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Final Fantasy X-2 International + Last Mission Original Soundtrack :: Review by Chris
OverviewDespite the mixed success of its predecessor, the Final Fantasy X-2 Original Soundtrack, Matsueda and Eguchi still decided to team up once more to create the Final Fantasy X-2 International + Last Mission Original Soundtrack to commemorate the long-awaited international release of the game. In all honesty, I wasn't terribly interested by its proposed release, considering I didn't find the Final Fantasy X-2 Original Soundtrack as enjoyable as other instalments of the series despite it considerably growing on me. Fortunately, however, I somehow managed to download it by mistake (yup, that's somehow possible!) and it was only then by listening to that I seriously considered purchasing the Original Soundtrack. Indeed my low expectations were quickly surpassed when I saw that the problems abundant in the Final Fantasy X-2 Original Soundtrack had been eradicated; instead these are replaced by what is a solid selection of high quality vocal and instrumental themes. BodyMost people who have purchased the album did it for its four primary vocal themes, "real Emotion (FFX-2 Mix)," "1000 Words (FFX-2 Mix)," "1000 Words ~Orchestrated Version~" and "To You." The first three are, of course, the English versions of the major themes from the Final Fantasy X-2 Original Soundtrack. The fact that the vocalist for these is Jade from Sweetbox as opposed to Koda Kumi in the Japanese versions caused quite a stir among fans. While many are unaware of this, Kumi did actually create English versions of "1000 Words" and "real Emotion"; however, these were barely as pleasing. Coupled with Kumi's lack of ability to sing in English was the fact she was handed a load of awful lyrics in the first place. It is no wonder they are so heavily criticised by fans. The simple fact is that Kumi was incapable of providing pleasing English versions of "1000 Words" and "real Emotion" for the International release of Final Fantasy X-2. Essentially another vocalist was needed. So, how do Jade and Kumi compare as vocalists, English and Japanese versions apart? Many people favour Kumi; her mature voice and heavy experience in the world of J-Pop made her the perfect diva in the Final Fantasy X-2 Original Soundtrack. I certainly found Jade's voice much more difficult to accustom to in comparison, yet in later reflection, it became evident that her voice showed much more sensitivity and emotion. This is particularly significant in light of the fact that within the game, it is actually Yuna who performs these, and as many familiar with both games will know, despite her showing strength of character, Yuna is still deep and at times emotive. Still, one cannot ignore the fact that some other reviewers have heavily laded Jade in the past for a variety of reasons. Most of these seem unjustified stemming from an indifference to change, but one argument that significantly stood out for me was that she has been frequently described as being 'off pitch'. Is this fair? In all honesty, for me at least, her pitching certainly seems adequate. In places it even adds to her overall vocal style, which is often quite advanced incorporating a number of effective vocal techniques into the performance. Anyway, enough about comparing them. Let's get on to discussing the vocal tracks themselves. I found "real Emotion (FFX-2 Mix)" to be a high successful addition to the album and this was for a variety of reasons, principally because of the remarkable English adaptation from Brian Gray, the appropriate lyrics from Kenn Kato (who finally proves that English versions of Japanese songs aren't *always* dire where lyrics are concerned), and the funky dance-like J-pop styles that was so well inherited from the original version. It is perhaps Jade's most pleasing performance in the album showing considerably more zest and naturalness than Kumi's performance. Her vocal style manages to prove somehow tempting and alluring overshadowing the fact that the instrumentals are a little redundant. Another asset to the track is the fact it worked so well within the opening FMV for the game making it highly convincing to the game players sitting at home; I particularly loved how well the guitar solo in the middle of the track was represented. I never quite got into "1000 Words" as much as "real Emotion," considering I've heard the whole love ballad style too many times before in previous instalments to the series. Still, it is perhaps the series' best love ballad and, as far as interpretations go, this one is top notch. The lyrics, this time from Kazushige Nojima, again stands out; once more I was surprised at how well crafted they were, considering the dreadfulness of certain English interpretations in the past ("Eyes on Me," anyone?). In addition I felt Jade's voice also filled the track with a lot of warmth, perhaps even more than Kumi did, despite some loss of nuance in places. Matsueda and Eguchi also introduce some highly effective imitative vocal sections introduced towards the end of the track. This helps the theme to reach an appropriate conclusion; this also worked amazingly within the FMV sequence it accompanies during the game whereby the solo vocal line transforms into a powerful vocal duet between Yuna and Lenne. Superb stuff! While what Jade achieves in "1000 Words ~Orchestrated Version~" is quite consistent with the other version, it is the orchestration introduced that makes this track so pleasing. Vocal themes never seem to benefit much from instrumentation until they are orchestrated; this is no exception. Indeed, Eguchi is a master at this and he transforms what could be considered (by a harsh critic) to be a hackneyed love ballad into a whole new musical dimension. Remember what Shiro Hamaguchi did to "Suteki Da Ne (Orchestral Version)"? Well, for me at least, this is even better. Let's both take a break from vocal themes for now and look at what new tracks were inherited as a result of the Last Mission part of the International version of Final Fantasy X-2's release. These themes are a valuable asset to this soundtrack and it feels somehow depressing that we Europeans and Americans will never get to here them used in Final Fantasy X-2 itself as the Last Mission version of the game was released in Japan only. "Seal of the Wind ~The Three Trails~" is without doubt the most widely