ReMix: The Legend of Zelda 'Eutopia Pegasi'
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- Game: The Legend of Zelda (Nintendo, 1986, NES)
- ReMixer(s): Destiny, The Wingless
- Composer(s): Koji Kondo
- Song(s): Title
- Posted: 2004-07-01, evaluated by djpretzel
Mr. Burnett, aka he of no wings, had a little preamble to this Zelda collaboration with Destiny that I think is worth sharing:
"This is a collaborative effort between myself (The Wingless) and Destiny. Destiny wrote and performed her own vocal arrangement, and I wrote everything else. Somebody once asked on the forums what made a good remixer. I think I spouted off about the virtues of being evolutionary with the material. The best aspect of what we do is the fact that we can take something so rudamentary (what I call the bleeps and its companion, the bloops) and transform it, evolve it into something truly transportative. At the very least, this is the trait I find most endearing. I'd like to think this particular piece is best show and tell I have to illustrate that point. Many, many, many thanks to Destiny for her generous and rather spontaneous help. She added worlds to this piece, making it one of my favorites."
Though it might not be my favorite Wingless piece (I'd have to do Pepsi/Coke taste-tests on each to really figure that out, and even then I might be indecisive), neverthless I can see why he considers it perhaps most indicative of that quality of ReMixes that takes a bare-bones, strong-but-simple original melody and, while remaining true to the spirit and not venturing outside the realm of identification, really PLAYS with the guts of the melody and progression. Introing with delicate piano and solo strings, harps gliss into the introduction of rising arpeggios and Destiny's vocal, along with the main melody's first appearance as a clarinet solo. At the first minute there's another glissando into the rest of the melodic phrase that's similarly extended and mutated into a more deliberate, challenging progression. There's definitely some license being taken in the wide, wonderful worlds of key and chord, and this is the crux of the mix's appeal and will largely dictate whether you dig it or not. The uber-popularity of the original theme has drawn out many talented mixers' own, unique, often VERY revised arrangements, and John and Destiny have certainly done a good job of not retreading explored territory. At 4'04 the relatively simple violin part that comes in does stand out as being a little beneath the par set by piano and vocals, and the end of the third and most of the fourth minute have times when they seem like they're stretching a bit to keep the flow alive; I might have broken things down like the ending does (successfully) a little earlier on as well, for an instrumental solo sans some of the accoutrements. My other gripe is that harp glissandos are a little overused as a transition device. But I love some of the liberties taken with the melody, and how it's served as a point of divergence and is surrounded by new intonations that change its context and really broaden the scope. This is some serious extrapolation and chordwork - at times things get nested enough that I have a hard time discerning the base, especially with the flute trills later on, but the overall result is something of a singular quality that is challenging and elaborate. A very involved, meditative arrangement from The Wingless and Destiny, with a new spin on Kondo's work.
Discussion: Latest 15 comments/reviews; view the The mix would not be the same without the vocals, which seem to accompany the melody rather than string it along. I'm also a big fan of the awesome piano work that exposes some nice nuggets of melodic variation from a source which many may claim to be mined completely barren. I say there is gold in anything, so long as you are creative enough to find out how to get it. And this mix (and many others) proves that.
Great new spin on Zelda. Never be afraid of making music that makes you feel rather than feel like dancing.
- Marmiduke on January 12, 2009
- Arwen on August 29, 2007
6:02 "here comes the picardy third..."
6:06 "okay, well, they'll definitely put it in the piano part...nice touch, leaving it out of the voice"
6:09 "here it is--this 4th will resolve down to the major third"
6:10 "no, it just went up to the minor 6th. ..So they'll put it in the final chord, a fast arpeggiation."
6:13 "...it wasn't there! But wow, that was a nice clean finish."
I still felt like the major third was implied, just because I've heard it so often. I think my mind tricked me into thinking it was there, the first time I heard the piece.
What I'm trying to say is that I salute you for the clean finish with no major OR minor third. It worked well for the piece.
- musenji on November 10, 2006
- lady zelda on March 16, 2006
- Zekian on March 16, 2006
The only thing I don't think I like...is that there really isn't enough Zelda theme in it. It may or may not just be me, but as lovely as the song is, it was hard to pick out the song to me, except for the few parts where the theme took center stage.
Now, again, I need to say I love the song. I guess I just prefer having a bit more of the original song intact.
- codexia on July 26, 2005
Words can not bring justice to the beauty of this song. While it's certainly not something you'd use for an overworld theme in any sort of fan game, it seems to bring a story into one's mind on its own. Its own legend, so to speak.
Now I'm just being sappy... but it can't be helped. This song is simply amazing.
- ZaronX on July 23, 2005
Let's see you two make some more beutiful music together
- Burger Deluxe on June 18, 2005
Truly an emotional piece.
- Polo on March 17, 2005
- Marin on February 19, 2005
- nomindo on February 17, 2005
- EntreNous on February 13, 2005
- SixthFlyingMan on January 19, 2005
10/10
- SynthesizedStampede on December 5, 2004
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