Posted 2022-01-05, evaluated by Liontamer
"A lot of stuff I do for OCR has a story behind it, or a theatrical narrative within the song. None of that here, really; I just wanted to make a driving techno track that was a bit on the dark side, focusing on sound design and mood, and the music from the first level of Perfect Dark is perfect; it's got an industrial bent, and kind of just simmers in D minor for a long time with no big changes, but with plenty of little one-off riffs and techno-y bits of dropping coming in and out. I incorporated most of them in my ReMix, though in a different order. I tried making a dance track out of sounds not normally heard in the genre, although I couldn't resist a supersaw section in the middle there.
- The low synth riff in the source that plays from 0:33-0:58 (and again at 2:20) in source plays a major part in my ReMix. I have it played by 3 different instruments: the modular pumps it out in spurts from 0:00-0:40, the clicky engine sound plays it from 0:40-1:24, and a high sine wave dips in & out with it from 2:05-2:33. Clicky engine and then modular play it again from 3:06-3:51.
- Sustained notes from 0:25-2:03 in source (source plays it on both synth & high string pads first, then moves to only high string pads at 1:16). = same progression from 0:08-1:17 in ReMix.
- Strings from 2:19-2:52 in source = 1:32-2:02 in ReMix.
- Twinkle melody from 2:04-2:19 in source = trance riff from 2:04-2:34 in ReMix.
- Horns from 1:30-2:01 in source = 2:34-3:05 in ReMix."
In a word: YES. This arrangement very successfully leverages Hudak's formidable sound design talents, but in a pulsing, accessible, cinematic style that's immersive, tense, & exciting. I think it shows quite a bit of range; the artist could easily employ this general approach to successful work in film OR game scoring, and it provides a relatable platform for some seriously slick textures & atmosphere. Larry Oji evaluated:
"I appreciated Michael's sound design choices here that gave this a different character from Graeme Norgate's original; in particular, the clicky take on the melody from :40-1:24 was a cool idea. You could certainly envision something like this in the 2010 Perfect Dark remake. It's been a joy hearing Michael's work grow and evolve over the last few years, as I can hear his confidence and creative assuredness show through. Nice work!"
Agreed; feels modern, intense, clandestine, & perfectly-suited to the game universe, while deviating & expanding on the source at the same time. I love that Michael sends us crazy, experimental, challenging work to chew on, but can also rock something more familiar, without losing the soul of what makes his work unique. Excellent stuff, highly recommended!
on 2022-01-08 13:57:17
The sound design here is really strong - even though you weren't aiming for anything particularly high-concept, this is still a very cerebral, complex remix that is anything but simplistic. The bell textures at 2:35 are a highlight for me, but every minute of the track offered something new to latch onto. Nice work!
on 2022-01-07 08:04:57
As a DarkSim I approve of this ReMix.
This track doubles down on the game's aesthetic, with some really gritty and gnarly textures, yet it's somehow also futuristic and mysterious. Superb sound design here, anchored by that pulsating beat which gives it some urgency, and fits in with the spy theme in the game. The source was instantly recognisable too, even after many years since I played the game. Great stuff, hopefully it won't be another 7 years before Perfect Dark gets some more love on OCR
on 2022-01-05 09:35:38
Sources Arranged (1 Song)
- Primary Game:
Perfect Dark (Rare
Music by David Clynick,Graeme Norgate,Grant Kirkhope
- "dataDyne Central: Defection"
- Time > 4/4 Time Signature
- 7,678,814 bytes
- Size: 7,678,814 bytes
- MD5 Checksum: 6df3d3b8a782d12ef557bddaedf5f598
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