If you enjoyed Mitsuto Suzuki’s Mobius Final Fantasy soundtrack, you should be ecstatic that Square Enix has released a massive second volume comprising three discs of all new music. Prepare yourself for more sweeping orchestral, abstract electronic wizardry, and killer vocal tunes with lots of Final Fantasy references tucked in for good measure.
I’ll start with the amazing “Capricious Cait Sith,” easily my favorite track on the album, which comes as a silly female vocal disco tune with a smooth and funky backing. Vocals are featured prominently throughout, including on the wonderful “Always There” with its ascending acoustic guitar, ethereal pads, and gentle male vocals and the cool RNB production, “Azure Memories,” which sports clean acoustic guitar and female vocals. Backing up, though, the album begins with the big orchestral sounds of “Ring of Braves” with rolling percussion and uplifting piano before diving in to the whimsical “Mogheim” with its lovely piano and Final Fantasy main theme references, the dance-y “Breaker’s Funk” with rhodes piano and funky bass synth, and “Meia’s Theme” with its cool blend of flamenco guitar and strings. There’s a beautiful Christmas version of “Sarah’s Theme” from Final Fantasy XIII-2, a Final Fantasy theme Christmas track titled “Hopebringer,” a rockin’ rendition of the Final Fantasy VII “Fanfare,” which is absolutely perfect, and the explosive metal “Bloodthirst” with powerful percussion and guitar shredding. “The Infinite Warrior” gives us upbeat rock in traditional Final Fantasy style with its bubbly approach and rock organ, and “Battle Princes,” a bumpin’ EDM track that transitions into uplifting piano and strings.
Spanning three discs, there’s a lot of music here to enjoy. I think I enjoyed Mobius Final Fantasy Original Soundtrack 2 even more than the original release. Grab it on CD Japan if you’re so inclined!
Ask, and you shall receive? When we reviewed the Distant Worlds: music from FINAL FANTASY THE JOURNEY OF 100 Blu-ray disc back in 2015, my only gripe was that the MP3 files weren’t housed on the disc. Well, this year, to celebrate 30 years of Final Fantasy, Square Enix released the music on CD.
I’ll simply quote our 2015 review here:
They play many of the classics, including the iconic “One-Winged Angel,” a lovely healing rendition of “The Prelude,” the rousing “Final Fantasy” theme, and the wondrous “Main Theme from Final Fantasy VII.” Some new arrangements come courtesy of Piano Opera Final Fantasy pianist Hiroyuki Nakayama, and are a real treat. “Balance is Restored” from Final Fantasy VI stands out in particular, visiting several of the game’s key themes, along with Susan Calloway’s rendition of Final Fantasy XII’s vocal theme, “Kiss Me Good-Bye,” “Roses of May” from Final Fantasy IX, an explosive “Torn from the Heavens” from Final Fantasy XIV (with Masayoshi Soken in attendance), singer Emiko Shiratori reprising her role as vocalist on Final Fantasy IX’s “Melodies of Life,” and an amazing battle medley covering Final Fantasy I – XIV which picks some often-missed tracks, including the final battle theme from Final Fantasy V and a jazzy rendition of the Final Fantasy VIII battle theme. The orchestra reacting to the fan reaction to “Swing de Chocobo” was cute, too, as well as the upright bass player really getting into the piece. Finally, the encore “J-E-N-O-V-A Complete” was also fantastic, really pushing the orchestra to adopt an aggressive battle sound.
Unfortunately this album was sold only at their Tokyo Game Show 2017 booth. While that means it’s not widely available at the moment, I’d suggest keeping an eye on their website to pick it up if you’re interested.
We’ve written extensively about the Brass de Bravo series here, and they’ve always come as unexpected surprises. Featuring the Siena Wind Orchestra, these compilations offer orchestral arrangements of tracks that often haven’t received their moment in the spotlight, and this volume is no different.
After an upbeat and energetic “Main Theme” from Final Fantasy V with lots of lovely flourishes, it’s on to the sweet and mellow “Elia, The Maiden of Water” from Final Fantasy III, the regal and decisive “Mt. Gulg” from the original Final Fantasy, and a slow and contemplative take on “Terra’s Theme” from Final Fantasy VI. The gentle sway and bell tolls of “Ami” from Final Fantasy VIII are a real treat, as are the oft-forgotten “Crazy Motorcycle” from Final Fantasy VII with its creative arrangement full of bells and chimes and “Force Your Way” from Final Fantasy VIII which was originally an electronic song and is wonderful with a live orchestra. The swinging jazz version of “Dear Friends” from Final Fantasy V is also a great addition. The album closes with straightforward versions of the regal “Rebel Army” from Final Fantasy II, the stirring “Aerith’s Theme” from Final Fantasy VII, and the folksy “A Place I’ll Return to Someday” from Final Fantasy IX.
