SQ Chips
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Album Title: SQ Chips |
| Record Label: Square Enix |
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| Catalog No.: SQEX-10248 |
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| Release Date: September 21, 2011 |
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| Purchase: Buy at CDJapan |
Overview
SQ Chips is the latest in a line of albums featuring tributes to Square Enix’s most popular game music by artists across the industry. In contrast to other albums that featured live performances or electronic remixes, SQ Chips takes a reductive approach by focusing on contemporary chiptunes. But that does not mean that this album is simplistic or consistent throughout. By the contrary, it features the most creative and accomplished arrangements in the entire SQ series so far…
Body
Indeed, while many arrangemnets here are technologically more humble than their originals, they are almost always as accomplished. Hidekazu Tanaka ensures Final Fantasy XIII‘s “Blinded by Light” is no less catchy and dazzling than its lavishly produced original. After all, Masashi Hamauzu’s melodies and rhythms remain firmly intact and the samples chosen are expressive ones. Some might find the beats at the 1:30 mark too poppy for their tastes, but they bring a cutesy charm to the original regardless, while the retro sound effects are also amusing and thankfully sparing addition here. “Near the Water” from the grand orchestral soundtrack to Final Fantasy XII also receives an unexpected 8-bit treatment. Mitsuto Suzuki still recaptures Hitoshi Sakimoto’s musical personality with his numerous timbral variations and clever use of counterpoint, demonstrating chiptune tracks need not be linear.
Newcomers to the chiptune scene might debate the point of arranging tracks from already primitive games like Final Fantasy III and Seiken Densetsu. However, the chiptunes used here are much more expressive than the cold and screechy sound chips of the NES and Game Boy. Hige Driver punctuates these elements in such an alluring way throughout Final Fantasy III‘s “Battle 2” and the frantic polyrhythms that result are incredible. Later in the album, Sexy-Synthesizer expands on the once underwhelming final battle theme from Seiken Densetsu using wavering leads and danceable beats. What’s more, neither arrangement loops like their original counterparts — whereas “Battle 2” grows more intense and hybridised during its three minute duration, “Final Battle” unexpectedly incorporates a slow and spiritual interlude featuring fan favourite “Mana Palace”.
One of the most expressive arrangements on the entire album is Final Fantasy VI‘s “Terra”. Experienced album producer 303soundworks hybridises humble 8-bit motifs with fantasy orchestration and electronic beats to yield a wonderful soundscape. A particularly inspired moment is at the 2:00, where the forces dissipate to leave only a soft piano performance and a chiptune rendition of the prelude. For me, this remix captures the personality of Terra better than Jeremy Soule, Shiro Hamaguchi, and even Nobuo Uematsu ever did: mystical, fragile, and determined. muZik’s approach to hybridised soundscaping isn’t quite as elegant on Final Fantasy XI‘s “Ronfaure”. Nevertheless, the in-house unit does an incredible job capturing the ethereal, wandering mood of the original while offering a fresh new perspective on it. Who would have thought an acoustic score would receive such an accomplished treatment?
A few arrangements aren’t quite as creative as the rest. (S_S)’s “Meridian Dance” is little more than an 8-bit reduction of a 16-bit original — complete with loop and fadeout — though remains an enjoyable listen thanks to the lyricism of Hiroki Kikuta’s original. Much the same applies to the arranger’s treatment of the already chiptuned theme from the lesser-known Nanashi no Game. The interpretation of “Eyes on Me” is also a lowpoint here, but for almost the opposite reason; while the melody suited Faye Wong’s voice, it simply sounds clumsy and contrived in this chiptune remix. However, it’s debatable whether this is due to limitations of the original or Another Infinity’s approach. While hardly a definitive miss, Final Fantasy III‘s airship remix isn’t recommended for the faint-hearted either with its hardcore beats and tribal voice samples. It brings some diversity to the album, but is something of a ‘love or hate’ affair.
Among other jewels on the album are a number of inspired medleys. the3rdmini commemorates Kenichiro Fukui’s exploration of the techno genre with a medley dedicated to the otherwise unrelated shooters Einhünder and Project Sylpheed. While this medley isn’t as catchy as other tracks, its more ambient and rhythmical quality supplements the diversity of the album. Back in 16-bit RPG territory, DJ OMKT lines up the character themes from Chrono Trigger in his second tribute to the game. Whether portraying Marle, Frog, Magus, or Robo, the arranger manages to preserve the quality of the original melodies, while ensuring the track develops in a natural way. Even more nostalgic is the ten minute medley dedicated to ending themes of Final Fantasy’s SNES era, culminating in a rendition of the series’ main theme that is as reflective and fantastical as its orchestral renditions. Bravo!
Summary
Talk about going round full circle! SQ Chips is a wonderful way for Square Enix to homage where they begun, while reflecting how much they have expanded and experimented over the years. With a few exceptions, the arrangements on this album manage to preserve the melodies, characters, and charms of the original despite the transition to chiptunes. What’s more, most of them inspire new feelings from the listener and feature such creative choices that they will dazzle laymen and artists alike. Following a mixed bag of SQ tributes, there is plenty of room for Square Enix to expand on their chiptune activities following this success and hopefully a sequel will be considered for the future.
Do you agree with the review and score? Let us know in the comments below!
4.5
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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