Fans of Final Fantasy music rejoice!! The third Piano Opera: Final Fantasy album has been announced. For those unfamiliar with the Piano Opera albums, they are albums that feature piano arrangements of pieces from the Final Fantasy franchise. Despite the name, there is no actual opera music in any of these collections. Each album in this series focuses on three specific Final Fantasy games. The first Piano Opera album contained arrangements from Final Fantasy I, II, and III, while the second album featured the music of Final Fantasy IV, V, and VI. These first two albums were released back in 2012, with only a few months in between each release.
Predictably, this latest album will focus on the music from Final Fantasy VII, VIII, and IX. Tracks on this album will include “Opening ~ Bombing Mission” and “Those Who Fight Further,” from Final Fantasy VII; “Liberi Fatali” and “Force Your Way,” from Final Fantasy VIII; and “Rose of May” and “Melodies of Life,” from Final Fantasy IX. The album is set to be released on April 23, 2014 in Japan and will cost around 2,800 yen.
There is no word yet on a release date for the United States or Europe. Considering that the previous albums have received western releases, through services like iTunes, this album hopefully won’t be far behind. The Piano Opera: Final Fantasy VII/VIII/IX album will be available on Amazon Japan and Square Enix’s e-Store on the day of release. So for those of you outside of Japan, who have some skill at reading Japanese and don’t mind paying for importing the album, you will potentially have a means of acquiring this latest album on day one. I know that I’ll have this album on my wishlist. Hopefully we’ll be getting a release here in the west in the near future.
Our “Other Release” category — a catch-all miscellaneous category for stuff that isn’t technically game music, but close enough that you all probably know about it — had some great nominees. There were plenty more than six albums to choose from. But we narrowed it to six, and now we’re going to give the bronze / silver / gold medals. Well, digital medals. Still pretty sweet, though (thanks Connary!).
So, in case you’ve forgotten our nominees for Best Other Release:
Black Ocean (IMERUAT)
Indie Game: the Movie (Jim Guthrie)
Make Music, Throw Music (SleepyTimeJesse, et al)
SOUNDSHOCK 2: FM FUNK TERRROR!! (Various Artists)
And the winners are… (more…)
Welcome, dear readers, to OSVOSTOTY 2012! This year is our craziest year yet. Every day this week, we will reveal the nominees for seven separate categories. The categories are:
Best Other Release
Best Re-Issue Soundtrack
Best Arrange Album
Best Sound Design
Best In-Game Soundtrack
Best Soundtrack (Overall)
Composer of the Year
After the first week is over, we will announce the winners for each category each day of the following week.
We’re starting with “Best Other Release.” This miscellaneous category covers any original music not written for a game. In this way, we’ve collapsed previous categories such as chiptunes or film soundtracks into this category alongside the usuals: original concept albums. Our nominees for “Other” after the jump!
When it comes to Touhou Project, there seems to be an endless stream of music coming out on the doujin music scene every year. A cursory look inside stores specializing in doujin products in Akihabara reveal large swaths of retail space dedicated to all types of Touhou Project music. Monthly sales ranking from shops such as Toranoana also reflect the dominance of Touhou Project although Vocaloid-related music appears from time to time to shake up things up. Nevertheless, it becomes a bit of a workout to sort through the horde of music out there, especially for the uninitiated.
Enter Arte Refact’s GensouYuugikan -Fantastic Casino-. Released originally during Reitaisai 10, the annual doujin event dedicated to Touhou Project, the 10 track album featuring a veritable who’s who of major doujin music groups with Touhou Project being there common link. This concept album’s theme centers around the idea of what it would be like if Gensokyo, the place central to the Touhou Project series, had a game center in it. Alongside this theme is the character, Marisa Kirisame’s adventures through said game center. The anachronistic theme aside, I had rather high expectations for this album given the star power driving it. As mentioned before, with such a wide variety of arranges, remixes and so forth out on the market, it can be difficult finding a gem in an endless sea of music.
Did Arte Refact nail it on their release? Or perhaps this is simply the case of more of the same? Hit the jump and find out! (more…)
Over 150 game, anime, and related albums were released this past August at Comiket 82. That’s a lot of music: I’ll never hear 95% of it.
But I sit up and pay attention to the second album in a new original works / demo series from Pinokiti Records, “Fruited Vagabond.” Featuring music from some of Namco’s best in-house composers, as well as some new faces that generally only work in the doujin scene, these albums feature some really enjoyable dance/electronic music.
After the jump, we have the Soundcloud demo reel for the album, as well as my impressions of all five tracks. (more…)
Every six months, Comiket sweeps Japan, and a boatload of doujin music albums are released (alongside some legitimate game and anime soundtracks, as well).
Generally, it’s just too much for one person to take in. You could easily spend $1000 there and still miss something cool. Especially if you’re down with all things Touhou-related.
Recently, one of our friends at SEMO (Don Kotowski) pointed us in the direction of “Fruited Vagabond.” It’s essentially a demo reel of music made in FL Studio, one track per composer, and the composers being some of Namco’s greatest assets (AJURIKA, Ryo Watanabe, Hiroshi Okubo, etc).
Tomorrow, we’ll have a review of the album newly released “Fruited Vagabond Vol.2″ from Comiket 82. But before that, we have a review of the first album, which is four tracks and runs 24 minutes. After the jump, our review (alongside some soundcloud samples, hurray!). (more…)
That was supposed to be a pun.
