OverClocked ReMix Releases Pokémon: The Missingno Tracks

OverClocked ReMix has recently released Pokémon: The Missingno Tracks, their 23rd video game remix album. Suprisingly Missingno Tracks is the first major undertaking of any Pokémon related music remixing in the community. The album spans the entire Pokémon serious and features songs from artists including Level 99, Fishy, Benjamin Briggs (chthonic), and more. After around 5 years in production Missingno Tracks features over 90 minutes of music, and as always, is available free via OverClocked ReMix in both high-quality MP3 and FLAC.

Setting Up your Facebook Page

So hopefully by now you’ve got a Facebook Page set up. A Facebook Page is not the same as your Facebook user profile and, If don’t have one yet, or you’re unfamiliar with Facebook Pages in general, then you should check out last weeks entry on why you NEED to have a Facebook Page as a musician.

The first thing you need to realize is that your Facebook Page is not just for Facebook users. Granted, you will get the most of out people who are both a Facebook users, and a who have subscribed (or “Liked”) your Page, this is not the only traffic that will pass through your page; You’ll also get people who aren’t even members of Facebook who get there through links posted to them or via Google. This means you have to realize that your Facebook Fanpage is more than a microblog; It’s a whole new mini-site, or a portal, for your users to find more information about you. Some users may land on your Facebook Page before even your website. How will you welcome them?

  • Do not let someone land on your wall. This one is a very easy mistake to make, and it’s one of the most important things to do right away. Would you let visitors land on the guest book of your personal website? Of course not! Why then would you let them land on your Page’s wall? Admittedly, our Facebook Page currently isn’t setup like that (yet), nor is OverClocked ReMix’s, but zircon’s Page is a good start for what you want to go for in a Facebook Page landing page, and many major franchises are great examples. You can make an engaging landing page like this using the Static FBML App. Some things you should consider having on it are: Some information about you, some of your other sites on the web they might be interested in such as your personal site or YouTube profile, and most importantly…
  • Give incentive to follow/like you. The first questions in your head whenever you create something like a landing page are: “What are the long and short term goals of this?” and “How do I achieve these goals?” In this case your long term goal is to convert visistor into fans, and maybe at some point sell them music. You achieve this goal through the short term goal of giving them information about you and, most importantly right now, getting them interested enough to follow your page. You do this by telling them to follow your page, and giving a clear reason why they should. Sounds crazy, no? This is what we “selling the value” and giving a “Call-to-Action.” Everything you do should have some Call-to-Action, and incentive to do so by selling the value of it, and be sure to not give away the value without the action, first. In the case of your Page one value right away is up-to-the-minute updates on you and what you’re doing, but consider that someone who’s landing on your page might not be interested in your updates upon first getting there, and might not even stick around long enough to find the value themselves. Why then, would you stop there with the value? Give your visitors some incentive right away, and try to make it something more than your Facebook spam in their news feed. What kind of incentive? Here is an example of a case study done by “Socially Buzz“, a social media marketing firm, for restaurant. In it they explain how, by giving visitors incentive through value to “Like” the restaurant’s Facebook page (in this case, coupons), they were able to drive over 5,000 new Facebook followers, and create more social awareness of the brand. What kind of incentives can you create? Maybe downloadable and/or stream-able songs available ONLY on your Facebook page? If you charge, maybe it’s a coupon for your music. Maybe you could release an entire exclusive EP available ONLY to people who like your Facebook page. Play with it, and see what you can think of.
  • Make sure to keep engaging your audience. The biggest grace of social media is the ability to engage your audience. Make sure, once you get followers, that you use them! Keep them informed with important, relevant updates about what’s going on with you (subscribers probably don’t need to hear how drunk you are tonight), consider releasing exclusive or world-first items on different social mediums, and make sure whenever possible to end your updates with a question. You’ll notice OverClocked ReMix often does this, as does mashable. You want to engage your audience as often as possible, and encourage them to engage you as well. This gives them a much more personal experience, and gives them a stronger connection and dedication to you, and your brand. Remember: A personal connection could be the difference between a casual fan, and a die-hard fan.

These are just some of the ways you can use your Fanbook Page to help increase your visibility on the web, and hopefully help you convert more users into die-hard fans, but remember: Facebook isn’t the only social medium out there, not is it the only one people are actively using. In the upcoming weeks I’ll explain the important of things like a twitter page and, more importantly, a YouTube profile, before getting into the down and dirty of building and maintaining your own personal site, but for now go make yourself an awesome Facebook Page and start collecting followers.

If there’s any questions about anything discussed this week, have any Facebook Page suggestions of your own, or if you have any other questions relating to marketing yourself on the web that you’d like me to cover, feel free to leave a comment.

“All Your Base” Turns 10? Well, kinda…

Some places on the internet are marking this week as the 10 year anniversary of the infamous “All Your Base” meme. True, it was 10 years ago this week that All Your Base flash video using the Invasion of the Laziest Men of Mars song was released to the internet, and quickly made it’s way into fame, however anyone familiar with OverClocked ReMix’s origins knows that’s not where the real tale begins.

Before OverClocked ReMix became OverClocked ReMix, it was simply just OverClocked; a web comic dedicated to emulation, amongst other things, by djpretzel himself. It was here that All Your Base first made it’s way into the spotlight on June 5, 2000 with the “ZeroWing Dub Project“; nearly a year before it would hit the mainstream. A full timeline of the events leading up to the All Your Base phenomenon can be found here.

So while the rest of the internet reflects back on the memes of the past, us video game remix fans can celebrate that video game remixes aren’t the only thing David is responsible for popularizing. We can all also become extremely depressed at how old we’re getting ;-;

A Melodious Melee! Heroes vs. Villains Review

One of the most anticipated albums in OCR history has finally been released! No, not Threshold of a Dream. I already reviewed that back in December, remember? No, it’s not The Missingno Tracks either; that doesn’t drop until the end of the month. I’m talking about OC ReMix vs. The Bad Dudes: Heroes vs. Villains. First conceived by Mustin, this album is the most collaborative album in OCR’s history, featuring work from the notorious Bad Dudes and several now-veteran OC ReMixers. And it’s a great collaboration indeed; you want to know more than read on! Just be warned, if you’re listening to this album some face-melting may occur. Let’s begin! Let the musical battle between Heroes and Villains begin!

But first, a little note. Due to the character-based nature of this album, the first line will contain track number, artist, title, and duration. The second line will contain character, series, and game the main source is from in italics. Okay, NOW let the battle begin!

