There’s been a lot of excitement about the remake of Square Enix’s Final Fantasy VII. I myself am cautiously optimistic about the game, but I’m still quite excited. To help celebrate the announcement of the long requested remake, I thought we’d take a look at a Final Fantasy VII cover for this week’s Arrangement of the Week.
There are of course tons of covers, remixes, and arrangements of Nobuo Uematsu’s original soundtrack. With so much to choose from, it was definitely hard to pick out a favorite. This week’s arrangement is called “Still More Fighting” and comes to us from guitarist Brian Autumn. The cover is of the Final Fantasy VII boss fight theme, “Fight On!” aka “Those Who Fight Further.”
The video does a great job of showing off Brian’s skills at electric guitar and bass, and features footage from one of Final Fantasy VII’s boss fights. Oddly enough, it’s not a boss that actually uses “Fight On!” for its battle music. While it’s very common to find rock guitar arrangements of this piece, this arrangement goes beyond being a pure guitar cover, with inclusion of organ, synths, and string pads. It all fits well with the style of the original piece and with the original game footage. Uematsu’s battle themes do have a strong rock influence, particularly in Final Fantasy VII, so this cover stays very true to the original in terms of tone.
The source material is broken up by occasional but brief deviations and improvisations. For example, at around 1’30” he launches into an impressive series of rapid arpeggios on the lead guitar. My favorite moment though is the sudden switch to an orchestral arrangement at 2’30” for the summon in the battle. It’s a cool switch up that, in addition to matching the battle on screen, gives the cover a little more variety.
This was a nice little find from Brian Autumn. This actually appears to be his only videogame music cover, and an excellent one at that. If you’d like to listen to or download a copy of “Still More Fighting” that doesn’t include the video’s battle sound effects, you can do so at the artist’s Soundcloud page.
Have you heard any interesting new arrangements, remixes, or covers this week? Let us know in the comments below.
In this edition of Game Soundtracks For Your Soul I am looking back at two personal favorite Sony Playstation soundtracks from the PSOne, and PS3. The first soundtrack is on Sony Playstation was composed by Noriyuki Asakura, and whenever I hear the main theme I find myself air plucking. The second soundtrack from Playstation 3 was composed by Joe Hisaishi and is stunning orchestral masterpiece, but my favorite themes in the game may not be what you expect.
These are my thoughts on the music from Tenchu: Stealth Assassins and Ni no Kuni: Wrath of the White Witch.
If you’re one of the older members of our generation, you probably know what vinyl is. For the younger kids, vinyl is the older brother of the CD (compact disk) – that physical medium that predates your fancy MP3 players and iPhones. (Man, I’m old.) They’re also commonly referred to as “records”.
So now that you have had the history lesson, you might not be aware that vinyl has not exactly gone the way of the dinosaur. What used to be a neat hobby for collectors of older-style medium has seemed to have a resurgence within the past few years, and one of the things that seems to be included within this return to a simpler time of music-listening is video game music.
This week I am looking back at the music of three games I played on the Sega Dreamcast, one of my favorite consoles and *SPOILER ALERT* one of the winners of Wired’s Video Game Console Wars which had me floored in laughter and a huge grin on my face.
The music of these games are at all from different ranges of the sound spectrum. The first soundtrack is beautiful, awe inspiring, and epic in scope and a great score by two composers Tim Follin and Attila Heger. The second is much darker and has a unique creepy, abandoned carnival grounds sound composed by the late Betrand Eluerd. The third is an cover EP album by Stemage of Noriyuki Iwadare’s music from a masterpiece of a JRPG which is coming soon in remastered form on Steam!
These are my thoughts of the soundtracks to Ecco The Dolphin: Defender of the Future, Evil Twin: Cyprien’s Chronicles and Stemage’s Frets of Valmar: Grandia II .
In this edition of Game Soundtracks For Your Soul I am looking back at the music of two of the best multi-player games of my early gaming life. My brother was much better at video games than I was but often he was player 2, and we both drank heavily from the Nintendo Kool-Aid jar. We spent hours playing many two player games on Nintendo and Super Nintendo, but two in particular stood out musically. One is in my opinion, a Capcom classic and only recently did I learn that they made a sequel. The other game is now one of the rarest Super Nintendo titles and one of the most treasured games in my cartridge collection.
