ReMix: Final Doom 'Hung Like a Pinky'

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Lee writes:

"Similar to my original Final Doom remix "Iron Demon", I gated most of the synths and pads in this to give it that clean sound that I oh so enjoy. The source didn't have a lot in it, as most Doom music tends not to. So most of the remixing is done by means of atmosphere and flirting with the general melody by switching keys around to give it that dark/quirky sound (ie: the piano from 2:15-2:32 and 3:06-3:53, the music box from 2:34 to the end.) The rest of the source is padded out through the pads and bassed out through the bassline. Props to Ashley (DJRedlight) for helping me with figuring out the FL compressor to get the sounds balanced."

As for the mix's rather... peculiar... title, TO explains, perhaps in greater detail than is necessary for most:

"As for the title. The original map the music is from is named "Hanger", and a Pinky is a demon from the game. It's a double entendre as a Pinky is also your little finger, and many wouldn't consider being "hung like a pinky" to be a good thing."

Indeed. Thank you for conjuring all sorts of Freudian FPS imagery for me. It is, after all, an "Id" game... right? I'm just glad there's a semi-rational explanation that links in with the game itself, as otherwise this would have been the most self-deprecatingly titled ReMix ever. Psychoanalytical guffaws aside, TO continues the FD legacy that he and Ashley have been steadily carving out ever since February of '04. These guys have essentially created a two-man Final Doom ReMix project that just happens to be temporally elongated; at this rate, some time in 2011, they'll have the whole thing done with. I'm not complaining though - they've managed to work in some killer mixes from other games/series along the way, and keep returning to this specific title with some excellent stuff. TO's been progressing with more and more interesting and varied production. His compositional style itself has also evolved, but I think he's always focused more on establishing moods and soundscapes, and that's where the more significant development has occurred. There's all sorts of squishy loveliness here, with music boxes, undulating chords, layered beats, deep bass, plenty of fx, a wide stereo spread, and a hypnotic, pulsing chromatic descent. I especially like all the subtle detail Lee's worked into the drum track, with acoustic, electronic, and hybridized elements generously but thoughtfully applied. I would have liked to see the dynamic change to something truly aggressive at some point, with some loud toms or something - sorta like the transition in Phil Collins In the Air Tonight, where things really just bust out, but the alternate approach here of keeping the mood contained but suspenseful has its own appeal as well. Great stuff; tense as hell, but given the subject material, that's basically the idea.

― djpretzel