1. Big Giant Circles – Bounty of a Brain 3:55
Samus Aran (Metroid) – Super Metroid
It starts out classic BGC style; Mr. Hinson hasn’t lost his touch at all. Everything builds and builds continually… intensity rises clear past the minute mark… 1:12 brings in some awesome guitar to really kick the album, and the battle, off. 1:29 or so gets the melody rockin’ right on. 1:47 gets Samus’ theme in the mix. 2:09 isolates the theme from the rest, only to reacquaint it with everything else bit by bit starting at 2:25. By 2:55 it’s all back together, with more than it started with. A finale for the track seems imminent, as everything slows down at 3:20. Ambience kicks in shortly after, and carries the track through to the end.2. Mazedude – Dieselbrainage 4:20
Mother Brain (Metroid) – Super Metroid
Ambience continues, picked up by the first of the Bad Dudes, Mazedude. Infamous for his quirky tracks, Mr. Getman really keeps the mood eerie right off the bat. 0:52 brings in some rhythm. The drums ‘n bass genre works well for this track. Creepy sounds punctuate the soundscape like bats in a cave, only intensifying and amplifying the spooky atmosphere of the track. 1:59 brings in Samus’ theme, but it’s quickly silenced. After a brief breakdown at about 2:25, it all returns at about 2:58. Massive breakdowns much like the breaking of the glass around Mother Brain’s dome are plentiful in the later seconds of the track. By 3:46 the speed has slowed down considerably. 3:56 starts off a very basic rhythm. One dude down, many more to go. On to the next battle!3. audio fidelity feat. Eric Griffin, Derek Meler, Marcus Affeldt – Pirate Shout 3:32
Guybrush Threepwood (Monkey Island) – The Secret of Monkey Island
Ooh! Tropical! I like it already. And epic guitar at 0:13. audio fidelity didn’t waste any time. Screams of YO and HO add to the piratey feel. There’s awesome guitar and awesome chanting here. A flute comes in at about 2:20, only to be usurped by guitar again at 2:39. A PIRATE’S LIFE WAS MEANT FOR ME, TRIM THE SAILS AND ROAM THE SEA!! Think that’s the lyrics… they work. Awesome guitar to end.

4. Diggi Dis feat. Alex Jones – Voodoo, Roots ‘n Grog 3:45
LeChuck (Monkey Island) – The Secret of Monkey Island
Acoustic guitar now? And drums too? Awesome! This song has a nice rhythm… enjoyable. Some funky styling comes in at 1:03 or so, and the feel permeates the entire track. It’s quite groovy as well. Oh damn, chiptunes at 1:55 or so. This song has everything! More traditional instruments return at 2:24, with some awesome piano. A very fun track to listen to, only for all the funk and groove and general awesomeness… To the next battle!

5. Brandon Strader – Born of Ashes, Baptized in Blood 5:25
Kratos (God of War) – God of War
Starts out very dramatically, worthy of the character this battle is for. The question is, is the battle for the music or for Kratos’ very soul? Guitar comes in at 0:34 or so. Intensity builds at 1:05. Very nice guitar work done here by Mr. Strader. A bit of a mix comes about at about 2:20. Awesome bass at 2:44 or so. This song is more metal than the liquid metallic hydrogen seas of Jupiter. Yes, I mean the planet, not the Roman god, since this is Greek mythology-inspired. 4:35 brings in more melody, and it carries through to the end.

6. Kunal Majmudar – Wrath Industrial 3:01
Zeus (God of War) – God of War
Well the title’s not far off… this does sound very industrial. And bagpipey too; how that’s industrial I don’t know but it works. A very ambient piece… some electronica sounds come in at about 0:50. Guitar at 1:05 or so, and strings at 1:20 or so. Also a very unique track. More guitar at 1:46. Charging at 2:20 for awesome guitar at 2:25 or so. Song ends with a descent at 2:55. To the next battle!

7. WillRock – Bare Knuckle Blitz 4:00
Axel (Streets of Rage) – Streets of Rage
Whoa! I thought this was from Streets of Rage, not Dance Clubs of Passion. Regardless, Mr. Harby comes through, and rocks this track from the start. Signature WillRock sounds permeate the track like Febreze in a small dorm, and it’s a very good thing. 1:46 is an example of great guitar work by Will. This little bit continues until 2:14, when the main rhythm takes center stage. Everything breaks down for a bit unti 2:45 or so when it restarts in grand fashion. The song sort of takes a life of its own until 3:51 when the end begins.

8. zyko – Mr. Z 5:57
Mr. X (Streets of Rage) – Streets of Rage
Ah yes, zyko. A more versatile musician is hard to find, but we already have zyko so why bother looking? We’ve got some guitar, tense drumbeat, and electronic sound effects. Yep, it’s zyko. Laughing at 1:48 breaks the music down, but it slowly builds back up. By 2:24 or so, it’s back. Organ comes in at about 2:50. A solo of sorts busts out at about 3:05, with organ backing it up. Another sudden stop occurs at about 3:36… At 3:55 it all explodes back onto the scene. An awesome guitar solo picks up not long after, and continues more or less until 4:36. The end of the track is definitely building up. Sound clips from the game work well… after 4:45 or so weird effects and guitar go back and forth until the 5:25, when guitar comes back. It quickly vanishes and the main rhythm takes over and the end really does begin. To the next battle!

9. Mattias Häggström Gerdt – Screw Wily, I’m Taking a Vacation 4:08
Mega Man (Mega Man) – Mega Man 2
Piano and electronica. Typical of Mr. I-have-too-many-umlauts Gerdt. A very happy track worthy of a vacation. Some nice guitar comes in at about 0:53. The guitar comes back in at about 1:40 or so. I hear some Mega Man 9 title theme at 2:05 or so. This continues until 2:56 when a basic breakdown occurs. Everything returns back to the main source at 3:08 or so. The guitar takes prominence at about 3:18. More MM9 title at 3:40 or so. Heads up, last time Rock tried taking a vacation we got GUTSMAN’S ASS soo… yeah…

10. Joshua Morse – Screw Mega Man, I’m Taking Over The World 3:19
Dr. Wily (Mega Man) – Mega Man 4
Basic Morse style, and it’s never been more beautiful. Many parts working in harmony to create beauty. 0:45 isolates the main rhythm, punctuates with some bass and horns, and returns it to normal at about 1:00. At 1:28 we have some Wily Stage 1 from MM2. 1:52 brings the main rhythm back. The instrumentation is magnificent in this track, not surprisingly. A quick simplification occurs at about 2:45 or so and continues until the end. To the next battle!