Here are my thoughts on the music of Chip and Dale’s Rescue Rangers composed by Harumi Fujita, and the music of Metal Warriors by Eric Swanson.
I first started writing music on a computer in 1987, and nearly 30 years later I realized how important simple, fundamental things really are. My youngest son is five, and was taken by a 25 key synthesizer I recently acquired (the Korg Triton Taktile 25). He wanted one too, and I told him “you can have one, but you need to learn at least a little music first. This is no toy.” And with those words I realized the same words were just as true for me.
So with that in mind, with this bit of writing I’m going to talk about MODs, and the Demo Scene.
There’s a short list of Japanese names that have proliferated American gaming culture due to their huge influence. Shigeru Miyamoto, Yu Suzuki, Hideo Kojima and others have made a lasting impact. Another well-known name is Nobuo Uematsu, sole composer for the first nine games in the Final Fantasy series, and lead / contributing composer to almost all the others (he did the theme song for XII and sat out completely on XIII).
Game music fans are also likely to know that Uematsu continued to work with his old friend Hironobu Sakaguchi, creator of the Final Fantasy series, when Sakaguchi went on to form Mistwalker. Hence, the soundtracks for Blue Dragon, Lost Odyssey and The Last Story were all composed by Uematsu as well.
Those are most of Uematsu’s “notable” works. But what about the rest? Are there any hidden gems among Uematsu’s lesser-known works? Let’s find out together by exploring five of Uematsu’s lesser-known projects, ranging from 1986 to the present. (more…)
At the tail end of 2014, when we looked back on the year in our annual OSVOSTOTY celebrations, I lamented that the soundtrack to LittleBIGPlanet 3 might not see the light of day. The game was new to the market at the time, and while it was (and still is) suffering from some technical issues, its aesthetics were as brilliant as previous entries in the series. The music was more eclectic than ever, due in large part to the wide array of musicians taken on for the game’s single-player campaign levels.
Lucky for me, a soundtrack did finally arrive. It wasn’t an exhaustive collection of the game’s music, but it was a full 70 minutes of music, on iTunes, for nine bucks. I wasn’t going to pass that up.
After the jump, I’m going to pinpoint, as best as I can, what makes me love this music so much. Hint: much of it is thanks to a wonderful lady whose name starts with a W. (more…)
Ryan started Game Soundstracks for Your Soul; this little series of looking back at game soundtracks that go beyond mere admiration, but actually invoke powerful emotions and feelings and sing to the soul of the listener. Reading his articles, I knew exactly which game music soundtrack completely puts me into a serene trance every time I listen to it: Super Castlevania IV.
In this edition of Game Soundtracks For Your Soul I look back as some character building music. I consider music character building in the sense that it’s music I had to listen to many times, over and over again because I was playing a game that had a time limit or underlying sense of urgency to the music.
The soundtracks I discuss this week is the music of the classic Rare Nintendo 64 exclusive title Blast Corps. The other game was also an exclusive to the Super Nintendo and a one of a kind classic Uniracers.
Our second game preview from PAX East is a new game being developed by Harmonix. Back in May of 2014, the group successfully received backing on their Kickstarter for the game Amplitude. The project received over $800,000, just making past their initial funding goal. Since then the Hamonix team has been working on the game and had an early alpha build available to try out at this year’s PAX East and GDC.
Amplitude is a rhythm action game based off the developer’s earlier titles like FreQuency and the PS2 version of Amplitude. The last Amplitude game was released back in 2003, over a decade ago. This new game is a remake/reboot of the original and hopes to bring the fun of Amplitude to a new generation of consoles and players. (more…)
Every PAX East features a wide array of companies and developers showing off their upcoming or recently released games. Here at Original Sound Version, we like to highlight some of the music related games that we come across during the event. These often end up being rhythm games, but this can also include other game genres where music is a vital element. A good example of this would be the FRACT OSC game that we previewed at last year’s PAX East. This year we will be highlighting two upcoming games that were on display at the PAX East Expo floor.
Our first preview is an action rhythm game called Thumper. This was one of the many titles featured at the PAX East Indie Megabooth. The game is currently being developed by Marc Flury and Brian Gibson, who have both worked on rhythm game titles at Harmonix. Flury acts as the lead programmer, with Gibson providing his music and art talents for the look and sound of the game. (more…)