Posted 2005-07-12, evaluated by djpretzel
This is Dj Redlight's third Final Doom mix. It's also his third OC ReMix. Mathematically inclined listeners can thus conclude that the artist has an appreciation for the soundtrack, and he's doing it copious frags of sonic justice with his track record thus far, which this submission continues the solidity of. At almost four minutes, it's thankfully not as "quick" a fix as the title might suggest, and things get workin' right at the get-go, with a cymbal roll fade in, bass groove and minimal drums, and then drop at 0'13" into an upbeat breakish groove, with a slick integration of guitar and analogue synth. You've got anchoring bass, rhythm guitar as well as guitar stabs/hits, a delayed glide sine lead, filtered synth backup patterns, ample application of breaks and fills on the layered beats, with high production values and solid mixing as the very cohesive glue that ties it all together. If you haven't heard Redlight's other FD pieces, you'll need to check them out, because you might *think* the ReMixer, covering the same game so consistently, would have a very set style, but this mix is faster and edgier than The Calling, and Memoriam was a totally different genre, rather orchestral, so while the name of the game remains the same, the weapons of choice do vary. Ashley also takes the time to break things up around the midpoint mark, tearing things down and building them back, so you can fully appreciate the consitituent elements. This is just some fun stuff, reminiscent of zircon or tefnek at times, with an approach to electronica that directly or indirectly borrows some of the accessible, enjoyable aspects of Big Beat. I recommend checking out some of his recent stuff on his newly designed site at www.djredlight.com. Perhaps some day he can be persuaded to direct his talents outside of the Doom franchise, but until then Final Doom has a competent aural advocate to lobby on its behalf, now with three excellent and approachable pieces.
on 2015-01-11 16:20:23
I can't get enough of this.
The steady syncopated beat and the leads morphing in and out convey the image of someone frantically blazing through a structure, navigating complex passages and staying in motion, facing opposition confidently but bracing for a greater threat. Very fitting for a Doom game.
At the same time, the soft synths and recurring patterns make it a comfortable listen.
on 2010-10-14 15:08:24
So I just heard this as this week's credit music for Sephfire's Extra Creditz video and while I'm sure I've heard it before cycling through my OCR playlist I never paid it any particular mind. So I did now, and it rocks. Very groovy, love the beat, the synth work, and the pseudo-guitar thing.
on 2009-08-11 22:20:54
Easily one of the snazziest Doom remixes on the site. The echoes are perfect, the beat is snappy, it progresses extremely well and ...it's just classy as hell. Fitting!
on 2009-07-11 00:12:21
Surprised with the successful combination of musical elements, I couldn't help but catch a touch of The Crystal Method, though more melodically conceived. Considering the title of the track, Quick Fix, the song, thematically speaking, managed to convey and embody what I picture as the resultant feeling of a 'Quick Fix' injection for a Mars-stranded marine of the Doom universe.
Very well done, Redlight.
on 2009-03-19 14:31:28
This mix has a very interesting sound, with the synth that sometimes morphs into a guitar. The beat on this is really catchy, and though a little more separation between parts would have strengthened this, it's still an inspired sounding mix.
I really like the melody on this one; it's cool and has good motion, and combined with a cool synth backing and a great beat, makes a pretty awesome mix.
on 2009-01-20 18:15:57
It's sort of trying to be both atmospheric(especially at the beginning) and techno-electronic at the some time.
As a straight up electronic track, it's not bad.
Definitely worth a listen for techno enthusiasts
on 2005-10-12 01:29:30
This is a great remix! I think it has a very atmospheric, ethereal quality to it. It's very funky, and makes me think of playing DOOM where every enemy has a little hop to their step in time with the music.
I think I would have preferred a little more breakdown for the ending of the song: that or something like a crescendo, an upward scale of notes, and then an explosion that fades out, but perhaps that would be cliche. I don't know. Either way, it's a very small complaint, and one that I can easily overcome.