11. bLiNd – Go Ninja, Go 4:13
T.M.N.T. (Teenage Mutant Ninja Turtles) – Teenage Mutant Ninja Turtles
Go bLiNd go! We’re halfway there! What a very mystical sounding track… it’s beautiful and awesome. Everything starts to come in at 0:44 with epic guitar. A very fast-paced track, worthy of them heroes in a half-shell. Breakdown at 1:40 or so. Everything comes back at 2:11 with a solo of sorts. Breakdown again at 3:00 or so. I guess the turtles learned how to shred… suppose that cancels out Shredder’s shredding or something… This very basic part continues until the end.

12. Danimal Cannon – Enter the Shredder 4:09
Shredder (Teenage Mutant Ninja Turtles) – TMNT IV: Turtles in Time
Now can Shredder outshred the turtle’s track? Let’s see what Dan can do. Fast-paced guitar and drums starting at 0:03? Very epic. Forgive any future typos; my face might melt over my eyes blocking my vision. Super-fast stop at 0:54 and restart a second later. Another breakdown at about 1:40 or so. Chiptunish sound effects take over… guitar returns at 1:58 or so. More basic rhythm at 2:25. 2:49 brings a feminine voice clip saying Enter the Shredder, only to bring in one of Dan’s signature solos immediately afterward. This solo continues on until the end of the track, only to start breaking down near the end much like the Technodrome does ALL THE TIME. Ends with laughing. To the next battle.

13. José the Bronx Rican feat. zyko – He Ain’t a G 4:22
Link (Legend of Zelda) – The Legend of Zelda
José starts off rapping immediately. Good instrumentation. YOU MUST BE HIGH IF YOU WANT TO RULE. Okay, this song wins already. The lyrics are good, as is the rapping. I heard Treecko… I love all the double entendrés here. zyko takes over rapping at 2:14 or so. The echo effect on his voice works well. José takes over at 2:48. The only tracks on the entire disc to be worked on by all involved in the particular battle, and it’s better for it. The track is passed on at 4:04 with instrumentation and the line, “Take this.”

14. zyko feat. Jos̩ the Bronx Rican РBladewalker 7:19
Ganon (Legend of Zelda) – The Legend of Zelda: A Link to the Past
A basic retelling of A Link to the Past? Wouldn’t surprise me, but that’s why I like me some zyko. Randomness in music is his forte. And I mean that in the best way possible. Voiceovers like ones from a movie are played, and they’re as well-written as the lyrics in the Link track before this one. A very basic rhythm plays throughout this part. The final battle theme takes over at about 2:00… 2:49 brings in some lyrics. They’re as well-written as the previous vocal parts, and the instrumentation is good. 3:50 brings in some guitar. Each time the verse seems about to end, it continues. Very well-done. I AM ERROR. Okay, now the Link track has some competition. The guitar sounds very raw, and that fits Ganon’s pure unbridled hate. Probably the reason it’s so raw sounding. More spoken word at about 5:40. And then, José at 5:50 or so. I think. Organs at 6:33 or so. Laughter at 6:40 or so. From here everything slows down to the end. To the next battle!

15. zircon, Joshua Morse – Satsui no Koto 2:57
Ryu (Street Fighter) – Street Fighter II
Wait? JM is on both sides? Okay, guess that works. Very Japanese sounding. Nice instrumentation. A bit of a solo at 0:45. Chiptunes at 1:15 or so. More strings at 1:39. Electronica at 1:56… this sounds like Morse’s part of the song. Piano at 2:08. Signature JM sound at 2:28 or so. Calmness through to the end.

16. posu yan, Joshua Morse feat. Stacy Morse – Coconut Milk 3:40
Sagat (Street Fighter) – Street Fighter II
After the introductory rhythm, main instruments come in at about 0:25. Another tropical track, moreso than the previous though. A very happy track too. A bit of an acoustic guitar solo at 1:34. More solo afterwards. Everything calms down at about 2:30. At 2:53 it picks back up. A finale is definitely imminent. Sure enough, it begins at 3:13. And it ends at 3:36. To the penultimate battle!

17. Insert Rupee (Benjamin Briggs, halc) – The Life and Death of Kirby 3:54
Kirby (Kirby) – Super Smash Bros.
It slowly builds… some nice bass and sound effects kick this off. Rhythm comes in at about 0:38, and melody at about 0:46. Chiptune champions Briggs and Wheeler take on this track with style and aplomb. It’s a great rendition too; happy, fun, chippy… what else needs to be said? Still think the band name should’ve been halchthonic, though. Solo of sorts at 2:00 or so. 2:40 or so brings a bit of breakdown. It works magnificently, especially at 3:00 when it takes on a unique feel with removed notes; a wondrous sound it makes though. Everything slowly tapers to the end at 3:45.

18. Mazedude – Hot Air Penguin 3:37
King Dedede (Kirby) – Kirby Super Star
He’s back for revenge!! Mr. Getman takes on Dedede’s theme wonderfully. Everything kicks in at 0:27. Chiptunes are present here; guess it’s a battle of the retro sound chips. At 1:11 the chippiness is really evident. Horns come in at 1:24. At 2:00 the horns and chips cohabitate the soundscape of the song. Piano is also used a lot here. 3:02 brings all instruments back for one final push. 3:15 signals the beginning of the end in piano chords. To the final battle! Who shall win? Let’s see!

19. Mustin – The Prodigal Son Returns 3:49
Simon Belmont (Castlevania) – Super Castlevania IV
Mustin’s not playing for the Bad Dudes here? Intriguing… just like the start of the track. Funky track for sure right here. 0:50 or so brings in some main source usage. 1:10 or so has piano for source usage. There’s also a whip sound effect throughout the track. Fitting. 1:42 brings in some of Mustin’s signature funk, probably borrowed from his own OneUp Studios hardware and/or software. Very mellow and calm. 2:17 signals a return of source usage… and whip. 3:08 brings in a solo, perfect for the end of the track.