commended of these themes and if you listen to it yourself, I expect you'll see it mainly deserves this wide appraisal. It feels fresh and airy throughout with the flowing arpeggio patterns of the harmonies adding to the light textures and subtle instrumentation use Matsueda and Eguchi have introduced. The violin and guitar are beautifully exploited contributing to a wacky instrumental blend by which even the bagpipes manage make an appearance, albeit a subdued one. It is most definitely the piano passages that most people love this track for, however, and it is not surprising the track made such an excellent arrangement in the marvellous Final Fantasy X-2 Piano Collection. Talking of excellent Final Fantasy X-2 Piano Collections arrangements descended from this album, I would feel I would be doing both albums great injustice if I progressed any further without mentioning "Creature Create." In several reviews I have read, some people don't seem to hold this track in particularly high esteem, but for me it presents Eguchi and Matsueda in a most glorious light; essentially it is a fusion of their classic jazz styles, more often heard on electronic instruments, together with the piano as the primary instrument. The series' previous instalments have used the piano prominently before and this has enabled it to become perhaps its most loved instrument used. What is so good about the track is how it throws away the accustomed piano styles such as in "To Zanarkand" and even "Eternity ~Memory of the Lightwaves~" and replaces it with something radical, outrageous, yet still rather good. I feel it develops amazingly and certainly reaches its fullest potential, especially with inclusion of some great jazz techniques throughout. Admittedly, though, it is one of these tracks that you either love or hate. Still, whether you take it or leave it, please just promise me you'll at least give it a chance! The three broadly titled "Last Mission No..." tracks are all wonderful with each carefully offering their own individual and original styles to this album. "Last Mission No. 1" is jazz of the big band sort, and snazzy would probably be the best adjective to sum it up. Its well-punctuated and lyrical melodies are interpreted effectively across the board from tenor sax, through trumpet and clarinet, to even the piano. Nice! As for "Last Mission No. 2," this is definitively of the cool jazz sort. Bebop, perhaps? While it takes a little more time to get used to, it is a certain grower. There are great stylistic contrasts attained between the two dominant instrumental passages, with the trumpet passages showing rhythmical rigidity, whereas the saxophones are untied and free. The use of both instruments is fascinated, particularly when the two come together. By hook or by crook, "Last Mission No. 3" felt unquestionably the odd one out of these three tracks; its style feels much more tense than the others, and almost uncomfortable and disconcerting in places. Its intensity and heavy synth effects create a lot of impact, however, and I expect it would work well within the Last Mission part of the game. "Flash Over" mirrors "Last Mission No. 3," what with its fast paced rhythms and energetic pulsated beats. Taking this into account, it is not surprising this is widely speculated this is the boss theme for the Last Mission side of the game. Two aspects of this track are particularly interesting: firstly, the way this surprisingly complex and varied track is predominantly built around a simple one bar motif shows enormous compositional skill from Matsueda and Eguchi; secondly, the occurrence of several interludes whereby a more ethnic-influenced passage involving tribal flutes and bagpipes leads shows uttermost creativity where instrumentation is concerned, particularly against the synth sound that is principally utilised in this track (as first-rate as it may be). This one is definitively worth a try and is another distinct 'grower'. Last but not least, outside the Last Mission side of the things, the other vocal theme in the soundtrack, "To You" is quite an odd one out, to be honest. First, it is actually sung entirely in Japanese by Mayuko Aoki, famous as Yuna's voice in the Japanese version of Final Fantasy X and Final Fantasy X-2. If you hate Jade's voice then this will probably serve as good news to you. Second, it is the only vocal adaptation from this soundtrack not to be originally part of the Final Fantasy X-2 Original Soundtrack. Instead, it comes from the Final Fantasy X-2 Vocal Collections: Yuna album and is a touching interpretation of "Kime He," the vocal arrangement of the popular "Yuna's Ballad" from the Final Fantasy X-2 Original Soundtrack. Confused? Don't be... So, what exactly is this theme actually like? If anything I would define it by the status of 'hidden gem' in that it isn't exactly as outwardly as enjoyable as the other vocal themes but is full of long-term cherishment after you accustom to it. Aoki's voice is most definitely an asset to the track, being tender and beautiful throughout and offering something different aside from Jade's voice. In addition, the light accompaniment throughout, particularly from the piano, can be described simply as 'lovely'. This worked so well in the International version of Final Fantasy X-2 in a lengthy wrap featuring at the very end of the game; it really was a fitting way to end a saga that is Final Fantasy X and Final Fantasy X-2. SummaryIf the review didn't state this quite decisively enough already then I will clarify once more what it is imperative for you to do: yup, buy this Original Soundtrack! It doesn't matter whether or not you were a fan of the Final Fantasy X-2 Original Soundtrack before, considering this is very different, both in terms of style and of overall quality. If you were a fan of its predecessor then expect to be flabbergasted once more and if you weren't then you will almost certainly be pleasantly surprised; it is self-evident that this Original Soundtrack stands out much more prominently than its predecessor for its overall musical goodness. Don't let its predecessor alienate you! Hats really should go off to Matsueda and Eguchi for this masterful achievement; indeed, they are back on top form after a weak soundtrack that preceded it! This is an investment that really ought to be made. You will not regret it! Percentage Overall Score: 90% |
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