I really like this remix!
on 2005-10-11 22:29:43
Amazing! Inspiring! Great work, as expected. Please expand your retinue to Memento Mori!
on 2005-08-04 08:43:00
lol what are the chances, I made a battlefield video and used it because, well it rocks! http://files.filefront.com/The_Best_Movie_Ever/;3979769;;/fileinfo.html
on 2005-07-31 22:48:45
OMFG, this piece is amazing stuff redlight! I expected something good, but this is far better than just "good", it's uber-fantastic-synthetic-stellar-goodness. Absolutely love it.
on 2005-07-16 06:07:04
Thanks heaps for the awesome comments guys! It's greatly appreciated.
on 2005-07-15 17:47:54
I’ll be honest and say that I have barely heard many Final Doom mixes here at all, or any of Redlight’s previous tracks for that matter. But I can say that this one definitely geared up well as a fresh release. It’s got a fun packed sound that has added a lighter side to electronica that sounded pretty close to the Spin Jam game music in terms of compositional concept, and for that I feel it’s done well.
So it’s only fair that as long as I’m here I share my extensive feedback to it
Because I haven't heard the source material or played the game for that matter, I can't answer any questions relating to its relationship to it or its variance from the theme. But in terms of structure we have some good stuff coming here; tonally, everything has good connections for an electroinca track, especially with the good range of effects that have also managed to come through for what they were. I also think the structuring of the mix was well thought out for the break beat genre, and has worked well to maintain that feel that has often been carried over through the Doom series musical score. Given that this is my first exploration towards Final Doom coverage I found it to be cool enough to listen to, and has adapted well in developing a well-rounded concept to present to his audience.
I think much of the creative aspects of the track have helped make it shine in terms of compositional concept, which have been shown with a great amount of switching moods and progressions to better fit the genre. I found the light transition into some Drum n' Bass at around the 2 minute mark to be very clever and does well to add more of a lift towards the overall atmosphere. If I knew the source I'd probably gesture at the linking sections better, but even here the link from one portion of the mix to another still felt rather clean to take in through my ears. In terms of developing a fresh pace the moods are practically the same all the way through, but even here there's just as much energy to keep the fans of the genre well entertained and appreciative of what has come through. If there's any repetition I could point at the drums but that's not too much of a concern; it still was able to work well enough for me. In terms of the entertainment factor I would have enjoyed this a bit more had I been familiar with the game's music. Even here it's a great listen if you're into the genre, so it'll be worth an interesting gander over.
The synths are well chosen for the job and have emphasized enough feel to make it stand out towards its part of the scene. So I can say in terms of sound sampling he's got a very good set to make his own. Mind you I thought the EQs on the bass were a bit too much at the start, so it may have helped to tone that down. It was argued that some of the sounds felt a bit dense but some of the other effects like the pitch bending, some components of distortion and high/low pass filters have done well to add a great amount of flavor towards the processing. I think one thing that might have brought the mix down a bit had to be towards some of the leveling techniques that came through, and that had to be a disturbance of light "crackles" in the left speaker, which were first evident by the addition of the tambourine into the track at 0:27. I found it to be lightly disturbing in terms of its technical side, but even here the instrumentation is still very bold and brash and fitting towards the genre. I didn't sense as much complexities in the panning techniques either, but there's still a lot of accuracy taken towards the instrumentation placements here as well as some of the texture work. So while I feel that some of the tech aspects - most especially the sound levels - kind of rubbed on me the wrong way, it was still pretty interesting to absorb and cast towards the site for what it was. Good stuff here.
So yeah, this sounds very cool for something as it was here. Personally I think with some of the blemishes it had here it should have gone to the judges, but even here I am very, VERY impressed with some of the structure based concepts on board here. For flowing electronica it’s definitely got the structure to make it work, and with plenty of melodic ideas to make it ease out too I think this has managed to get out there as a pretty thoughtful mix for an otherwise often under-looked game. (Sorry TO…)
In any case, I found it enjoyable to listen to and should point it in the direction of any Doom gamers out there. It’ll be interesting to be able to hear more from you at some point or other
on 2005-07-14 23:24:09
DJ Redlight's best remix yet. That's some tight, fast groove you've got there.
on 2005-07-14 09:14:46
I must apologize to the creator of this song, because I "was just not feeling this one." And I was wrong. I'm giving the song a third try- this time with headphones. Maybe the awesome of the song killed my speakers. Thumbs up for song , thumbs down for my speakers. =(
Sources Arranged (1 Song)
- Primary Game:
Final Doom (GT Interactive, 1996, DOS)
Music by Jonathan El-Bizri, Josh Martel, L.A. Sieben, Tom Mustaine
- Electronic, Synth
- 4,843,575 bytes
- Size: 4,843,575 bytes
- MD5 Checksum: a8fa3acfa649d866bffd1e1f00fd0ef7
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