20. Ailsean – A Walk with Death 4:16
Dracula (Castlevania) – Castlevania
And now, for the final song. Bad Dude vs. Bad Dude… who shall prevail? It’s tough, for this track starts out slow and calm, with ahh-ing and stuff. 0:33 brings in some simple guitar. 0:49 brings in more complicated guitar, still acoustic though. 1:04 makes it electric to great effect. 1:36 brings in more source usage. 1:51 has some laughter in the background, and again at 1:59. 2:08 returns to a very basic rhythm, and the ahh-ing returns. 2:39 brings back the awesome guitar. I’m expecting some epic guitar soon, Ailsean. Please don’t let me down. 3:11 returns the simplistic style of earlier in the track. 3:29 brings in what I was hoping for, epic guitar solo. Thanks for not letting me down man. Even though it stops at 3:45, it was still awesome. Acoustic returns at the four minute mark, only to stop at 4:10 to the end.

CONCLUSION
Well… it’s a bit hard to tell who came out on top here. If it was Heroes vs. Villains, then both sides battled bravely and built a balanced bout. If it was Bad Dudes vs. OverClocked ReMix, then each side masterfully manipulated music to manhandle the melee they momentarily met with. All alliteration aside though, this was a phenomenal album, worked on with love for the music and camraderie for the mixers.
The warning in the included readme file isn’t far off, either. “And if you’re reading this while listening to the album and still have a face, congratulations. But don’t freak out when your face starts melting. We warned you.” They most certainly did. Great work from all involved; I think this battle’s a stalemate. Until next time, game on!

A New Challenger Appears! SEGA Pico

In a recent twitter conversation, it appears SEGA has noticed that there are no remixes of any SEGA Pico games on OverClocked ReMix. Once again, Liontamer set out to rally the troops, and once again the troops fell into line.

We’ve seen a challenge like this in the past, and we got few good mixes out of that. So what will we see this time?

Will it be zircon remixing A Year at Pooh Corner? Will it be Willrock remixing Sailor Moon Sailor Stars?

ONLY TIME WILL TELL, but whatever it is, we’re all win.

Interview with a ReMixer: Sixto Sounds

Originally Posted at Feb 17, 2010 5:47PM PST, updated on November 3, 2010 10:41 PDT for ThaSauce

Juan P. Medrano, alias Sixto Sounds, is a man who lives by his state’s standard: Everything’s bigger in Texas. His remixes are big on the rock, heavy on the guitar, and huge on the quality. Whether it’s remixing a track from a classic Ninja Turtles game or from a recent entry in the Tales of series, he’s doing it, and doing it well. Being a contributor to OCR for 5 years, half the time it’s been around, he’s built up a stable of 20+ tracks, including one to the Dwelling of Duels that’s been accepted and updated over at OCR and a self-admitted ThaSauce exclusive. I recently interviewed him, and this is what he had to say.

Mirby: What started your interest in video game music?

Sixto: Hmmm… well, as a kid i didn’t play video games THAT much. I dabbled in a little Nintendo, little bit of Sega. But there were some games like Punch-Out!!, Afterburner, Sreet Fighter 2, [Teenage Mutant Ninja Turtles IV] Turtles in Time where the music just kind of stuck with me. In my head I could always here the music being played by a live band.

M: I was the same way (just different games).

S: Anyway, once I picked up guitar at around 11-12 years of age, I pretty much forgot about video games; wasn’t till maybe 2004 that a friend shared some MP3s with me. Remixes from OCR; It was Prot’s Brainsick Metal and djp’s GerudoInterlude.

M: Two of my favorites! Nice!

S: Yeah, that really drew me into the site and that’s when I started listening to the music of all these older games I used to love…

M: And that’s what started your interest in remixing tracks yourself, I take it?

S: Yeah, exactly; I figured, why not?

M: Are there any tracks you’ve done that you’re more proud of, or like more, than the others?

S: Let’s see… Well, my favorite one might be my Super Hang-On remix “Burn, Baby, Burn.” I think I like it the most because, well, I went in with the idea of making it sound a certain way…

M: Actually, I haven’t heard that one. So I’m going to get it now. I actually have no idea how I missed it…

S: Hehe. I wanted to give it this 80s kind of feel. Not so much 80s metal or anything. Also, this was the first time I was able to get everything sounding just the way I wanted.

M: That’s pretty cool! To continue, which do you prefer; solo tracks, or collaborations?

S: I prefer the solo stuff. To be honest, i’ve never really collaborated, per se… Except for one time, with zircon, on the FF7 project [Voices of the Lifestream].

M: Lunatic Moon?

S: Yeah. In that track, zircon and I wrote together. In all of my other collabs the music had pretty much been written out already.

M: Great track, one of my favorites. Especially with your 45 second or so guitar solo type thing.

S: I do wish I could re-do it; it’s not one of my favorites.

M: Ah, well a true artist in never satisfied with their work, I suppose.

S: True that.

M: Any tracks you’d like to remix in the future?

S: Tons!

M: Such as?

S: Well, I’ve got about 23 project tracks i’m working on; stuff from Megaman X games, Final Fantasy 9, the Dragon Quest games… Lots of stuff. Plus, I’m going to be remixing another track from Turtles in Time, which is probably my favorite game soundtrack.

M: For the Boss Themes project?

S: Yeah.

M: And it is a fairly epic soundtrack.

S: That it is.

M: Fun game too, for that matter.

S: Definitely, even today. That re-shelled version is so great.

M: Re-shelled? Is that some sort of re-release for XBLA or something?

S: Yeah; a remake of the arcade game in 3D. It’s really fun when you play online with 3 friends.

M: That it would be.

M: Do you have a favorite track from a game?

S: Hmmm… That’s a tough one. It would be a toss up between Ken’s Theme in Street Fighter 2 or Sewer Surfing from Turtles in Time.

M: Both of which you’ve remixed.

S: Right!

M: Do you have a favorite video-game composer?

S: I’d probably have to say Motoi Sakuraba. I love Nobuo [Uematsu]’s Final Fantasy stuff, but I dunno…

M: He’s pretty cool. Tales games and Golden Sun, that’s all that really needs to be said

S: I’ve always liked how Motoi writes; more of a modern style. Yeah, I love the Tales soundtracks and the Star Ocean’s.

M: I always liked how there’s a Sakuraba (and Sakuraba III) in Tales of Phantasia. One last question. What do you enjoy most about remixing?

S: Well… I like recording and mixing music. Period. I just love doing it. It feels like it’s something that comes naturally to me. Remixing video game music, though… I guess I just love being part of such a big community, being able to make something that other people enjoy. I still haven’t met any of these people as I’ve never been to MAGFest or a meetup, but I’d like to some day.

