ReMix: Super Mario 64 'PearlSong'

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You've heard this theme ReMixed before, by me and McV, but The Wingless has a decidedly different and VERY quality version of his own that's got something to say. Unlike McVaffe's more ambient take, which is probably closest to the original, and the major-key, orchestral overhaul I opted for, The Wingless has gone for a complex, layered, piano-driven arrangement inspired by another artist's works. The ReMixer explains: "It's inspired loosely by David Lanz's (a kickass pianist) style of composition. Heavy on the interpretation of the original piece. Hurray for me bastardizing songs and making them my own!" - hurray indeed, if you're like me in your appreciation of mixes that play more significantly with the original composition. If this is bastardization, then I'm a bastard! Wait, that came out all wrong...you get the gist. A single water drop opens us up, then joined by piano overtop of wah-filtered piano with a delay, very dramatically evoking an underwater atmosphere right off the bat. Recognizable melody comes in around the first minute, followed by a nice clarinet solo and piano embellishments. There's also very minimal but effective timpani rolls leading into certain bars that are subtle but work wonders. When an actual beat enters around 2'20" it initially sounds kinda chincy, but is augmented swiftly by a counter-rhythm on top that completes it. The rest of the mix sorta stays on a beautiful, chiming piano pattern (seemingly The Wingless' signature device) and fades out. The devil, as they say, is in the details, and they've been paid attention to here - especialy for the first 3/4ths of the mix, there's additions and subtractions and instrumentation decisions going on at a subtle level that creates a great, believable musical environment. The wah/delay processing on the intro is fantabulous, and the restructuring of the melody and addition, similar to SunkenSuite, of original music phrases and harmony on top all work quite well. About the only negative thing I could think to say is that most of the "good stuff" is concentrated in the first half of the mix, and the last quarter lacks any new ear candy or points of comparable interest. But still, the arrangement is intelligent, multi-layered, and creates its own universe and rules. Listening to all three mixes side by side is entirely worth your time, for yet another good look at how the same catalyst can yield such varied conclusions. Recommended.

― djpretzel