Cafe SQ
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Album Title: Cafe SQ |
| Record Label: Square Enix |
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| Catalog No.: SQEX-10276 |
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| Release Date: November 23, 2011 |
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| Purchase: Buy at CDJapan |
Overview
Cafe SQ is the latest in a series of albums dedicated to interpretations of Square Enix favourites by musicians beyond the games industry. As the name suggests, it focuses on relaxing jazz and folk performances, but the album features quite a bit of variety nonetheless. The SQ series has been a mixed bag to date due to some dubious production choices. However, Cafe SQ comes to demonstrate what fresh sounds the series can bring…
Body
The opener establishes the relaxing focus of the album with a rendition of two favourites from Final Fantasy V. Mixing ocarina and guitar performances with electronic undertones, it’s a major departure from the originals — and mainstream music in general — but somehow it works. By transitioning from the nostalgic lulls of “Music Box” into the richer melodies of “My Home, Sweet Home”, pesama offers enough variation to keep listeners satisfied. It’s easy to imagine relaxing in a bar and sipping a few drinks while listening to this. “The Dream That Times Dreams” — performed by the jazz trio of acclaimed pianist Manami Morita. Among other classic jazz pieces, Final Fantasy VI‘s classic inn piece sounds more like Johnny B. Goode than ever, while the unexpected medley of Gato and Spekkio’s themes could have easily come from the swing era.
Though conservative selections, the overworld themes from Final Fantasy IX and Final Fantasy VII feature extraordinary arrangements. The melody of the former is lifted with the soft yet stimulating electronic beats of yuxuki waga, and many of Nobuo Uematsu’s original ideas are greatly elaborated upon. While there is a soothing jazz tinge to this arrangement, in many ways it is an extension of the sound of Chill SQ. It’s clear that established band The Reign of Kindo put their all into arranging and performing Final Fantasy VII‘s main theme. The introduction of the latter seems inspired by In Rainbows with its ethereal vocal introduction, but develops into a folk rock piece featuring radiant violin work and deep piano passages. The result reflects the unique personality of the performers and, refreshingly, is unlike anything an artist within the games industry would have produced. It’s a pity that the full version is only featured on a bonus album.
Despite the café theme, there is considerable variety on this album — a feature that is bound to divide consumers. The rendition of Threads of Fate may incorporate some jazzy piano parts, but it may have been a better fit on the Chips SQ album — where it would have delighted with its bouncy and eccentric bleeps. Final Fantasy‘s “Matoya’s Cave” by ex-Falcom veteran Ryo Takeshita throws quite a punch with its blends of chiptunes and funk, while Romancing SaGa 2‘s “Last Battle” brooding electronic beats and piercing violin lines might end up breaking a glass or two. These pieces will be excellent additions for those looking for a diverse and imaginative album, but not those looking for an unobstrusive background listening. Even more bizarre is the RÄFVEN’s rendition of the Chocobo theme — which is not a fraction of the speed of the original, but written for a gypsy band in the style of a mazurka. Once again, Chocobo arrangements seem to present endless possibilities.
While most of the album is accomplished, a few items ought to have been cut. Serph’s “Rose of May” shifts from playful acoustic passages to abstract electronic ambience in an interesting manner. Sadly, the incorporation of several obnoxious elements — a heavy trap set in the intro, distorted piano parts in the centre, and an amateurish xylophone descant at the outro — means that any stirring effect from these contrasts is lost. The rendition of “Corridors of Time” features similar contrasts, but fortunately sounds much more polished. The downbeat electronic remix of Final Fantasy X‘s vocal theme “Suteki da ne” also doesn’t reach great heights, but due to the choice of vocalist rather than the arrangement itself. Miina’s voice simply sounds prosaic compared to Rikki and Susan Calloway that preceded her. Perhaps before imitating Massive Attack, SmileR should learn how to scout great vocalists.
The centrepiece of the entire album is another outlier, Duke of Pianeet’s eleven minute suite dedicated to Xenogears. Numerous popular themes from the score are instantly recognisable during this medley, but they are arranged in such a sumptuous way that they fit — and even showcase the versatility of — the piano. The rendition of “Dark Daybreak” is more dramatic than the original, while the development into “Flight” is beautifully executed. There are plenty of hints of Bach, Rach, and, of course, Mitsuda all thrown in. Let’s hope this artist receives future arrangement opportunities in the future. The album closes with a performance of the much-lauded “Troian Beauty” for jazz trio. Schroeder-Headz captures the café concept beautifully with his interpretation of pensive melody, emphasis on subtle chord shifts, and elaborate improvisations on piano. It’s a pity that electronic distortions sometimes detract from the authentic feel, but the overall execution is excellent.
Summary
Cafe SQ is quite an inconsistent album in both style and quality. Instead of offering a bunch of smooth jazz arrangements, Square Enix extended their scope to offer elaborate trio performances, surprising chiptune fusions, a phenomenal piano piece, and journeys into trip-hop and alternative rock. Some consumers will consider this unfortunate, but the final album has enough depth and creativity to appeal to a range of consumers. Square Enix’s producers have really explored the potential of the SQ series in the last year and, with the masterpieces of Manami Morita, Duke of Pianeet, and The Reign of Kindo, it’s clear they made the right decision to open up Square Enix’s classics to interpretations from the wider music industry.
Do you agree with the review and score? Let us know in the comments below!
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Posted on August 1, 2012 by Chris Greening. Last modified on August 1, 2012.
About the Author
Chris Greening I've contributed to websites related to game audio since 2002. In this time, I've reviewed over a thousand albums and interviewed hundreds of musicians across the world. As the founder and webmaster of VGMO -Video Game Music Online-, I hope to create a cutting-edge, journalistic resource for all those soundtrack enthusiasts out there. In the process, I would love to further cultivate my passion for music, writing, and generally building things. Please enjoy the site and don't hesitate to say hello!
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