ReMix: Solstice: The Quest for the Staff of Demnos 'Pegasus Boots'

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Shnabubula asks:

"A quick note about the game Solstice. Whenever I play it I feel like an idiot because I can never beat it in less than 16 minutes but I've heard there are people who can do it in 7. HOW THE HELL IS THAT DONE??? Someone tell me!"

I'm certainly not the person to answer such a question, since fortune frowned upon my few attempts to play the game. I always dug the isometric graphics anyways, though, regardless of my skillz (or lack thereof) - anybody remember Treasure Trap on the Amiga? It's worth mentioning at this juncture that both Sam and Danny B. recently left the judges panel; Dan primarily wanted to spend more time on other priorities, and for better or worse the panel decided Sam wasn't the best fit. No hard feelings on either side, from my understanding, so it's not reality-tv dramarama or anything of the sort, just part of an ongoing process of trial and error, with hopefully more of the former and less of the latter. Both ReMixers + Former Judges will hopefully continue contributing to the community via their music, knowledge, and presence, as time allows. Both have brought inarguably distinct voices to the panel, albeit Sam for a shorter period of time. Nevertheless, these were two fellas who weren't afraid to state their opinions strongly and in their own style, and who penned numerous majority and dissent opinions that were laden with technical and theoretical knowledge. Like their music, their judgments represent a legacy of adamancy and fresh analytical perspectives - not always to the benefit of panel cohesion or harmony, perhaps, but singular nonetheless. No one on the panel to date has been anything remotely resembling a wallflower or "yes-man", but Sam and Dan were both salient in regularly having something different to contribute to any given decision, some angle that no one had touched on yet... like RAD TIMBALE LICKS, for example. Memorable quotes abound from either ex-panelist, as both judges had a knack for language, with Sam sometimes giving Wingless a run for his money and drifting all the way into free verse poetry. At any rate, I personally thank both for making OCR a brighter and (sometimes literally) more colorful place, hope that that effect will continue via other avenues, and wish both the best, as I hope will all listeners.

On to the mix, which due to time constraints of my own I'll compress my musings regarding. Sam accomplishes his goal of having the first Solstice mix on OCR in his usual unorthodox style, coupling a clean saxophone ensemble with mono percussion that sounds like it's being run through some sort of amp modeling/simulation effect. Dirty, growling, filtered synth, also seemingly distorted via modeled fx, at times even resembling electric guitar, is further added onto the already eclectic juxtaposition. This reminds me of some of Laurie Anderson's earlier, edgier stuff off Big Science, particularly From the Air, though more for the sax than anything else. Does Sam write music that only other music makers or those with theory backgrounds can truly appreciate? Well, I'd have to think it helps, but I've also seen listeners who are just as into more traditional and accessible pieces take a liking to his stuff. This work melds some very pleasing ensemble sax harmonies with intentionally aggressive electric synth grunge, employing complex, intertwined melodies that twirl around one another at blinding speeds (see 3'47" for reference) and have a definite jazz influence - not mellower, tourist-friendly jazz, but really more the unapologetic, intricate variety. I feel a little lame for my favorite sections being the simpler, more traditional passages like 4'10", where there's a more unified melodic thread, but I can appreciate the thicker stuff as well. There's a fantastic scene in Amadeus , one of my favorite films: Mozart has just debuted an unusually lengthy and elaborate piece to Austrian Emperor Joseph II, who criticizes it quite flatly as having "too many notes" (Peter Shaffer drew upon history here, as this is an actual quote); well, there's nothing wrong with being a Joseph II when it comes to listening to music - a lot of people know what they like and aren't afraid to say it, and don't yearn for sophistication as much as they do enjoyment. I don't look down on that, personally, so long as it's not entirely vapid, packaged nonsense; my tastes oscillate between ABBA and Miles Davis, and I love being able to appreciate both. Sam's definitely on the further end of the spectrum more often than most mixers, and this piece is no exception. Nevertheless, it's creative, playful, challenging, strikingly original, and even has one or two moments (0'57") where there's a straightforward, hip-shakin' rock/funk mojo at play. So while white men may not be able to jump (highly debatable), theory men can definitely funk, when they see fit. A fond farewell (solely in judge capacity) to Sam and Dan, and a warm welcome to our first Solstice mix, which is as distinct as its source's isometric gameplay.

― djpretzel