Welcome to Morning Music, Kotakuis a constant meeting place for people who love video games and the cool sounds they make. Today I’m going to talk about how great it is Final Fantasy VII Remake‘s music, and in particular some of the new songs that weren’t in the original.
It took me a while to get in Final Fantasy VII Remake (YouTube / long game / VGMdb), and even longer to return to the complex arrangements of the original’s often stunningly simple and deeply affectionate PlayStation tracks. But in the end they both won me over. The music, like the game, is layered like slabs of sedimentary rock spanning years of history and neatly displayed so you can appreciate, analyze and digest it in the present. Here is the new version of “Shining beacon of civilizationFirst played when Jessie explains the Midgar to Cloud layout after the game’s opening bombing mission:
If you are one of my prev Morning Music submissions you know I’m a sucker for melancholic songs and “Shining Beacon” nails the technody stopie of the original as I echo the emotional echo of watching the same human tragedies unfold over and over after decades of repeat Final Fantasy VII.
But I said I was here to talk about a few Final Fantasy VII Remake‘s original scores, and I will too. In the years since the game’s release in 1997, Square Enix composers Masashi Hamauzu and Mitsuto Suzuki have been able to spread their wings with more of their own projects. Their work on the Final Fantasy XIII trilogy in particular was a highlight for the ‘music after original series’ series’ departure from composer Nobuo Uematsu in 2004, and both have brought that same flair and growing sophistication Final Fantasy VII Remake. Here’s Hamauzu’s “Moonlight ThieverySet early in the game when you’re tasked with breaking into Jessie’s parents’ house to steal her father’s Shinra keycard.
It’s chilly and relaxing yet so much is happening, from drums and maracas to harps and bells. The remake is all about exploring the roads not yet taken in the original, and “Moonlight Thievery” is the perfect table for gala on the outskirts of Midgar and see the other side of the corporate metropolis’ class divide. After all, there is a reason why Shinra has so much free reign to destroy the planet and grind poor people to dust: it makes many other people’s lives extremely comfortable.
Then there is “Train graveyard. “I was originally put off since playing in the original” Shining Beacon “in this section. For the remake, however, Hamauzu’s new track is ideal. It shows his exquisite and subtle piano work, and his penchant for recording even the most sombre songs. lifting with glittering harp pedestals and belpings It reminds me a lot his underappreciated work Dirge of Cerberus.
Suzuki’s contributions are a bit more idiosyncratic and cheerful. His jazzy spin on the “Wall MarketTheme is completely different from the original, yet excellent. My favorite, however, is “Collapsed highwayIt plays as Cloud and Aerith make their way through the tunnels connecting Sector 5 to 6. The kokyū strings kick it off, followed by a breezy ambient electronic section, with the melody ending in a synthy frenetic breakdown that makes it feel like like “playing through the slums of an old arcade (fitting because this is the part where Cloud has to navigate old robotic arms that look like a crane game to clear the way).
Okay, that’s a lot of songs, but there’s one more I should mention before leaving you: “Fee payable. “It is based on Nobuo Uematsu’s original composition for Wall Market called”Oppressed people, ”With the new version arranged by Naoyuki Honzawa. It’s so different from the original, I consider it a new original piece of music, and it’s a bona fide stunner:
It’s dancy and full of mini vocal samples, with all sorts of other good stuff mixed in as well. The regular version is a nice downtempo beat to walk along Midgar’s bottom, but the battle remix takes it to another level. More club music in my Final Fantasys please. I demand no less than a whole mini-game for DJs if the sequel takes us to the Gold Saucer.
And that’s it for today’s morning music! How did I write about a lot of new ones Final Fantasy VII Remake music and not about Uematsu’s’Hollow, The only new song he’s composed? I do not know. I am ashamed. It is awesome. The man is a master. Imagine creating one of the greatest video game soundtracks ever and coming back decades later to add to it an equally amazing and just as fitting new fully arranged track. I can not either. And yet he did. Which Uematsu number will get you through the day?