There are 5-6 different iterations of that melody which appear in my mix at different speeds, pitches, and in various states of chopped-up-ness. 0:22-0:31 in the source is repeated several times in my arrangement, and sometimes 0:22-0:36 as well.but this one ended up being finished a couple of years later. I guess this is the most similar to the Conker mix I did, which makes sense looking back, as I started both of them around the same time. I thought this was more interesting than adding rain and wind recordings to the background while a more traditional piano piece played, which I did toy with as a coda (similar to the 2nd half of my "Dire, Dire Docks" ReMix), but scrapped.
It's meta, but that's the gist of it: to have the arrangement technique itself represent the environmental context of the original song, with the melody repeatedly appearing and dissolving like the rain itself (or perhaps thoughts?). I wanted to use these tiny slivers to act as the raindrops in a storm, while other noises act as other stormy elements. Others are shorter still, only 1-2ms, and only sound like tics. Many grains are only a few dozen milliseconds long, just long enough for your brain to figure out the tone. "More "manual" granular synthesis lots of micro-editing of different piano clips playing the original tune (some at normal pitch and others an octave down).
I'm glad he's revisiting this approach, not only because this is yet another fantastic mix, but having mixes to compare & contrast gives you a more complete understanding and, hopefully, appreciation for this very unique technique: This is our first ReMix of the almost-obscenely-beautiful soundtrack to Ori and the Blind Forest, as Michael Hudak returns once more to his " chopped/spliced cinematic piano minimalism" aesthetic.
Haven't done a writeup in a while since I've been catching up with 2023 MANY thanks to Liontamer & Rexy for filling in the gaps! Should be interesting this year as we distribute writeup duty & hopefully incorporate some more voices.
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