This marks the end of “baiyon week.” We hope you enjoyed it, learned more about this particular artist, and perhaps scouted out a few more tunes for your musical library.
But we didn’t get to everything baiyon has ever done. So we just wanted to point out here that baiyon does have plenty of other work out there, if you’re willing to look for it. Some of those items include:
Evening Glow of a River – an EP released around the same time as In The Collaborations 04, you get the title track (10 minutes long), a remix of the track by photographer/musician/producer Eamonn Doyle, and a B-Side “Lupe.” For my money, “Lupe” is the better track.
Dejerabi – a techno/electronica/Arab-ethnic single from Ryoma Sasaki. Buy it, and you get the B-Side (baiyon’s remix of Dejerabi) too.
Vibes Against Vibes (Vol. 1) | (Vol. 2) – Almost everyone that worked with baiyon on the various “In The Collaborations” singles, and plenty more, release their own singles on these two “various artists” collaborations. Vol.1 has two tracks where baiyon collaborates with another artist, and Vol.2 has a baiyon solo track.
Have any more hot baiyon leads? Feel free to leave them in the comments section! Thanks again … and now, let’s go clubbin’! (Seriously, I gotta go to a decent club sometime … just, please, no designer drugs … )
Last night I had a chat with baiyon via twitter about his 2006 album “Like a School on Lunch Time.” I learned some cool things that I wanted to share with you. For example, the video above is a music video that covers two songs from the album and features incredible visuals by catchpulse. The footage is of the elementary school baiyon attended in his youth. In fact, that’s also where a lot of the sound samples come from.
Yes, baiyon revisited his school to get some field recordings. He told me that of the musicians that use this technique, he was most inspired by Aki Onda’s Cassette Memories series. As I mentioned in the album’s review, I’d heard the technique used prominently on Michael Bross’ Subway Meditations.
Finally, for those of you that can read Japanese (or who are okay with a rough translation provided by google), you’ll want to check out this 2006 interview with baiyon from Jet Set. It provides more background and insight on that full-length album; a little something to help you appreciate it more.
So baiyon released a series of four singles between December ’09 and April ’10, each one had him working with different artists. Of note to the VGM community was his “Hue / Saturation / Brightness” single (vol. 03) where he collaborated with Hip Tanaka.
The series seemed be over after the fourth volume. Nothing happened through the rest of 2010 or any of 2011. But then, in June 2012, baiyon surprised everyone by dropping vol. 05, “Take Away My Eyes,” a track that sounded so thoroughly like a PixelJunk Eden tune that one cannot help but wonder if this track was an outtake from PixelJunk 4am (a game whose soundtrack I’m still anxiously waiting for…).
After the jump, we’ll be exploring all five “In the Collaborations” singles and speculating on what might come in volume 06. (more…)
I remember when one of my best friends introduced me to “noise” as a genre. He started me off with Hanatarash(i), a 1980s group featuring this dude who went by the name “Eye.” This was some pretty hardcore stuff. All noise samples, no tonality whatsoever.
Since then, I’ve heard “noise” albums with different layers or levels of tonality mixed with the non-musical sounds. Many of them come from electronic artists. I was a big fan, for example, of Michael Bross’ “Subway Meditations” — nothing but hand-picked samples mixed in different ways.
After the jump, we’ll take a look at one of baiyon’s contributions to the genre with his 2006 album “Like a School on Lunch Time.” (more…)
A few months ago we did a special week’s worth of content focused around one musician, Jim Guthrie. That was a lot of fun. Let’s do it again, shall we?
No, not a second week for Jim. He’s a cool cat, for sure. But this week we’re going to focus on baiyon.
Born Tomohisa Kuramitsu, baiyon has gone on to become a major influence in electronic music all around the world. He and his art have been presented at events in Japan, South Korea, USA, Canada, Mexico, Ireland, and elsewhere. He is best known, at least among gamers, for his work as audio-visual lead (all music, plus the art styles for each level) in PixelJunk Eden, which we reviewed after its Steam release earlier this year.
One thing baiyon and Guthrie have in common, besides having a week’s worth of content written about them for OSV, is Sword & Sworcery. Guthrie is the composer, and baiyon arranged a track on the Scythian Steppes remix album, which we also reviewed this year.
Throughout this week, we will be taking a close look at all of baiyon’s original works, including various EPs and LPs he’s released, the “in the collaborations” series, and we’ll even discuss his work (among the work of many others) for DARIUSBURST. So stop by each and every day this week to learn more about baiyon and his music!
Last year, an indie adventure game was released for iOS called Superbrothers: Sword & Sworcery EP that ended up being an underground hit amongst indie gamers. It ended up winning Independent Games Festival Mobile Achievement in Art award, and gained more notoriety by being included on the Humble Indie Bundle V pack last month. It was also ported to PC and is now available on Steam.
Not a bad go of it for Capybara Games or game composer Jim Guthrie by any means.
Now that Sword & Sworcery is about to be released in Japan for gamers in the land of the rising sun to enjoy (with big thanks to the two-way localization house 8-4), some of their local and best-known composers have decided to put their particular spin on the game’s music for the localized debut with the arranged album The Scythian Steppes. The names of these composers should ring a bell with some: Yamane, Yamaoka, & Suzuki are just a few of them.
Take a listen to the new spin on Guthrie’s “Thrillmarillion” soundtrack after the jump.