For programming

Remix of "Ice Valley (Phendrana Drifts)" from Metroid Prime by Kenji Yamamoto. 

Acoustic Guitar - Ergosonic

Artist comments here: https://ocremix.org/remix/OCR03107

Sub-Zero (Metroid Prime - Phendrana Drifts Remix)

W.A. Mozart's Piano Sonata No.12 K332 1st movement.

Close your eyes. Inhale for 4. Hold for a moment. Exhale for 6, gently. Stay. Let the notes move through you like a wave. When the last vibration fades, how is your breath?

Ananda Prana

prelude

Ginastera’s Danza del viejo boyero is not just a cranky old gaucho stomping across the Pampas—it’s quantum mechanics in a poncho.

From a purely musical lens, the left hand bangs out jagged, percussive rhythms like boots hitting hard-packed earth, while the right hand teases out melodies that feel both playful and a little unhinged. But step into the quantum field, and suddenly this is no ordinary rustic dance—it’s a particle-wave paradox in disguise. The “old herdsman” is Schrödinger’s gaucho: both drunk and sober, dancing and collapsing in his hammock, until the pianist opens the box with a fortissimo chord.

Every accent feels like matter popping into existence, every silence like a return to the void. The harmonies are so sharp they could cut leather, yet they shimmer with humor—Ginastera winks as if to say, “Yes, it’s folkloric… but only if your folk live on a quantum ranch where time and tonality keep folding in on themselves.”

So, the first movement isn’t just a rustic stomp. It’s the cosmos reminding us that even in a dusty cowboy’s shuffle, the universe is jittering with infinite probabilities—and that sometimes the deepest truths arrive wrapped in a rhythm that sounds like a bar fight between a cowbell and a black hole.

Danzas Argentinas, Op. 2 - I. Danza del viejo boyero

Alberto Ginastera Danzas Argentinas, Op. 2 - I. Danza del viejo boyero

The second movement, Danza de la moza donosa, isn’t just a tender little love dance — it’s quantum flirtation in musical form. The melody hovers like a probability wave: soft, graceful, never quite here or there until you actually listen, and then — boom — it lands and melts you.

Chords shimmer between major and minor as if the universe can’t quite make up its mind. It’s a reminder that beauty isn’t fixed; it exists only in the act of observation. The rhythm sways like a shy glance across the room — heartbeat, hesitation, a whisper of possibility — and then vanishes before you can grab it.

To me, this is what quantum romance sounds like: delicate, unpredictable, and more powerful because of its uncertainty. The “graceful maiden” isn’t just dancing in Argentina — she’s dancing in the fabric of the cosmos, showing us that tenderness is every bit as mysterious, and as infinite, as the stars.

Alberto Ginastera Danzas Argentinas, Op. 2 - II. Danza de la moza donosa

The final dance explodes like a quantum rodeo. Danza del gaucho matrero — the outlaw gaucho’s stomp — is pure chaos harnessed into rhythm. One moment it’s pounding chords like fists on a tavern table, the next it’s darting sideways in harmonic ambush, as if the piano itself were trying to buck you off.

From the quantum point of view, this is what happens when a cowboy particle refuses to be pinned down. Energy spikes everywhere at once — wild, unruly, impossible to predict — until finally it slams into coherence with a grin that says, “Catch me if you can.” Each cluster chord feels like the sound of probability fields colliding, each silence like the void reloading its slingshot.

This gaucho isn’t just a rogue — he’s the embodiment of raw, uncollapsed potential. By the end, you’re not sure whether you’ve heard a dance, a duel, or a dimensional jailbreak. One thing’s certain: the universe itself just kicked up dust, and it smells suspiciously of whiskey and cosmic rebellion.

Alberto Ginastera Danzas Argentinas, Op. 2 - III. Danza del gaucho matrero

Chopin’s Waltz in A-flat major, Op. 42, is no ordinary dance—it’s a waltz supreme, a dance-poem where elegance collides with daring invention. On the surface, it dazzles with Parisian brilliance: swirling gowns, aristocratic pairs, a ballroom sparkling with wit and coquetry. But under the magnifying glass, it reveals Chopin’s genius for bending time itself. The left hand beats the familiar three of the waltz, while the right hand insists on two—duple against triple, particle against wave—creating an auditory illusion as if couples were gliding past each other in different dimensions.

Like a jeweler turning a diamond in shifting light, each return to this piece reveals new colors. Its interwoven themes play like refracted beams in a prism: amusement, drama, intimacy, and that unforgettable sostenuto melody blooming at the heart of the work, a melody Schumann said deserved to be danced only by countesses. Even Chopin’s humor flickers through—the sudden break in the reprise feels less like a mistake than sly stagecraft, as if a dancer had tripped, only for the music to whirl back into an ecstatic frenzy.

