Possum (possum.xm)

Overall Impression (10/10)

A masterpiece from Hunz. A tune that sounds electronic and very modern to its 1996 setting, it nevertheless has this tracked feeling that made it unique.

More than 20 years later it still stands strong.

Technique, Arrangement, Composition (10/10)

It's one of those modules, where going through samples first, helps understand the amount of skill involved.

Pattern 4, channels 11-16 is probably the most satisfying electronic texture I've ever heard in tracked music. And yet, if you listen to the original samples, it boggles the mind that Hunz was able to shape them into his vision with such precision and style. Many mainstream artists at the time had worse and less interesting technique and sounds. And they had all the filters and knobs in the world.

Great coupling of two samples to create an expansive bassline in channels 7-8, as well as the clever use of delays to create a sort of a light reverb effect on the bass.

Development (10/10)

As is characteristic of Hunz's work, an incredibly detailed arrangement, filled with small barely audible elements that add to the overall complexity. The tune sounds deceptively minimal, but it's musical power is attributable to a huge amount of arpeggios, supporting melodies and sounds, placed all throughout the piece.

Whether by chance or by design, Hunz finds mindblowing combinations of sounds that through the mixing of frequencies create effects that are more interesting in cooperation, a sign of a great mix.
For example, the theme in channels 13-14 that starts in pattern 7 sounds like a filter modulated synth, although it's just an interplay of its notes, delay and the rich background it's set against.

Creativity (10/10)

This is a very 1996 piece, which is both its advantage and its weakness.

Weakness because I am not certain how well this has aged. I love it. But will a 10 year old in 2019 get it?

It's an advantage because it was an incredibly modern piece of music at the time. Pattern 18 channels 13-16, along with the bassline, are so 1996 that "Possum" can be used by music historians.

And, speaking of the possum, the story given in the comments is as much a part of this piece as the music itself. Using the little space he had, Hunz did what he's best at: make the music bigger than it is, which is exactly the purpose of art - making things bigger, more important, more interesting that they initially seem to be.

Enjoyment (10/10)

A masterpiece which goes beyond tracking. If anything, this is a tune that is so strong, the listener won't care what it's made with. An illusion of raw creativity achieved through phenomenal skill.