M: Well you’re being interviewed by one right now. Thank you for your time. It has been an honor, Sixto.

S: Anytime.

You can find Sixto’s page on OCR here: Artist: Sixto Sounds (Juan P. Medrano), and his page here on ThaSauce at Artist: Sixto Sounds – ReMixer. I’ll keep interviewing them as they come, so stay tuned. Until next time, game on!

Mattias Häggström Gerdt & OCReMix Presents: THE ANSWER – Armored Core Tribute Album –

Anso has been working on his Armored Core Tribute album for quite some time now, and yesterday it was released via OverClocked ReMix. The full includes 11 arrangements from songs throughout the Armored Core series and features vocals by DragonAvenger and Jillian Aversa.

The artist had this to say:

[…] THE ANSWER is for all of you who really have no clue about the ravens, Line Ark, how to build the fastest AC, how to defeat White Glint or Nine-Ball Seraph. You who didn’t get nostalgic when playing the Revolution part of Armored Core: Nexus, who haven’t tried to figured out the vocals for Remember, who doesn’t tear up when hearing ‘Someone is Always Moving on the Surface’ and who doesn’t miss ‘Shape Memory Alloys’ on the newer soundtracks.

Much to my personal dismay it seems Shape Memory Alloys was not actually included on the album; A song that has defined the Armored Core series for me throughout the years. Regardless, Mattias has once again put together an excellent piece of work worthy of praise.

2010: The Year in ReView

As 2010 draws to a close and 2011 looms on the horizon growing ever closer, now is an appropriate time to look back and reminisce about what made this past year so great. Describing all the myriad events that happened in the world and the universe would take far too long (suffice it to say that there was a particularly notable total lunar eclipse on December 20, being the first such eclipse to fall on a solstice since 1638) so the world of video game music remixing is what we’re going to inspect in this article. Whether it’s OverClocked Remix, ThaSauce, or something not directly associated with the sites or the community, it shall be mentioned. Let the comprehensive guide of 2010’s notable events begin!

First off, January. The year was kicked off with OCR01967, a remix from the game Romancing SaGa 3 entitled “Romancing the Bossa” by OCR veteran Bladiator, AKA Karl Harmdierks. It was the first of many tracks in what was OCR’s tenth birthday. A few days later, ReMix: ThaSauce came out with their first entry of the year, RTS0204, a remix from the infamous game Bad Dudes entitled “My Way Or (Night Version)” by formerly just64helpin and now known as JH Sounds. Also came the first round of the Grand Robot Master Remix Battle, a competition that lasted all the way until June. It produced a lot of great mixes, and tested even the most veteran of remixers. The year was off to a great start.

January faded and February came. With it came the release of Get Acoustic on the fourth, an acoustic jam of The Megas’ 2008 release Get Equipped. The emotional feeling for the disc went from one of energy as with GE to one of somberness. The final track, Lamentations of a War Machine, also had a faster tempo than the GE version. On the 14th came Kaleidoscope, also known as OCRO-0001, the site’s first original soundtrack. A collaboration between Judge Another Soundscape, AKA Mattias Häggström Gerdt and site founder David W. Lloyd, AKA djpretzel, the soundtrack became a huge success. Of course, many tracks were released in this month as well, but none as monumental as those that would be posted in the coming month.

Next up was March, the first month of spring, a month that signals a deliverance from the winter frosts and a rebirth of beauty with the blooming of the trees and flora. On the ides of March, or the 15th, Serious Monkey Business, a Donkey Kong Country 2 remix album, was released.  With it came a few important milestones. The credits remix, entitled “Re-Skewed”, was posted as OCR02000, the two-thousandth mix to be posted on the site. It was also by David Wise, Grant Kirkhope and Robin Beanland, three veteran Rare composers, and Wise was the composer for the soundtrack. To have him remix a track was an honor for the site, and for it to be one of his own tracks was a great way to show that the composers support the community all the way. Another one of the tracks to be posted was entitled “Dance of the Zinger” and was by Jake Kaufman, also known as virt. Several years previous virt and djpretzel had a falling out that caused virt to create his own site known as VGMix. He returned with OCR02005, a glorious dance remix of Flight of the Zinger and returned with style. This wouldn’t be the only remix of his posted this year.

April brought with it the release of “What If This CD…Had Lyrics?” on the 26th. YouTube sensation brentalfloss was well-known for his series of “With Lyrics” videos, each being a remix of some classic gaming tune, but with lyrics. This was his first full album, and it was a great one. Featuring songs from his YouTube archives and others exclusive to the album, it was a perfect melding of old and new and incited nostalgia fits among gamers of all ages. The very next day brought with the the pixietricks/zircon collab (wife and husband team Jillian and Andy Aversa, respectively) “Time to Oil Up,” a remix of Hakan’s Theme from Super Street Fighter IV, which was released on the same day. The only reason this is notable is because it’s the first, and currently only, time that a remix was released on the same day as the game that the source track belongs to.

May had the usual song releases, and on the seventh a Mega Man fan film was released using two Megas songs in its credits roll. It also brought a monumental event in OCR’s history. Just as 2010 brought with it an old anniversary (OCR turned ten), a new one had found its genesis on May 30th. Site founder Lloyd got married to his long-time love Anna Ziskind, thus inspiring congratulatory wishes from all forum visitors, and also a few jokes and the new husband’s expense. This didn’t affect the site in any way, thankfully, as Lloyd kept his schedule just as it was before marriage. The only difference was that he was noticeably happier.

June came, and Essence of Lime was released on the 18th. Originally a solo effort by Ben Hoffman, alias Hylian Lemon, others quickly latched on to the idea of an Oracle of Ages remix album and joined forces with Hoffman. The album was a rousing success, despite the fact that several websites mislabeled it as an Ocarina of Time remix album. It even reached into the world of the game Minecraft, with a small blurb reading “Goddamn Ess. of Lime is badass to listen to.” Plans were quickly made for a companion album, then untitled (now known as Lime of the Season). This one would be an Oracle of Seasons remix album, for Ages can’t be remixed without Seasons. Unfortunately with the joy of the release came sadness as well. VGMix, the brainchild of Kaufman, had died. Dwelling of Duels, a well known monthly competition hosted on VGMix had vanished with its host. Luckily, a lot of people worked to give DoD a proper site, and can now be found at dwellingofduels.net.

