Album Flashback: Quinn Fox - "Fitz Warine II" (2005)

I don't own many albums, period. I tend to only buy stuff where a major majority of the album is enjoyable, i.e. I don't purchase blind. So there don't end up being many albums, or even EPs, where I can sit down and listen to the whole thing.

I'll admit, I was lukewarm on Fitz Warine II...at first. It wasn't a mediocre EP by any means. Indeed, something about the tracks made me keep listening long after I had downloaded them. Fully appreciating the album took me about a month, but it was well worth it. Before we get into the album, onto some background...

In my time at OC ReMix, Quinn Fox has been one of those modest guys who doesn't like being overly praised. I once asked him (through GrayLightning) repeatedly over the course of half a year to submit a great Sega Rally mix he did, "Snow Tires", and he said that if I ever asked again, there was no way he'd submit it. /shrugs

But he also recoils after being criticized. Much of the reason for criticism stems from his usage of out-of-the-box preset drumloops, a practice that Protricity's constant decrying in the formative years of the judges panel ultimately made taboo around OC ReMix. (Though I'd definitely argue that for the community, it was a development for the better. Parts of the necessary "evils" of being on the judges panel. :-D)

Quinn Fox's predominantly original album Fitz Warine II turned out to be 29 minutes and 32 seconds of really excellent material, full of driving beats, 'verby soundscapes, and great hooks. Sure, many, of the drum patterns are essentially or verbatim preset loops. But one thing that Quinn does right that hardly anyone else does (so far, only Red Tailed Fox has been comparably decent at it), is actually integrating those presets properly within the context of a complete piece of music.

If I didn't know any better, I could just as easily believe that Quinn wrote all of the drums. While it's not rocket science, to me such successful integration of presets is indeed a matter of skill and experience.

Once you check the album out, you'll see that there's a lot of care taken by Quinn to fashion smooth, ethereal textures to accompany the evolving grooves at the foundation of each track. For anyone familiar enough with Fox's OC ReMixes and other works, Quinn has a telltale style on account of his other sounds as well. The album is a nice cross-section of spacey pieces alongside some big beat-style material.

"Lonely Air Machine", "No Proper Time of Day" and "When and How I Feel" in particular remind me of how the video game industry is missing out on someone who knows how to create very engaging tracks, modern in their approach, but hearkening of the old school in terms of catchiness and memorability. Somewhere out there, a simple but modern-looking space shooter game is crying for a Quinn Fox soundtrack. Meanwhile, his Ristar "H2O" arrangement will keep the VGM-hungry among you satiated for at least 3 minutes and 32 seconds.

Some of the louder tracks were mixed a little too hot for my tastes, and some of the textures could have been fuller for the quieter pieces, but everything turns out a winner overall, especially on the writing side. For the clock-conscious music listener, it's not a huge time investment, so you should be willing to download this free album and see how it suits you. At a mere $0, the price is right. Have at it, and be sure to let Quinn know if you enjoy the album.

How a Russo-Nigerian Stallion Found Video Game Music, Part 6: Joining the Establishment

The coolest aspect by far of working at OC ReMix has been the job of helping select which tracks are posted. Especially as a listener/non-musician judge, being invited on board the Judges Panel validated the extent of my fandom for the amateur video game music community. Getting into the stories of my time on the panel will be cool for those insterested enough of the inner workings of the site, so I might as well lead off with how I ended up joining them.

Dain "Beatdrop" Olsen had recently stepped down from the panel after his second go-round, again for a lack of time. Long-time judges Ari "Protricity" Asulin and Binnie "Digital Coma" Katti were pretty merciless in pointing out that they thought he was a shitty judge for being so inactive at the end of both of his stints. I wouldn't know firsthand, but their complaining was probably a significant reason that pressure came down on Beatdrop to step down.

Myself having been on the panel for almost 3 years, I can tell you that the collective mindset of the panel never dwells on a loss. When someone resigns or is removed from the panel, it's unfortunate, but the gears immediately spring into motion for selecting a replacement. At the time Beatdrop left, several people were immediately brought up. JigginJonT likely would have been invited had he had the free time to join, but told whomever asked him about the opportunity that he didn't have the time. In the end, the two serious candidates brought up were Jack "Adhesive Boy" Ryerson and myself.