From a quantum lens, Op. 42 is superposition in sound: both gallop and glide, both order and abandon. Chopin carried fragments of it for years—echoes of youthful sketches, of tone-portraits of his beloved Maria, of earlier Valses Brillantes—before collapsing them into this final, mature form. The result is music that feels inevitable yet forever unstable, a ballroom spun inside a collider. It is Chopin the improviser and Chopin the architect fused into one: creating a waltz that is not just danced in time, but dances with time itself.

Frédéric Chopin Waltz in A-flat major, Op.42

Track I made during a game jam for Morning Brew (https://sailboat642.itch.io/morning-brews).

Art credit: Mashroom1
(https://itch.io/profile/mashroom1)

Morning Brew

What happens when music feels like it has no beginning and no end—when it hovers in the air as if time itself has slowed? Chopin’s Nocturne in E-flat major is one of those works. At first, you may hear a single voice: solitary, long-breathed, contemplative. But listen again. Almost immediately a second voice begins to move alongside the first, like two distinct currents in the same river. They weave together—sometimes shadowing each other, sometimes breaking apart—yet always resonating in unity.

This is more than melody. It’s a kind of living conversation: the upper voices entwine like two beings whispering secrets, while the left hand provides not just support but a vast landscape of energy, pulsing with its own hidden lines. The interplay creates coherence, a kind of resonance field where the brain recognizes polyphony and structure, but the heart absorbs longing, tenderness, and release.

Notice how the music swells and subsides like breath. The slow 12/8 rhythm acts almost like a meditation cycle, expanding awareness until you stop counting and simply feel the undulation. Forte dissolves into piano, emotion grows and abates, and you may find yourself carried beyond the notes—into the space between them.

By the time the coda arrives, harmony itself begins to stretch boundaries. Chopin moves from keys that should never touch, yet somehow they glow together—like distant particles suddenly entangled. It is daring, and it leaves behind not closure but suspension, as though the music is still vibrating long after the last sound fades.

Let this nocturne be more than background. Let it tune you. The brain finds pattern, the heart feels truth, and the body remembers what it means to resonate with beauty. In this music, thought and energy align, and the listener becomes part of the duet.

Frédéric Chopin Nocturne in E-flat Major, Op. 55 No. 2

Track I made during a game jam (https://rulty.itch.io/demon-word). Different style than usual, so took the chance to experiment with a darker tone.

Photo credit: Etkin Celep

Demons

Track I made during a game jam (https://feelin-ghostly.itch.io/from-the-waves). 

Photo credit: Snapwire

From The Waves

I consider this as one of the greatest remixes of Deus Ex so far.

Including:
Michiel van den Bos - UNATCO
Alexander Brandon - The Synapse (Hong Kong Streets)
Other brilliant stuff by them.
Cryonaut, respect.

"Nearly 2 decades ago I fell in love with a video game. And this remix is my musical love letter of sorts to Warren Spector and the team of people at Ion Storm whose effort, imagination and eerily prophetic vision created what is, to me, the best game of all time – Deus Ex.

This 'cyberpunk adventure' appeals to me in many ways: the FPS/RPG hybrid gameplay is addictive, the dystopian environments are immersive and compelling, and the open ended nature of the different ways to play through the game were a revolution for the time (it was one of the pioneering games to introduce the 'sandbox' game style, and still considered one of the best).

But even more than all these amazing attributes, it was the story and underlying themes of freedom, power, technology and conspiracy that really pulled me deep into its dark dystopia. Nanotech, Robotics and Artificial Intelligence factor largely into the storyline of Deus Ex, which hints at an incredible future for humanity with these elements playing critical roles. Wow – right up my alley!

For this musical tribute, I decided to recreate and remix what I consider the best and most memorable track from the Deus Ex soundtrack, the UNATCO theme. I also took the liberty to blend in a few other musical themes from the game, and I think they fit pretty well. The goal with the song and the video was to capture the mood and feel of the game in a condensed 6 minute trip through gaming nostalgia. Hopefully, I've produced something of value for those who love the game as much as I do!

If you're a gamer and haven't played the original Deus Ex, please do yourself a big favour and go find a copy now! For me at least, it's more than a game, it's an experience – one that's stuck with me for many years, and one that I revisit on a regular basis.

And if you're a Deus Ex fan like me and many others, I hope my little creation inspires you to re-install it and give it another play through! Even if just to have a chuckle at Gunther's lemon lime conspiracy theory... :)

And credit where credit is due:

Original UNATCO theme by Michiel van den Bos
Incorporated Deus Ex musical themes by Alexander Brandon
Voice of JC Denton by Jay Franke
Voice of Morpheus by Tom Hall
Deus Ex video game created by Warren Spector and Ion Storm"

Deus Ex - UNATCO Theme [Cryonaut Extended Remix]

Carpenter Brut - Turbo Killer (Vuso/remake)

Remix from the fantastic OST from Half Life 2

Triangle at dawn-path of the Borealis (Remix)-1476246970033

Triage At Dawn - Path Of The Borealis (Remix)

Game: RoboCop 3
Title:Title Screen
Platform: nes
Year:1993


W.A. Mozart's Piano Sonata No.12 K332 1st movement.

Mike D 88

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