>July came and with it, heat. The 4th, known as Independence Day here in America, had a rare quadruple mixpost under the guise of Four for the Fourth. All Sonic remixes, they were lapped up quickly. halc, alias Drew Wheeler, tried his best to remix Labyrinth Zone from the original Sonic and succeeded, and Chemical Plant Zone from Sonic 2 was received warmly and remixed well by PrototypeRaptor, also known as Jonathan Paulsen.  Joshua Morse took on the iconic Ice Cap Zone from Sonic 3 and blew it out of the park, and Level 99, alias Stevo Bortz, took on the Doomsday Zone theme from Sonic and Knuckles. On July 29th came OCRO-0002, the site’s second original soundtrack release. This one was for Trenches, a comical World War I-era tug-of-war style iOS game with some elaboration to make it quite unique. The music was done by OCR forum regular Abadoss, AKA Kenneth Keynes, and his brother Troy. It went extremely well for the two, and was downloaded en masse.

August was a bit of a moody month. On August 15th, a preview of an Armored Core tribute album entitled The Answer was released. It was quite well received. On the 19th, remixing veteran Geoffrey Taucer, alias Jeremy Waters, left the community to pursue his dream job. He promised to check in from time to time, a promise he has kept, but a sad day nonetheless. And then, on August 28th came the unthinkable. The well-known double act between  Duane Zuwala and Brandon Lackey known as The Adventures of Duane and BrandO was dead. The two had split up, showing some distance between the two. Lackey would continue his own solo act entitled The Amazing BrandO, and Zuwala would remain as Duane’s Action-Adventure World. It was tragic, but time moves on…

September came and if anyone wanted to be woken up when it ended, their slumber was stopped a bit early. The well-known One Hour Compo had it’s hundredth installment on the second. On the 15th came the first of five Final Fantasy V remix albums. Directed by DarkeSword, alias Shariq Ansari, this one was entitled Wind. It featured 9 tracks from remixing vets such as Sixto Sounds, AeroZ, and DarkeSword himself. This series would be the first album Ansari had directed since Rise of the Star in 2005. It was released to stellar acclaim, and left fans salivating for the next installment, Water, in early 2011.

October brought more autumnal weather, and with it a few milestones as well. The game Shantae: Risky’s Revenge was released on DSiWare on the 4th, with a soundtrack scored by none other than virt. A remix from the game came two weeks later by Kaufman himself, entitled “Baal Bhaagna.” It was a Bollywood-inspired take on the source used. The 26th of the month brought the start of competition for the Grand Maverick Remix Battle, hosted by Ansari just like the GRMRB was at the start of the year. And much like that, this one lasted until the end of the year. On Halloween came the final track to be posted from Morse’s album Castlevania: Sonata of the Damned, Demonic Conception. The album was released on Halloween 2009, and with the post came the first OCR album to be released in its entirety through individual mixes. Christopher Getman, better known as Mazedude, also had his 50th mixpost on the same day, joining the ranks of Ari Asulin, alias Protricity, and djpretzel himself.

In came November, and with it came yet another remix of Wily Stage 1 from Mega Man 2. This one was by AkumajoBelmont, real name Robbie Sabo, and was unlike any other remix of the source before. It was a huge success. JH’s first album release with fellow remixer B-Type’s record company Giggling Robot Records happened on the 11th. It was entitled Genuine EP, and contained four tracks. The long-awaited Teen Agent album release occurred on the 22nd. Directed by the infamous Brandon Strader, the album was based on a semi-obscure PC game from a composer who also was semi-obscure. However, he gave it the old thumbs-up, and so did fans. Lastly, on the 28th long-time remixer chthonic decided to use his real name, Benjamin Briggs, for all his remixes. No longer would he have people either confusing him with some metal band or stumbling over how to pronounce his name.

December came, and with it a promise of the best the year had to offer. Although it was the last month of the year, the 13th showed it could contain many firsts with the release of Threshold of a Dream. The Link’s Awakening remix album was the site’s first Zelda album, and 20 album overall. It also was the site’s longest running album, having started originally way back in 2002, and featured many first-time remixers. The requisite flood from the album also brought about the site’s 2,000th hosted track. At the time of this writing, there are currently 2011 tracks hosted on the site, even though the most recent track is OCR02153. Oddly fitting, in my personal opinion. The 23rd also saw the release of Return All Robots! and its soundtrack, OCRO-0003. This was a new type of original soundtrack for the site, as the first disc was the actual soundtrack and the second was all remixes.

And now the end of the year is here. OCR posted 186 tracks so far, and RTS posted 58. Not records by far, but still a respectable amount. The birthday party for OCR went resoundingly well, and wasn’t forgotten once. ThaSauce got a new format so it would be easier to write and post articles on the site. Many stellar albums, an astounding amount of tracks, and a promise of more to come is what 2010 leaves us with. Let’s hope 2011 delivers on the hopes its predecessor has planted! Until next time, and next year, game on!!

Threshold of a Dream Review: Written Whilst Listening

DISC 1 – MAIN ALBUM

1. Theophany – Full Moon Cello (The Tail Cave)     5:49
Peaceful at first, befitting the intro track to the album. Bells or something come in at about 0:20, and then the main intstrumentation at about 0:28. Strings at 0:46 elaborate on the basic rhythm already created. More strings at about 1:09. The mood is set quite beautifully by the strings and bells. Quick breakdown like in the source at about 2:10. Drums come in at about 2:25, along with bass a few seconds later. More breakdown at about 3:00, this time distinct from the source. Main melody returns at 3:40 for a second, then violin comes in at about 3:45. The melody takes a life of its own at about 4:09 with a beautiful fashion. At 4:28 all the instruments come in for a truly beautiful buildup to the finale, which begins at 5:10 or so. It all ends suddenly and only bells and bass remain at 5:29 to end.

2. Benjamin Briggs – Lucidic (Koholint Island)     3:23
The artist formerly known as chthonic makes his mark known immediately. Buildup until 0:32, when some nice peaceful and semi-ethereal instrumentation come in. Briggs’ basic style comes in at 1:16 or so, and demonstrates his love for this soundtrack (seriously, listen to It’s My Turn to Dream and you’ll see what I mean). Main melody returns at 1:50. Breakdown at 2:10 or so, with more of his style and touch. True remix comes in at 2:38. Fadeout beginning at about 3:05, with spacey instruments to end.