If you ask me, Adhesive Boy got a raw deal when he was nominated. If you listen to his material, you'll find that he's an A-grade arranger that's come out with some really impressive and creative pieces. By the time of his second posted ReMix, Treasure Hunter G 'Linoleum Stalactites', I had felt that he was on the road to making it onto the panel if he continued on that level, as he was only bound to get better.

When it came down to him or me, I ended up winning out, but at the same time, the potential to simply take on two new members was there, so AB and I weren't in any direct competition. After I joined though, I learned that close to the end of the selection process, the panel collectively decided they didn't need two people (which would have put the panel size at a then-unheard of 12 members). On top of that though, two mainstay judges felt AB made calls that nitpicked details and missed a lot of the big picture, and unfortunately that was it.

I was nominated by Protricity after a brief AIM conversation. From the looks of it, he had read the summer music reviews I had maintained for VG Frequency as he told me that he had the impression that I was enthusiastic about the community's music, but was able to call and spade a spade and be honest about when something was weak. I'd never find out that he was actually the one who nominated me outright until I joined.

Because I had always gotten along well with Gray "GrayLightning" Alexander, and he was my main source of communication as to what was going on in the judges panel, I had assumed that he had been the one who put my name forward. In actuality, he had reservations about me because I was already devoting so much time to college and the VG Frequency radio show there; he was wary of a someone coming on board who wouldn't make the panel something of a priority.

Digital Coma had bigger reservations about my objectivity but was ok enough to give me his support. I wouldn't know it until years later, but a long vote on one mix in my third day on the job caused him to go on a rant in the private judges chatroom on how I ended up being a terrible choice.

Vigilante intially had a bad vibe about my objectivity as well, but after he got a hold of me on AIM and gave me some test songs, I ended up with his strong support. Paraphrasing him, he could tell that I was capable of giving critical opinions and not trying to figure out what he wanted me to say. I forgot the other songs I listened to, but my first vote was one of the test batch songs Vig asked me about, Koelsch1's Valkyrie Profile 'Blind Eternity'. I figured it was worth it for my first vote to be a submission I would remember. My first YES vote went to a young up-and-comer by the name of Andrew "zircon" Aversa, for his very first passable submission Chrono Trigger 'Calamitous Judgement'.

When I was finally selected for the panel, djpretzel messaged me that night and made the official invitation. While I was secure in my skills, I was ecstatic that I was selected. As a non-musican, the fact that I had won the support of a very talented and selective group of musicians was especially gratifying.

Five hours later, after talking with djpretzel about the responsibilities of the job, getting congratulated by my new collegues, and reading through all the old topics and policy debates in Judges Discussion, I was ready to go. In my first four days, I had voted on everything there was to vote on, which was around 35 submissions.

After seeing my opening flurry of voting, Gray immediately warned me about working too hard and risking burnout. I dunno if he had ever seen anyone come in and annihilate the queue like that. And as soon as djpretzel posted the next flood of submissions a few days later, I voted on all 20 of them in 16 hours. There's no way I could do that nowadays, but my overall work ethic remains the same to this day. If a submission comes through the panel, I've voted on it 99% of the time.

Working these past three years evaluating OC ReMix's submissions has been almost nothing but fun. There have been plenty of internal squabbles, bouts of panel ennui, emo artists, ignorant assumptions by outsiders, and straight up crappy subs to weather. Depending on how forthcoming I am, you'll get to hear bits and pieces of all of that stuff if you stick around the blog. At the end of the day however, I'm currently one of only 10 people on earth who decided what you hear at OC ReMix. It's an envious job if you have an open mind and really, really love video game music.

And ever since I found it, I've really, really loved video game music.

Let's talk about someone other than me now.

How a Russo-Nigerian Stallion Found Video Game Music, Part 4: VG Frequency (The Radio Show)

After a semester of my "(Insert Name Here)" radio show, split between my favorite mainstream tracks and tracks from the amateur VGM arrangement community, I realized that most of my listening audience stuck around for the video game music. Having promoted my show more thoroughly on OverClocked ReMix's message boards, I managed to secure a tight-knit group of listeners who I'd gather up on AOL Instant Messenger in a chat room. Among them were Scott "SeattleOverCoat" Porter (later just "OverCoat", my first regular listener), a.p. "analoq" matthews, Candy "Juverna" Bullard, and Danny "SuperGreenX" Adler (now "SGX").

