![]() Relentless, aggressive, and transporting into a dark corner of the world that you wouldn't want to live in OR visit, this is one C&C music factory that is a little less about everyone dancing (now) and a little more about getting lost in the menace & malice. As far as the rest of the song goes, I thought the whole "complextro" style of bass-swapping was befitting of a "changing-radio-stations-and-every-station-is-playing electro" concept." I also threw in some marching a la "Hell March" to accent the build. ![]() The chanting was probably the trickiest, since it required a little YouTube-digging to find a good crowd chant to sample, but the end result was worth the effort. Previously, I'd wanted to do "Hell March," but that's just one of those songs that you really can't do justice without some shredding guitar, so I decided to address the more synth-heavy "Radio." One of my main goals with this remix was to try to replicate some of the signature sounds from the song as well as I could, namely the female vocal stabs, the choir section, the orchestral hits, and the chanting sound from later in the track. ![]() " This is another one of those songs that was on my to-do list for years and years. Things get literally militant with the introduction of crowd chants and marching, fully placing the environment in a war-torn state of chaos and unrest. While possessing some dubsteppish bass textures and briefly employing some mashed up breakbeats, the overall vibe favors a militant electro downbeat. it's like Batman's Utility Belt, only instead of utilities, it's filled with synths. Now he's BACK with a C&C: Red Alert EDM arrangement that's lean, mean, and comes armed to the teeth with synths that cut, synths that drill, synths that puncture. On the contrary, it is almost hypnotic in its ability to draw you into the world and focus on the gameplay.It's been 4+ years since Dain's last mix, our only arrangement of Vectorman, graced our homepage. The entire soundtrack depends heavily on repetitive blocks that add layers and transform over time, but the repetition is never too dull because of the life of the music itself. Added to this are the haunting, clean vocals of Ashley Barrett, the voice of Red, featuring several of Red’s “songs” intermingled with key points in the plot. Almost completely electronic, with synths, electric guitar, and jazzy percussion, the game utilizes FX such as 8-bit crunch and distortion to help lend the gritty city element to an otherwise clean atmosphere. ![]() ![]() This is one of those games wherein you definitely don’t want to turn off the music. The simplicity of the gameplay allows the player to appreciate all of the other elements of the game, whilst enjoying a good bash here and there.Īnd of course there is the music, as aforementioned composed by Darren Korb, who has written all of the soundtracks for Supergiant Games since their inception. Planning time allows her to set up a series of attacks while the Process are immobile, and then unleash them in real time. During each combat, Red can switch back and forth between real time and planning time. Experimenting with the functions is one of the most fun parts of the game my favorite combination is Breach + Bounce + Switch - an attack which uses a long-range strike, bounces from opponent to opponent, and causes each, if they survive the impact, to switch sides for a brief period of time so that now they are allied with Red. The Transistor has the capacity to collect and combine various functions, active and passive, and combine them in ways to maximize the potential of each. The gameplay is really the core of the fun of the game, and at the same time one of its simplest elements. ![]()
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