3. Level 99, prophetik – Threshold of a Dream (Title)     3:14
Stevo’s acoustic sexiness begins the track immediately, with a rain sound effect backing at first. Violin comes in at about 0:48, adding to the beauty. Shakers at about 1:10 add to the atmosphere, and the guitar evolves into an electric one at 1:29 to truly amp up the listening experience. Drums appear with it, and a nice remix breakdown comes in at 2:09 or so. A truly atmospheric and beautiful peace, with the finale beginning at 2:57, consisting of the rain and the violin.

4. Iggy Koopa – Oceanfront View (House)     2:23
Piano begins immediately. A beautiful track, reminiscent of Shnabubula‘s work on Voices of the Lifestream, is found here. A short one, but a classic.

5. prophetik – Animal Counterpoint (Animal Village)     5:00
Here there be electronica; reminiscent of an odd 80s space movie soundtrack, part of the melody comes in at 1:24, after an odd effect that repeats. The instrumentation chosen is eccentric, but it fits the village the source tune plays in. It keeps building slowly but surely, until 3:25 when it starts to get a bit intense. This track is a bit strange, but in a purely enjoyable fashion. The source is recognizable, but it’s hidden under all the bizarre music. The song ends suddenly at 4:57.

6. Ten19 – The Wind Outside (The Egg)     4:20
A bizarre and creepy source track gets an upgrade here, with spooky sound effects that sound like they came from the Shadow Temple in Ocarina of Time and ambience that chills the spine. 1:11 starts the main melody. 1:52 brings in a break with heartbeats or something… 2:11 heralds the return of the main melody. More melody comes in at about 3:15. Ambience from 3:50 to end, with melody.

7. The Joker – Evigilo Inserpatus (Dream Shrine)     4:26
A beautiful soundscape comes in here, with echoing piano at about 0:25. Drums come in at 1:04, complete with echoing. Powerful ambience comes in at 1:20 or so, creating a dreamscape with the soundscape. Somewhat haunting effects are interspersed within the track to accompany all the music to give a complete package here. Breakdown at 2:50, shattering the dream, albeit momentarily. Everything returns at 3:17, bringing with it a dark feeling that ups the ante considerably and gives the song itself that much more emotion. Breakdown at 4:00 until end.

8. Benjamin Briggs – Climb My Mountain, This High (Tal Tal Heights)     3:40
Chth’s second track on the album (he changed his name, I’m still calling him that) is just as great as the first. Giving a mellow feel to the track with his champion chiptune expertise, the music comes in right away, and explodes at 1:03 with raw chippy power. A pretty sweet breakdown begins at about 1:22. The song has its own energy, infectious in its old-school style and sound. Briggs took the source, got an idea, and ran with it. Good thing too; this track is awesome. The main rhythm comes in at about 2:45. The music is drowned out by the bass from 3:15 to about 3:35, when it stops.

9. Sound Test – Spare Key (Key Cavern)     3:55
A haunting track, consisting of piano and space age sounds. Main melody comes in about 0:50. There are some nice breakdowns along the way, with what sounds like the boss theme thrown in at about 2:10. It sounds like a bunch of radio sounds are thrown in too, which adds to the atmosphere. Raw power comes in at 3:10, and ends suddenly right on time at 3:52.

10. Dj Mokram – Fierce Melancholy of the Woods (Mysterious Forest)     4:30
What sounds like a pan flute starts the track with the famous Zelda theme, and then piano comes in with what sounds like the Ballad of the Wind Fish. Strings come in at about 0:48 with what sounds like Tal Tal Height’s main rhythm. The flutes come in at about 1:10 with the main mysterious groove of the forest. At 1:35 the flutes come in, and there’s a beat that adds drama and energy to the track. The strings come in with force at about 2:10, with another melody at 2:30. The same raw energy he showed on Essence of Lime is present in this track. Peace comes in at 3:20. A cool rhythm comes in at 3:55 or so, and kicks off the finale of the track. The end begins at 4:20.

11. Artem Bank – Liftin’ Them Pots (The Bottle Grotto)     4:10
Ambience kicks the track off, and the main rhythm on bass comes in at about 0:32. Piano comes in at 1:20. Guitar comes in at 1:57, adding to the atmosphere of the track. More intstrumentation comes in at 2:30 or so, building the raw emotional energy already present in the track. Some cool guitar comes in at about 3:00, and continues until about 3:35 when the music calms down and the ambience carries the track to its end at 4:05.

12. prophetik – Facies Templum (Face Shrine)     4:50
As with other tracks on this album, ambience kicks the track off, this one interspersed with strumming. At 0:39, saxophone comes in. 1:18 shows the start of the main track. Mr. Burr demonstrates his skill with the wind instruments. 1:58 shows some piano that really elaborates on the feeling of the source, which always was a bit melancholy and somewhat spooky. Sax returns at 2:38 or so. A very mellow listening experience can be found here, beautiful in its elegance and simplicity. More atmosphere comes in at 3:50, and even more at 4:08. Tears almost started to flow; bravo, Bradley Burr. Bravo.

13. Dafydd – Sköldpaddsklippan (Turtle Rock)     4:07
The track begins immediately with the main rhythm. Drumbeat comes in at 0:30. The track continually builds up until 1:17, when some power appears behind the basic rhythm. Bass beats back the track up. The bass vanishes at 2:30, but the main rhythm remains intact. Strings come in at 2:40 or so, with a building sense and then piano at 2:57 or so to show off the main part of the track. 3:28 brings back the part of the track the played for the majority of it and plays that until the final ten seconds, which add a finishing touch to the track.

14. Xenon Odyssey – Sunrise in Mabe (Mabe Village)     4:08
A basic piano rendition of this beautiful source. This mix is just as beautiful as said source, so something was definitely done correctly. The Ballad of the Wind Fish appears here as well, starting at about 2:10. Fitting for this album, as that was basically the main musical theme of the game.

15. Lashmush – Beneath (Shadow Battles)     3:30
The final battle mix starts out with menacing ambience. Some nice beats come in at about 0:50 that do nothing but add to the menacing feel. 1:58 brings in more menace. The ambience present in this track actually reminds of a few tracks from the Crash Bandicoot soundtrack. 2:40 brings in more feel to the track. 3:20 brings in a roar that is just scary..

16. Rexy – The Feather’s Reflection (Eagle’s Tower)     5:19
A nice piano rendition by Rexy, the thing she is known for the most. 1:28 brings in more of the source. 2:28 shows another part of the main rhythm. The track continues to build and expand into something more awesome and more beautiful, just like with Mario’s Hazy Beach Holiday. It slows down at 4:03 or so. It goes back to basics at about 4:40.

