I'd even argue that the areas referencing the "on Yoshi" drums aspect of the source aren't even copying those patterns, so it's like getting wholly original writing inspired by the Yoshi drums.
prophetik laid out a lot of the interpretive aspects of the piece that really shouldn't be undersold this is a different genre, lots of additive writing including original countermelodies. Good stuff judges did disagree a bit, with some feeling it was a hair too short/repetitive over its three minute duration, but most giving Martin the nod for an engaging adaptation that delivers a chill first half and then a more pulsing drive afterwards.
I hope you like it! I'm happy how it turned out. This is the underground theme from Super Mario World on SNES but in a very unique setup and arrangement.
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Since this summer (2020), I've produced many arrangements from a variety of games, especially from the SNES.Īn originally simple song which gave me free hands experimenting with it. All sounds are self-produced or original synthezisers modified directly in Reason.ĭuring the ongoing worldwide pandemic, I was drawn to music production and wanted to brand myself as a synthwave producer with strong links to the video game music universe.
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" Arranged by ear in Reason Studio version 5 using only PC mouse, no external/physical instrument were used. Darn.Newcomer Neon X (Martin Höglund) brings us a unique chill-but-energetic synthwave take on Super Mario World's "Underground BGM," jumping into a more active, double-time pace at the midpoint: NEIL TESSERĪrt accompanying story in printed newspaper (not available in this archive): photo/D. Tuesday through Thursday, 8 and 10 PM, next Friday and Saturday, May 7 and 8, 9 and 11 PM, and next Sunday, May 9, 4, 8, and 10 PM, Jazz Showcase, 59 W. If you catch only one show in May, make it this one. It features guitarist John Abercrombie, whose neoromantic style, forged in the 70s, still resonates with mystery imperturbably brilliant bassist Marc Johnson, leader of the quartet Bass Desires, standing in for the album’s Dave Holland and drummer Billy Higgins, who’s justifiably legendary for his sparkling, sanguine take on free jazz and hard bop in the 60s, playing his first Chicago nightclub date since an illness nearly took his life three years ago. Almost nobody, except maybe Lloyd himself, can remember exactly how much time has passed since his last Chicago appearance–it’s been at least 15 years–but as if to make up for it he’s bringing a fantastic band with him. His playing is simultaneously shy and verbose, like Joe Henderson’s, and its whirling torrents and keening cries paint in watercolors what Coltrane rendered in oils. In the process he made Coltrane’s innovations accessible to a larger audience I suspect the 17-minute version of Lloyd’s famous “Forest Flower” still gets more airplay than Coltrane’s similarly extended “My Favorite Things.” Some critics felt Lloyd had simply banked the fire in Coltrane’s apocalyptic vision, but that’s too cold an assessment. In the mid-60s he created this sound by modifying elements of John Coltrane’s style: softening Coltrane’s timbre and attack, reassembling his scrambled scales and modal melodies into a smoother, more inviting lyricism, and applying this voice to music less daunting than Trane’s avant-garde extravaganzas.
Lloyd’s tenor belongs to the twilight, with its dusky timbre, shadowy articulation, wing-flutter phrases, and ghostly, flutelike harmonics that float above the instrument’s proper range. You won’t find a more aptly titled album than Charles Lloyd’s new Voice in the Night (ECM), his eighth since ending a self-imposed exile from stage and studio in the late 80s–and arguably his best in 30 years.
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Sommelier Series (paid sponsored content).