it's clearly the same concept as the other track.

from an arrangement perspective, there's some little personalizations here and there but it's admittedly pretty conservative. the value there is in the novelty of the adaptation, which i think is enough. from a mixing and mastering perspective, while the reference track isn't my jam, you definitely did what you set out to do, and i think that the vibe is solid.

nice work. this is a neat one.

 

 

YES

[Liontamer]

3 hours ago, prophetik music said:

you should form a group called Too Many Trevors.

Two* Many Trevors

Though why stop there?

https://ocremix.org/artist/15564/freezetag
https://ocremix.org/artist/4307/chako
https://ocremix.org/artist/8363/eon-blue
https://ocremix.org/artist/18593/facemelting-solos

Or "Too Many Trevs" and you can further open it up!

https://ocremix.org/artist/15682/trev-wignall
https://ocremix.org/artist/4728/jredd
https://ocremix.org/artist/4589/destiny

[Emunator]

I was wondering how long it'd be before this goofy niche meme genre made its way onto OCReMix! I'm fascinated by the recent explosion of phonk as a genre - it feels like a haphazard mashup of big room house and trap with the production quality of witch house, so nothing is REALLY that unconventional here that nobody has ever heard, but for some reason it almost immediately landed squarely in the category of "meme music." If I wasn't personally familiar with the phonk phenomenon, I wouldn't have even identified it as a unique genre at all. But y'all clearly found inspiration in this niche subgenre and, shitpost or not, did a really great job of translating Stone Tower Temple into this style, and even improving upon it in a lot of ways. It's short and doesn't really veer too far away from the source material, there's plenty of personalization that ensures this arrangement lands as a fully-realized idea and not just a 30 second TikTok shitpost that was lazily stretched to make it ready to cash in on those streaming royalties.

I actually think that the production quality here does a good job embracing the quirks of phonk while making something that sounds like it was mixed and mastered by professionals. The textures are thick and rich, the bass is booming, and the distortion and compression feels clearly like a stylistic homage and not an oversight. I once again find myself diametrically opposed to Larry on the "too much distortion?" argument and will fight to the death on this point.

Easy vote for me!

YES

[Chimpazilla]

"Phonk?"  "Witch House?"  Even "meme music" is a new term to me. I guess I'm really out of the loop and not up to speed on my subgenres, sub-subgenres, and sub-sub-sub-abyssally-deep-subgenres and straight-up joke-genres. 

That said... I really dig this remix!  Groovy with a creepy vibe.  I like the instruments and sounds, the phat beatz, the full/deep low end, the wide open feel of the soundscape.  I am not a fan of that thing taking the place of a snare either, Larry.  I get that it's the style/genre/meme/joke, it is purposely distorted, and that can work sometimes but it just sounds like a comical sfx more than a drum element, and it's dry so it sticks out of the lush soundscape more than I'd like.  

Mixing works fine.  Mastering is on the loud side but not overblown.

The arrangement and source interpretation are great.  The ending though... where is it?  There's no outro, it just stops.  Gosh, I don't like that.  Why not do a few bars of cooldown and some kind of final sound or chord?  Even so, I think this passes and it's a super cool and fun listen.

YES