Literally just the different instruments in each song, but they cut out and come back in like a song, instead of in response to player input, like in the game

Link to vini64 https://www.youtube.com/channel/UCGuiKL6tFPxKtPI0zdGvXog

Super Mario Maker 2 Editor OST - NSMBU Ghost House (Mix by vini64)

Donkey Kong Bananza OST - Jumbo Spa (Tempest Layer)

Donkey Kong Bananza OST - Fractone Cradle (Planet Core)

Donkey Kong Bananza OST - First Half (Planet Core)

Donkey Kong Bananza OST - Mine-Cart Ride (Planet Core)

Donkey Kong Bananza OST - Rambi Rumble (Racing Layer)

Donkey Kong Bananza OST - Stompenclomper Battle

Donkey Kong Bananza OST - Closet

Airports are strange, biformative places. Designed singularly to facilitate travel, they also completely remove you from the experience of travelling. The people who pass through each have their own journeys, purposes and circumstances; they are corralled into a shared space that morphs to fit them, a shared experience, with a shared trajectory. This is nothing but a brief blip - they are transported, shifted onwards and sideways, the process repeats, and the momentary enclave disperses, leaving the airport changed but constant.

The orchestra is joined by a shifting backdrop of 5EDO chords, field recordings from Madrid-Barajas Airport and live processing to create a twin ambiance of perpetual motion and inertia, community and disparity, movement that goes nowhere.

Performed by the RNCM Brand New Orchestra & Emmy Lambert (electronics), April 2025

Terminal

Mitosis

Survivor ~ Track 2 ~ Anomaly

The ship drifts slowly toward the anomaly - a swirling portal within a vast nebula. The visual effects team created something truly stunning here, and I knew the music needed to match that sense of ancient mystery and terrible beauty.

As the ship approaches, the camera cuts between the protagonist's face and the growing anomaly outside his viewport. The tone is dark and ominous, but there's something crucial happening beneath the surface: he's struggling. Not with the ship's controls - those are functioning fine - but with his own mind. We see flashes across his face. Pain. Grief. Determination.

I built the cue around interweaving tonal and percussive arpeggios that suggest both the mathematical precision of the ship's trajectory and the inexorable pull of the anomaly itself. Deep strings - cellos and basses - combine with low brass (trombones, bass trombones, and tubas) to create a dark, ominous foundation. Over this, I layered a texture of strings and electronic pads that swell and recede like breathing. The external journey forward mirrors his internal struggle to overcome trauma.

As the ship finally reaches the portal's edge, all hell breaks loose - sensory chaos - alarms blaring, reality itself beginning to distort and convulse around the ship. I represented this musically by employing tremolo effects across a recording of the ending of this track played back in reverse to illustrate time distorting, warping. Sound design alarms layer with the orchestral and electronic elements, building to what feels like an inevitable massive climax.

But then - abruptly, before the climax resolves where you'd expect it to - silence.

He's through.

Donkey Kong Bananza OST - First Half (Planet Core)

InfiniteShadow44443

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