The album comes packed in with a sticker, and there’s also an accompanying disc that was distributed at concerts with the original soundtrack versions of each song along with a 15-minute-long discussion about the show with the talent involved.
The album is available on CD Japan if you’re interested.
I’m a huge fan of jazz music in videogames. Brink of Time, the Chrono Trigger jazz arrange album, is still on heavy rotation in my household, and is a must own in any game music fan’s collection. That’s why I’m so excited about this album and, even more, the title of this album. Will this be a series? I think it just might, and given that Square Enix has provided all the text in the booklet in both Japanese and English, I’m guessing they’re looking to make this an international favorite as well.
But how’s the music? Simply put, it’s everything I wanted it to be. You may have heard the “Blinded by Light” (from Final Fantasy XIII) track on the Tokyo Game Show sampler, but in case you didn’t, it’s both spunky and funky with a fresh big band sound, starting things off right. Over the course of the next 11 tracks, you’ll hear everything from soothing to upbeat, vocal to sound effect solo, and the entire array of jazz instrumentation with flute, drum, and saxophone solos. There’s smooth and laid back with Final Fantasy III’s “Eternal Wind,” which gets xylophone and electric guitar, urgent with Final Fantasy IV’s “Battle with the Four Fiends,” which sports a lovely flute breakdown and a killer sax solo, and swanky with Final Fantasy’s II “Revel Army,” which would be right home in a jazz lounge. The loose take on “Big Bridge” also is home to what I’m calling an extremely quirky “sound effect solo,” which is a series of sound effects dueling it out, while the contemplative “Sarah’s Theme” from Final Fantasy XIII, the lively “Searching Friends” from Final Fantasy VI, and the swingin’ “You Are Not Alone” from Final Fantasy IX are my absolute favorites. Rounding out the album are the exotic and flamenco-flavored “Zanarkand” from Final Fantasy X, the extremely elegant piano-laiden “Love Grows” from Final Fantasy VIII, and the uplifting and Christmas-like Final Fantasy “Main Theme” with its twinkling piano work.
SQUARE ENIX JAZZ -FINAL FANTASY- is a fantastic album, and should have all of us wondering which Square Enix franchise will be next. The album is out on November 22 in Japan, and can be pre-ordered from CD Japan if you want to get your hands on a physical copy out of the gate. It’s not currently listed on the North America merchandise store, but I have a feeling it’ll end up there as well as on iTunes international.
Square Enix really went all out with Final Fantasy XV between the various games, anime, and this feature film. I caught it in theaters, and while it was a bit hard to follow, it got me excited for the game. The score is primarily by John Graham, although many of Shimomura’s themes from the game are featured. The album clocks in at two discs with mainly bombastic orchestral themes to highlight the action.
“Prologue” offers somber piano and strings in a melancholy and ominous opener, while “Under Siege” brings in rock influences with explosive percussion and string stabs. “Diamond Weapon” is appropriately terrifying for the deadly monstrosity that wrecks havoc on the Kingsglaive, while “The Chancellor/A Modest Proposal” gets a nice injection of electronics with some nice sweeps. There’s the exotic “Calling for Rain” with its clapping and male vocals, the droning and crystalline “Ill Tidings,” the tender and longing “LUNA,” the tragic and tainted “In the line of Duty,” the regal and memorable “Somnus” (a key theme in the game), and a regal brass-heavy march version of the Final Fantasy main theme. There’s a lot of build up and tension leading into one of my favorite tracks, “Treaty Signing,” which accents the uncertainty and danger before exploding into a flurry of string stabs and brass swells, while another favorite, “No Turning Back,” goes for a more sinister approach. “Kings of Lucis” is tragic yet regal, ascending into a more comforting space, while “Battle for the Crown City” is hopeful and determined. The ending is full of excitement and melancholy, but I won’t spoil it for those who haven’t seen it.
The album is available from CD Japan as well as the Square Enix North America merch store if you’re interested.
