Liontamer

Just going to close this out with the same sentiments. Everything until 2:02's a superstraightforward cover with little interpretation beyond the adoption of this instrumentation, which itself is close to the source tune. Reconstruction/recreation's not a bad goal in a vacuum, it's just outside of our interpretive arrangement standards. I linked several melodically conservative arrangements in the writeup for this piece that still manage to still stand apart as distinct from the original music: https://ocremix.org/remix/OCR04414 Piano tone from 2:52-3:09 was too thin yet bright, which exposed that particular sample moreso than any of the other stuff like the bowed strings. That said, the energy of the track's strong and uses the samples well overall; very much a doujin scene-style track. If you're willing to rework the first half, this definitely could have a place here. We hope to hear from you again with another submission, even if it isn't a rework on this specific one. :-) NO (resubmit)

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My vote from 2021 remains the same: The arrangement aspect of it is just too minimal. Just two repeating lines of the stripped down source tune that desync and wind up back in sync. A fun audio gimmick, but not a developed arrangement by any stretch. And that’s OK, it just falls outside of our arrangement standards. I'll add that the source tune itself has more ideas to mine or be inspired from like the string accents (arrive at :12) or textural/dynamic changes (1:14-1:39 & 1:58-end), so consider adding in some arranged accents, or trying something else entirely different that's additive (since the base pattern keeps the source usage). It'll sound like I'm saying you have to reference other areas of the source; that's not necessary, but there needs to be further arrangement development due to the premise as is not offering enough of that. NO

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Original Decision Artist Name: Michael Hudak This is a phasing music piece that repeats the riff from "Guardian Battle" over and over, which I think reflects nicely the relentlessness of the Guardians themselves. I first made this in '21, and have since made tiny tweaks off-and-on over the years. About phasing: Phasing is an approach to minimalist composition in which two identical tracks start playing at the exact same time and tempo, but slowly move out of phase with each other as one track speeds up or slows down while the other remains the same. As they begin to slide out of phase, first you hear a doubling effect, then a delay that becomes more and more pronounced, and then finally they become totally de-synced as new rhythms appear and different combinations of notes overlap. Steve Reich popularized (many say came up with) the idea in the 1960s with his piece "It's Gonna Rain". He took two tape machines with the same tape, started them at the same time, and after a few minutes they began to move out of phase due to one of the machines playing very slightly slower than the other - "process music" as he called it. He would expand on this idea over the next several years with "Come Out", "Piano Phase", "Violin Phase", "Clapping Music", and "Drumming". Reich would become one the most influential American composers of the 20th century in large part to his phasing music pieces. About this piece: Obviously, a DAW will play a loop perfectly for as long as you want, so I started with a ~4-minute loop at 160 bpm, and another starting at 160 but eventually ending at 158 using an almost flat tempo automation ramp. I wanted to get a vintage tape machine sound like in "It's Gonna Rain" and "Come Out", but also the reverb of the orchestral space in "Piano Phase", so I tried to combine those lo-fi and hi-fi sounds. I ended up creating two more identical tracks by filtering out the low end and bringing up the white noise. The hissing, more airy tracks slowly pan out as the more midrange-y tracks pan in, and vice-versa. The loop is an octave higher than the source; I experimented with the original octave but it didn't "pop" the way I wanted it. It became too much of a low-midrange drone. There are some slight granular effects that simulate the grinding low piano in the source, but overall I REALLY had to resist the urge to add more bells and whistles, and to just rely on the purity of my initial idea of Reich + Guardian riff. As for source usage, it's ~100%, if - and here's the gray area - IF you can train one ear (either one - it's easier with headphones) to discern the source as the tracks move out of phase. The bit from 0:04 in the source is always playing, but whether or not it's recognized is on the listener, hence my incredulously long write-up for submission. For ~15 seconds at the start it's played by both tracks at once, and again for ~15 seconds at 3:25 after everything comes back into phase. 3:32 has the only appearance of the melody that happens in the source at 0:12. In the end, I couldn't resist adding it. Thanks for anyone tasked with judging this one for taking the time to read this long explanation, and for considering another left-field submission. You won't hurt my feelings if the lo-fi aesthetic or the esoteric nature of the piece disqualifies it from the main page. Just had to finally close the book on this one either way. Games & Sources Source arranged: Guardian Battle Steve Reich compositions that inspired this ReMix: It's Gonna Rain; Come Out; Piano Phase; Violin Phase; Drumming.

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