Polo

This is like a goddess in musical form: sweet, soft, graceful, heavenly, sublime, and emanating its own inner shine.

This is a pretty chill bop. It packs just enough suspense and mystery to stay on the inviting/whimsical side of exploring those dangerous temples. I've actually been playing some Zelda II hacks recently, and this mix is a fine supplement to the experience.

Ye gods, this is like a drug that guarantees an instant hit. Not sure what I love more: the references to mythical figures, or the fact that this manages to get away with a quiet lull (between lyrical jaunts) in an already short span of time. Either way, this is seriously addicting.

Of all the vocal remixes I've listened to, I must've sung along to this one the most. It's that fresh and inviting. Highlights: - At 0:32/0:33, the extra tonal downfall on that last word ("...it came to be this way...") feels like a deeper, bolder step of uncertainty and self-doubt into the unknown. It works so well. - The drop of most synths halfway through gives compatible breathing room for the more reflective, farther-reaching lyrics ("So it's been written through the ages of time..."). - While the first chorus projects a feeling of regret and resignation, the higher key at 3:12 colors it with confidence and the courage to turn a new page in one's life.

Oh yes. I always liked how the first few seconds of the source sound open, pure, and calm, and I love how this mix takes that starter vibe and just rolls with it. No hurry - just plenty of reflection while smelling the roses and feeling the light breeze on my skin and being at peace. The piano also reminds me of the opening to Nausicaa of the Valley of Wind. I can see those giants walking across the burning wasteland right now...

Gentle waves, gorgeous instrumentation, somber progression. Sounds like Link is playing a dirge for Marin (or maybe all of Koholint, considering the ending of the game). I'm also happy to hear the tail end of the source altered to something simpler and more tasteful (1:16-1:19 and 2:13-2:17).

Zombie Panic (beginning and ending) - The flute-like lead lends a bit of a ghostly vibe to the source, making the antagonists seem more like intangible spirits than physical monsters. Evening of the Undead (in the middle starting at 0:54 - pay attention to the countermelody and you'll hear this source) - As a whole this section feels like an exploratory detour, and the tune at 1:18-1:30 and 1:54-2:06 even sounds optimistic. Also, I think it's no accident that there's exactly 10 screams heard, equal the max number of neighbors you can save in any level. Already 3 die before the mix kicks in, the 7th marks the change in source/mood, and the last one is the wake-up call that says Zeke and Julie screwed up big-time. They frantically race around a bit, retrace their steps... and just throw up their hands in defeat. While the mix ends on a content note musically, it ends on a despairing note visually.

What really gets me is 2:15+. This is where the mix takes a somber, soul-searching turn. It's as if Setzer suddenly became acutely aware of something important deep in his heart. As he stares into the distance, he ponders his life, his choices, what his friend Darill meant to him, and what the future holds. The way the mix fades out as it continues its phrase makes it sound like the airship-bound gambler will fly higher and longer in his search for that meaningful something...

As meandering and sedentary as a buoy in gentle water.

Generally somber/nostalgic mood, occasional leaps in self-confidence, introspective lapses... I can practically hear the thoughts of a wanderer: "Is home the way I left it? How much have I changed? Will I be welcomed? I've come this far; might as well keep going..." Appropriate title and an effective illustration of how coming home is by no means straightforward.

The Chao Cave just got more fun to explore thanks to a couple of key factors: - 0:30+ feels like we've briefly halted our steps to learn that, if we listen/look hard enough, other magical beings are coexisting with the Chao. The glistening, shimmering flutters and such really add a sense of ethereal and otherworldly wonder. - When the bells aren't bridging 2nd and 3rd measures (like 0:18 and 1:03), they're heralding something bigger (like in the beginning and end). In both cases, they play the role of all-important guides to help us keep our wits about us and not get lost. In other words, this mix boasts a solid blend of free wandering and staying on track.

The wah synth seems to enjoy a bit too much modulation - I can rarely predict its exact vowel sound until the 2nd half of every 4th measure (0:10-0:11, for instance). At least the layered percussion that follows amicably gives it some solid footing. I often find myself bobbing my head from side to side when listening to the beat. It's certainly helped by the dynamism of 0:58's sugary whistling lead and 1:55's carefree roamer. I also like 2:20-2:27 - even though it's not a very impactful climax, it still elevates my spirit along with the notes being played.

There are times when the rapid 4-note bass pattern of the source sounds muted or overtaken, but at least it's offset by other sounds maintaining the tone or emotion of the moment. The percussion, similarly, sometimes gets drowned out, but I like how it ever-so-gradually evolves alongside the mix to add different shades of flair. I'm guessing 1:24-5 is an attempt at partial melodic rearrangement, but to me the C-G-Bb progression sounds off. It does sound a little more at home at 1:41-2 though. Given the way the last minute sort of hits the reset button on the mix before deflating into nothingness, I interpret this section as a wannabe prelude to another song/chapter in the musical narrative. It also would've been nice to hear more exploration of the source's second part ("Ab-G, Bb-Ab"-dominated), although the extended measure at 2:40 (with the organ at 2:47 adding to the mayhem) is certainly strong. All in all, this makes fitting hellfire music.

Bowser DOES kidnap Peach many times. Even players who don't closely follow the Mario series know this. If you mean my wording sounds over-the-top/kind of tongue-in-cheek, then yeah, I can see that. I just felt saying he kidnaps her "once more" or "yet again" felt a little lacking, but I incorporated the wording anyway in the revision below (no qualms about it this time). It starts to draw attention away from Rosalina, as if to say she's no longer important and the other characters' motives become the focal point (granted, that's the way it is in the game, since Rosalina's a side character, but for this bio...). It's also a tad redundant to say Mario must rescue Peach from Bowser right before saying Bowser kidnaps her. Looking at my version again, I think it becomes a little vague to say their paths cross when describing the villain's actions, if only because said actions don't explain the good guys' interactions clearly enough. Maybe I can try this: I think this helps keep Rosalina on the same level as Mario by showing that her stakes are not less than his as they team up against a common enemy. I also added "her debut game" to keep the sentence it's in from appearing too simplistic.

For me, the main draw is 3:14 - 3:36. Things get ridiculously fast here, like there's a contest to see how much the percussion can be pushed to the limit. Consequently, it's hard for me to keep my composure while listening to this section. Sometimes I'm in stitches; often I laugh; always I smile. I concur with djp's comment that this could be labeled "music for nanomachines." It definitely has that robotic feel to it - in fact, after a ritardando climax characteristic of a number of Sam's arrangements, the last several seconds sound like an emergency signal going, "Abort mission. Retreat in progress..." Electronically pensive and exploratory.