While I haven’t played or even seen Square Enix’s Gunslinger Stratos series, gameplay videos look pretty awesome. It’s an anime-style third-person shooter with some amazingly well produced pop rock and metal. There’s everything from heavy metal and J-rock to pop ballads and vocaloid. This compilation album includes the soundtracks to the first two games in the series (there’s a third now), featuring a wide variety of talent from within Square Enix and without.
It all begins with the catchy and upbeat metal track, “Choose Your Way,” which sets the stage for the vocaloid-heavy “DAYS,” the explosive metal-meets-dubstep “Isolated Clash,” the Gothic rock “Boquet de Fleurs Neige,” the Japanese-infused “Golden Dolphins” with rapid-fire koto, the spacey pop-rock “Beyond the Azure,” and the infectious Genki Rockets-flavored “Kimi no Ita Ano Hi ni.” Gunslinger Stratos 2 gets arrangements of several of the tracks from the first game, but also a number of originals including the desperate and spacey rock track “Inferiority Complex” (my personal favorite), the dreamy “Soul Evolution,” the bumping dubstep “9Elements (Nine Elements,” and a beautiful “unplugged” version of “Ending” with piano, strings, and layered vocals.
Fans of J-rock will get a kick out of this soundtrack. There’s some wonderful tracks and great production values throughout. Unfortunately it’s sold out on CD Japan , but keep an eye out on the used market if you’re interested.
After checking out the cry volume of Square Enix’s Life Style series, I wasn’t sure what to expect from the other albums. Fortunately Up! brings in some more familiar tunes and actually does what it sets out to do, which is lift your mood!
The opening “Fanfare” comes from Dissidia, and is bouncy and upbeat, while “Siren Song” from Final Fantasy XIV is a bossa nova track that actually comes from Nanashi no Geemu, which Soken also composed. “Battle Theme 1” from Unlimited Saga is energetic and funky, while “Girls, We Have to Win!” from Crystal Chronicles offers playful surfer rock. There’s silly hip hop-infused rock from The World Ends With You, exotic flamenco from Romancing SaGa: Minstrel Song, chill out from Final Fantasy XIII-2, and joyous and infectious with an SQ Chips remix from Chrono Trigger. The Distant Worlds version of “Man With the Machine Gun” is an interesting pick for sure, but it’s back on track with the bubbly and bumping “Mysidia Sky Garden” from Chocobo Racing, smooth jazz with “South Yokohama” from Racing Lagoon, and swing with “Crystal Bearers Ramble.”
Overall, this volume is way more on point with the theme. Unfortunately they’re event exclusives and hard to come by, but if you’re at a used CD shop in Japan, pick this one up!
As a huge fan of the abstract electronic duo IMERTUAT, comprised of Masashi Hamauzu and vocalist Mina, I was excited by the announcement of their third album, Far Saa Far. We covered their second album, Propelled Life, and it’s been way too long since we’ve been able to enjoy their unique blend of strings, piano, electronics, and vocals.
Far Saa Far offers up over thirty minutes of new music spread across 12 songs, most of which feature several live performances, starting with the trippy and fluttering “Far Saa Far,” which sports lovely string beds and an energetic chorus sections featuring Mina’s dreamy lyrics and electric guitar flare ups. “Pororororororo” is more sweet with emotional strings and piano and Mina’s repetitive “Pororororororo.” “Nomitaina” is easily my favorite track on the album with Mina’s constant singing of the track name with piano and abstract electronic backing. Some dancey piano and percussion join the mix, creating a funky and refreshing vibe. There’s some tension in “Flakes,” which contains lots of dissonance and heart-pounding synth and bass percussion. There’s the wintery “kilto kilto” with the sound of wind, bells, and chimes, the spunky “Satoyama Department Store” with its deep bass, repetitive acoustic guitar, and chilly pads, and the highly abstract “Quarter Tones” with its radio transmission-like sound samples, descending tones, and synth swells. The strange and oddly upbeat “I want to Assassinate!” features a blend of signature Hamauzu strings and chopped up and glitched out piano and synth work paired with English vocals, while “Le Fleur” is an incredibly beautiful strings, piano, and acoustic guitar ballad with gentle lullaby-esque vocals by Mina. The closing track, “Deep Green Field,” is a stunning piano and guitar reprise of “La Fleur,” providing a lovely closer to a wonderful listening experience.