17. prophetik – Voices of the Deep (Catfish’s Maw)     3:09
Bells come in at 0:20. Ambience plays throughout, and whistling comes in at about 0:50. More instrumentation comes in at about 1:10 or so. Everything keeps building, just like in the previous track. A very mellow track on the whole here.

18. Sound Test – The Vision of the Wind Fish (Ballad of the Wind Fish)     6:09
A very odd beginning, with vocals and crazy ambience. The sounds used for the main melody (one of my all time favorites) is ethereal and awesome. There is a lot going on here, and it’s all good. A drumbeat begins at about 1:55 and carries the track a bit further. 2:27 brings in a different style of music, reminiscent of Joshua Morse almost. There’s even a running water sound effect that’s present in two of his tracks (that I know of). His voice comes in at 3:35 or so, and describes the game’s finale. Some awesome electronic sound effects accompany this, and bring the ballad back in. 4:50 or so shows the credits theme in a chippy happy rendition. More vocals at 5:40, heralding the coming end of the track. They end at 5:57, and the water sound effect comes in with seagulls cawing.

19. prophetik, Fishy – House of Frogs (Richard’s Villa)     3:48
Some pretty beautiful guitar starts out the song, along with some nice saxophone. A nice ending to the album; great collaboration between Burr and McCormack. Cain breaks out a solo at about 1:50 that just sounds awesome, with Brad accompanying in masterful fashion. Some awesome double woodwind action at about 2:45 or so. These play until about 3:19, when simple acoustic guitar takes over until the end.

DISC 2 – BONUS TRACKS

1. Sound Test – The Beginning of the Tail (The Tail Cave)     4:21
Our second Tail Cave remix comes from Sound Test, who quickly became the zyko of this album. It’s pretty nice, and mellow. Drama starts to build at about 0:59. It calms down at 1:37, and more odd instrumentation comes in. Everything starts to build again at about 2:33, and is replaced by more ambience. Crazy music comes in at 3:20. It crashes at 3:50, and ends suddenly at about 4:15.

2. sloopygoop – I Don’t Know Who I Am Anymore (Player Select) 7:56
The longest track is, quite fittingly given the game of origin, a chiptune. Great work considering the short source. The ZELDA activated salsa remix comes in at about 0:50. 1:18 brings on sloopygoop’s own take. 1:35 adds more to the track. 1:57 throws in another style, and 2:00 brings in a very odd take on the track, which is quite dramatic. 3:00 brings in a circus version in its happiness and eccentricity. The director’s comments are quite accurate in that this is “generally just eight minutes of awesome.” 4:15 brings in yet another style, after demonstrating it in waltz tempo. 5:06 is the mark for yet another change of style, once again using the salsa remix already present in the game. It calms down at about 5:45, with an almost straight copy of the source, and 5:57 expands it once more. 6:28 brings about a return to the source. It slows and stops at 6:45, and is silent until 7:03, when it kicks back in with a very basic and simple remix of the source that plays until the 7:40 when it starts to fade.

3. Obtuse – This Cave Is Creepy (The Tail Cave)     3:56
The final Tail Cave remix is from Obtuse, alias Andrew Struve. The rain sound effect works, and the instrumentation works for the creepy vibe that the title portrays. Thunder roars at 0:50, and some violin comes in to back up the creepy feeling. The tension continually builds up until about 2:09, when everything pretty much stops, and more of the melody is explored. More thunder at 2:57, with basic melody explored thereafter. Violin returns at about 3:20, and the song ends with a high note at 3:47 or so.

4. prophetik, PriZm – Villa (Richard’s Villa)     3:37
The original version of House of Frogs is right here. As with the remade version featuring Fishy, the beginning starts out beautifully. PriZm’s guitar solo at 1:36 is definitely different than Fishy’s, but classic PriZm instead. Very reminiscent of his work on Summoning of Spirits; certain parts of Final Destination, in particular. The dual woodwinds at about 2:35 are just as beautiful. Very basic guitar at 3:10 until the end, just like in Fishy’s version.

5. Mustin – Inception (Shadow Battles)     4:06
The title of this track no doubt refers to the connection between dreams and the recent film of the same name. Very funky; would fit in on an album with Mysterious Groove on it. Excellent work by Mustin; no surprise there. Chiptune sounds at about 1:11 work with the track. A phenomenal remix right here. A bit of a solo begins at about 1:40. 2:20 brings in The Egg’s melody for more elaboration. The funkiness is prevalent throughout the track. Some ambience comes in at about 3:05, but only for a few seconds. It returns at 3:15, and vanishes again at 3:22. It returns once more at about 3:26, and fades for a quick false ending at 3:37. The song ends suddenly at 3:56.

6. Miku – Eagle Tower (Eagle’s Tower)     3:44
A beautiful piano rendition similar to Rexy’s work on the album proper. The main melody comes in at 0:22. The source is continually built upon in elegant fashion. The main source returns at about 1:50 in all its beauty. Everything slows down at 3:10, and continues in the same manner until the end at about 3:39.

CONCLUSION
Given the album’s long history (having originally begun in 2002 with an attempt to remix all 96 tracks present in the game’s sound file, then dying shortly after, coming back again again in 2005, dying again in 2007, and reviving one last time in 2008), one would think this album might never have been completed. Instead, it has become the Zero of OCR’s albums, persevering even through death to come to its completion. And it’s a good thing it has; the 19 tracks on the album are phenomenal, all staying within a restriction and doing it with style and aplomb. A phenomenal listen; all tracks are covered equally and in grand fashion. The six bonus tracks are a real treat, as they give an insight into the album’s history with two tracks that were replaced in the update, two that competed for the first track spot, and two that didn’t meet the restrictions but were too damn good to leave out. This is a must listen for both fans of the game and the soundtrack, for fans of the musicians, and for fans of remixes in general. Stellar work from all involved, whether they’re OCR regulars or total newcomers to the scene. It’s an album full of firsts, and all involved have made their mark, and much like Neil Armstrong’s footprint on the moon, it’s not going away any time soon.

Mazedude’s 50th ReMix posted on OverClocked ReMix

Mazedude, aka Christopher Getman has joined the ranks of djpretzel and Protricity by having 50 remixes posted on Overclocked ReMix.  “All Outta Gum,” a Duke Nukem 3D ReMix is a fun and quirky homage to the original, complete with retro samples and charm.  Congratulations on having 50 posted ReMixes, Mazedude!  What’s your favorite Mazedude track?