I honestly don't remember if any specific track prompted me to also follow the original music that amateur VGM arrangers made. Having done a great amount of personal research on the artists' homepages, I was able to familiarize myself with the fact that many of them also had original works on MP3.com or personal homepages.

As far as I recall, it was around the end of the 2002 school year when I decided to do an episode of "(Insert Name Here)" exclusively featuring original tracks by artists in the OC ReMix community. Mixers who had already heard of my show quickly turned out, so I ended up with material from all the names mentioned prior. SGX's stuff in particular was very impressive (and continues to be to this day). I was also excited to receive material from top names like Disco Dan, Ailsean, Injury, DarkeSword, Protricity, and Star Salzman.

One particular thing I remember in preparation was that I printed notes on each musician and track to reference for the introduction of each song. Not to sound egotistical, because my shows were both very loose and tongue-in-cheek, but I'm impressed at the degree of seriousness that I gave to the subject matter at the time. I was able to note real names, music competitions that they had recently taken part in, as well as previous works and relevance to the community. There was no moment where my audience went "Damn, he respects the community. He knows his stuff," but I feel those things were inherent and unspoken to those from the VGM arrangement community who tuned in.

In the summer of 2003, I finally made the move to focusing on video game music and the amateur VGM arrangement community entirely. After being stuck on a name for weeks (the best I could initially come with was VGM: Very Good Music, which I allowed Steve "D-Lux" King to steal years later), my friend Joe bantered out a few radio sounding words, including the word "Frequency." As soon as I put "VG" in front of it and said it aloud, I knew I had a very strong name for the show.

Looking back to my first episode's playlist from VGF, I'm certainly astonished by a few things:

*I forgot about my penchant for inserting songs into my playlists on the fly when requests popped up; my first track of the show was a request for Gröûp X.
*Just friends at the time, "The Lady", Paige, called into the very first show. Though basically a hater (you'll hear more from her when the time comes), she was impressed by the music of Jared Hudson and Quinn Fox.
*My selection was nowhere near as deep back then. Most of the tracks were favorite OC ReMixes.

It would take too much time to go through all the various developments in the show that were very important to me at the time. The ball started rolling with people I had known beforehand, and soon enough I was joined by people I didn't know well but knew of the show. The show clearly became more important over time as ReMixers started going out of their way to catch it, started providing me with audio bumpers, tracks to play (many times, before anyone else had heard them), works-in-progress to provide feedback to or interviews, and started treating the show's chat room as a important place to be to interact with lots of community members.

Memories of those 3 years, in shorthand:

*The headache that was streaming in RealAudio
*Commercials for Zwings 'n Things ("Miss the old days when a wing was a wing?", which Spencer Koch later admitted he had no idea how he came up with that when recording the ad)
*Bubb Rubb during all of the early aftershows
*Coining the term "e-penis" while interviewing KyleJCrb and reading the chat room window contents over the air; if you've ever heard the term anywhere, I somehow invented it
*The Wingless explains the meaning of bukkake
*The Valentine's Day shows
*Being saved in a big way by 5 interviews when audio from my computer was a no-go one week
*Interviewing Protricity, the arrival of Jim Holland and newly being able to record the shows myself, leading to jump in popularity once show MP3s became available every week
*Having friend, Emory student, WMRE DJ, and old-school OC ReMixer Electron on board as guest host
*The yearly "Best of the Best" episodes capping off each year's run
*Interviewing OC ReMix founder, David "djpretzel" Lloyd
*The surprise return for one more season after graduating from Emory University in 2005

VG Frequency certainly was a memorable experience that fueled my love for broadcasting to this day. The radio show kept me in tune with the goings-on of the amateur VGM arrangement community for quite a long time in an Internet age where people move fast and events move faster. The casual fan misses out on the high quality, diversity and vast selection in arrangements outside of OC ReMix and especially original works from artists' homepages. It made me respect the community's musicians even more, and bringing those tracks awareness they may have otherwise not received is something I'm proud of doing.

Though I served an unconventional role in the community as a radio DJ, the role was one that provided me not only the opportunity to observe the community's contributors, but ultimately the ability to actively shape the community's direction in my own small way. After doing community music reviews during the summer of 2004, I entered a few people's radar as a serious candidate for a position on the OverClocked ReMix Judges Panel. That'll take us to Part 5...