Liontamer ⚖️ Posted May 14 Posted May 14 Artist Name: Gaspode Tunic is a great game with a lot of depth, mysteries and even its own secret language. But what stands out for me even beyond the quality of the game is the soundtrack. According to its composer »Lifeformed« it was created over a period of seven years. When the story gets tighter you find yourself in a kind of production facility and the fitting music emphasizes the strange and threatening vibe. This is »Ooze control«, a piece that hits from the first seconds with its vast soundscape. It took the main 16-notes-melody that starts around 0:49 and created something rather simplistic and bass-oriented. To include a bit of variety I used the part starting at 1:21 for the middle. Then the main melody return and gets faster and after that I added a solo on on top. I hope you like my remix and if you didn’t play the game already you should definitely give it a try. By the way, here’s the source breakdown: 00:00 – 00:14 Ooze Control (0:49) 14s 01:05 – 02:19 Ooze Control (0:49) 74s 02:25 – 02:40 Ooze Control (1:21) 15s 03:12 – 04:15 Ooze Control (0:49) 63s 04:16 – 04:30 Ooze Control (0:49) 14s 180s => 68,2% 00:00 – 04:34 264s => 100% Games & Sources Game: TUNIC Track: Ooze Control Composed by: Lifeformed, Janice Kwan
prophetik music ⚖️ Posted May 21 Posted May 21 opens with an interesting done/plectral combo - almost sounds like a sitar. beat comes in at 0:16 alongside some really interesting percussive elements. it starts to resolve into an actual beat alongside some starry pads over time - some really interesting ideas in the patience of developing it. there's a few weird notes in the lead at 1:01 that are not delay artifacts to my ears, they're just wrong notes. the melody comes back at 1:05 in a few places, but the big feel at 1:20 is really nice. it's a fairly thin texture, but there's a lot of range used in the instrumentation, which i appreciate. the super downtempo feel is really good. the lead at 1:01 comes back in here eventually around the two minute mark, and this time around it fits the chords better. there's a shift at 2:24 as we get into the second part of the original. the shift to sharper-edged synths after all those bells and blurbs was surprising, but i like the significant feel change. i also like the original material here and think it helps flesh out the rest of the track nicely. this all serves as a pick-up into 3:12 where we're essentially moving at twice of the speed that we were originally. the bass element here is nice, but i'd have liked hearing some of the other elements be changed up here too help support the bigger feel of this section. there's a big drop off at 4:15, and we're into the outro material. i like the bookending that's done here with the percussive elements. this is a really unexpected representation of the original! there's a really great shape to this track, and the natural build that you've built in works really well. i don't care for the couple of bad notes at 1:01, but that's probably my only real issue with this track - the rest is just personal preference. nice work. YES
Liontamer ⚖️ Posted June 9 Author Posted June 9 Man, the original's produced in the best way to give it an oppressive, foreboding feel. Total aside, but anything like the countermelodic synth brought in at 1:19, which is a Euroscene staple sound to me, gives me that tinge of nostalgia. Then that was followed up by the C64-esque chipsound stuff at 2:39 for even more throwback vibes. Gaspode did an effective job weaving together his arranged and his original composition segments. This had quite a different character to it than the original, more skulking and cerebral, mainly in part due to that awesome bassline. Cooler than the other side of the pillow. YES
Hemophiliac ⚖️ Posted July 2 Posted July 2 Happy to see Gaspode back in the queue. The approach is always unique, different, and interesting. Took a few listens even with the breakdown to really put two and two together for the source usage. That source melody is kinda buried in there. With that said, it's there. The breakdown is appreciated. I really like the use of space in this. Some dramatic silence as well as vertical space is nice. Minimal without feeling sparse at all. Excellently produced track. The pause right before the bigger sound at 1:20 is a highlight for me, as well the unexpected PWM C64-esque chip sound that comes in around 2:45. Compelling and thoughtful work. Excellently done. YES
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