The presentation of Far Saa Far is quite nice as well, coming in a jewel case with rounded corners and a thick booklet with all the lyrics. They’ve even produced a little magazine featuring more artwork and additional information about the tracks. Fans outside of Japan can grab the album from Wayô Records.
You can also click through below to see music videos for “La Fleur” and “Nomitaina.” Continue reading Review: Far Saa Far
The highly anticipated Castlevania series has finally hit Netflix, and Lakeshore Records has published the meaty hour-long soundtrack by composer Trevor Morris (who coincidentally has both first and last name shared with Castlevania lore). He’s provided an interesting and intense score featuring pulsating synth work and a blend of strings and choir that, while unusual to describe, fit in perfectly with the action on screen. Listening to the score without having watched the series, I was immediately drawn to “Main Title” with its oppressive synth swells and Gothic vibe. The rest of the soundtrack was effectively mood setting, but it wasn’t until watching the series and having the context for the music that it really struck me.
“Wallachia,” for example, features a desolate ambiance with gritty electronics that accompanies the world of this Castlevania adventure perfectly. The tense but subdued “Vlad Searches for Lisa” quickly turns to malice with ominous synth work as he discovers her fate, and “There are no Innocents” is a twisted and dark blend of buzzing synths and droning strings. The guttural male choir featured in “Hordes Descend on Targoviste” is effectively terrifying, as are the crunchy synths and choir swells of “Bloody Greist.” Things get more calculating and contemplative in “Bit of Dried Goat,” exotic and mysterious in “We Can’t Turn Away,” and explosive and dangerous in “Trevor Fights the Cyclops.” There’s hope and triumph in “I’m Trevor Belmont,” a sense of finality with heavy percussion hits, a church choir, and a descent into madness with “Let me Kiss You,” and new age synths and angelic choir in “Alucard Rises.” The album closes with the uplifting and hopeful “Hunter, Scholar, Soldier.”
I would have never thought dark pulsating synths would fit so well in the Castlevania universe, but in context, they do. They feel like an unnatural heartbeat chugging away beneath somber and desolate strings, pads, and choir. While there isn’t a whole lot of music to walk away with and hum here, there is some great brooding music that will take you through the ups and downs of the excellent first season of the series. I’m already looking forward to sinking my teeth in to whatever comes next!
Pick up the album up now on iTunes or wait for the physical release which comes out August 4 on Amazon.
Square Enix launched a neat album series at Tokyo Game Show 2015 called Life Style. It started off with volumes to accompany driving and and relaxing (which fits in well with what we’re doing with Prescription for Sleep: Game Music Lullabies), and 2016’s event saw “cry” and “up” editions added to the series. I really love the concept of game music for daily living, as I have various playlists set up for this exact thing, and Square Enix has quite a catalog to pull from when it comes to compiling music for this purpose, as evidenced by the fact that I can’t source most of the tracks on this album.
This volume is intended to contain “sad” themes, of which there are many in Square Enix’s catalog. Starting from the top is the aptly titled “Drowning in Despair” with strings and piano, followed by a new arrangement of “Aerith’s Theme” with twangy acoustic guitar, strings, and bells. I can’t say it’s very suitable for crying, as it’s more beautiful than anything, but perhaps the source material may make somebody cry. The same follows for the healing “Now I’m Near the Best,” the sinister “A Son’s Loss,” the lullaby-esque “Sleeper’s Wake,” the contemplative “Lament,” and the mysterious “Movement in Green” (from Final Fantasy X). Getting into more cry-appropriate material, however, “Casualties of War” works in low tones with harp and male choir, “Ashes of Dreams” (from NieR) is a melancholy ballad sung by Emi Evans, and “Noel’s Theme -Final Journey-” is reflective with its female vocals about loneliness and regret. The closing track, “The Girl Who Stole the Stars” (from Chrono Cross) is a fitting closer with its somber strings and female vocals.
It would appear as though Square Enix stuck to modern releases, which I suppose is best for a “life style” album that you will play wherever it suits you. 8-bit and 16-bit tracks may not always go over well in all locales.
What drew me to this series outside of the concept was the artwork. Each volume sports vibrant colors and blown up pixel art on a thick cardboard folding sleeve. There really isn’t much else going on with the packaging, but the design is quite pleasing to the eye. The albums have unfortunately been sold exclusively at events, and are not available online. Keep an eye out on used markets where they can be picked up for cheap if you’re interested, though!