ReMix:Metroid "Dex" 3:55

We JUST posted an excellent, percussively atmospheric (and atmospherically percussive) Half-Life 2 ReMix from Brent a couple weeks ago, and now he's BACK with this decidedly more aggressive, extremely glitched, tricked, & mangled (think Super Mario Bros. "Dirty Mix" for a frame of reference) take on the (formerly) serene & minimalist Metroid title theme. In Brent's version of space, EVERYONE can hear you scream, and your scream sounds like it's been run through a digital blender along with seven oscillators, fifteen alarm clocks, a couple white noise generators, and a cat. In a good way, to be clear:

"It's a strange take on the theme, but I think it's cool.

Breakdown:
0:00-0:17 - Source
0:17-0:45 - No source
0:45-0:59 - Source
0:59-1:12 - No Source
1:12-1:53 - Source
1:53-2:00 - No source
2:00-end - Source

This track is another victim of the wretched loudness wars. Though it is flawed from a mixing/mastering perspective, I don't think that detracts too much from the goal of the track. I am cool with having it posted the way it is if you all are. War is hell."

It's ALSO good for absolutely nothing, and never changes. Chimpazilla was feelin' this one in particular:

"Well, I LOVE weird muziks and this one sure is weird. It's so creative. I am loving the wide soundscape and varied textures here, track is full of surprises. I love the different moods created as the piece goes along. Because the arrangement is so inherently weird, I'm not having any problem with the transitions between source and not-source, it feels cohesive to me. Plenty of source, mixing is great. My only complaint is that I wish the outro was a little more different from the intro, they kinda feel like bookends... but both are cool enough that I won't whine about it. Very cool track!"

Palpable is similarly enthusiastic, but echoes a warning about the intro:

"Yow, that intro. Definitely edging close to the line of being too grating there alone, but once it moved past that, there wasn't anything for me to fault this on. The concept completely works for me, and the Metroid title is a song that makes sense in this desolate, almost scary style. It can be rare to hear a song where you can't compare the style to something else you've heard, but I'm struggling here. I can place certain elements in other songs, but as a whole this sounds pretty singular to me. Brent is quickly becoming one of my favorite remixers."

So yeah, watch yourself on that intro - it's a wanted man. It has the death sentence on twelve systems. If you've already got the makings of a grade AAA migraine, it'll gladly take you that last mile. But hey, it makes a STATEMENT, it's certainly attention-grabbing, and it clues you in to the mayhem that follows by the subtle use of OWWW :) I kid; Brent was forthcoming about the production being on the assertive side, and as long as you're mentally & physically prepared, it triggers a visceral, cringing twinge that the laser beats and thwacking machinery soon replace with intrigue. Introducing the world to the strange & wonderful music of Metroid, this source tune firmly established an expansive, less-is-more approach to VGM that's stayed fresh all these years and fit the game like a glove. Hearing it mangled so might cause hurt feelings among some purists, but I agree with Vinnie - this arrangement concept maintains a spirit of desolation & futurism while adding in some great hostile & alien textures!