ReMix: Tsugunai: Atonement 'Static Wonderland'

So, Otakon happened over the weekend, as did a brief little OCR shindig/get together at a fine Hooters dining franchise - this crazy fella's idea, coordinated by this lovely lady, with brother nazgul donning his OCR tee in style, and a cameo appearance by Harmony himself, who actually DOES have a physical manifestation, contrary to popular belief. We will eventually prove likewise for this photophobic lad, to be sure. So, then, if you're like me, and I know I am, you haven't head of Tsugunai, or caught something only in passing. This quiet PS2 RPG from Atlus did, however, have a not-so-quiet score from none other than Yasunori Mitsuda, whom you hopefully HAVE heard of. You know... he did those soundtracks... for those games... and worked with that other guy. Nevermind. It's honestly rather cool that ktriton and Mr. Pacaud have covered this, as it's excellent music from an excellent composer which might otherwise have gone less noticed, even by established fans. It's actually a smorgasbord of Mitsuda esoterica, not just from Tsugunai, as ktriton explains:

"Yeah, so basically this was an idea I started forever and a half ago. I never finished it because I am amazing at slacking off. The remix takes into account a variety of lesser-covered Mitsuda soundtracks—prime among them being the Tsugunai: Atonement soundtrack (which I thought was great). Other sources and shout-outs include Xenosaga, Magic Pengel 2, Xenogears, and Shadow Hearts. Interpret the title and the static as you will, I’m not going to say anything about that. What I will say, however, is that this remix wouldn’t be half of what it is without Christian’s help. Even though I was forced at gunpoint to let him record the bass, this remix would sound probably three to four times crappier than it is if it wasn’t for his help with production. So thank you Christian for the bass track and all the production help! Hope you guys enjoy this! "

With Christian adding:

"When I first heard a WIP of this mix, the first thing I noticed, besides all the piano and synth goodness, was that the bass lines were... sexy. I basically forced Kunal at gunpoint to let me play the bass on this mix. Hopefully it has been for the best! I mostly played what was sent to me with some additional touches here and there, so this is all ktriton's show. Go K !"

Special K, indeed. It's late, and the judges had lots to say, so I'm gonna rest on my laurels a bit and let da panel do da talkin', starting with zyko:

"the leads are fantastic... kunal, my friend, you are magnificently talented and i love to listen to your work. you vary it up a lot... you have at least 4 or 5 different lead instruments throughout the thing and they give a distinct world feel to them - the accordian, cello and that crystally synth lead are SECKS goin interchanging with the introductinos of such distinctly different melodies. smart stuff."

So, SECKS then. I think that's related to RAD TIMBALE LICKS, but I'm not 100% sure. Shariq writes:

"Some of the instruments are really amazing. The bass certainly stands out and acts as a reminder that try as we might, good live bass is difficult to find a substitute for. It’s a little loud and jumps out of its place at a few points during 3:06-3:47 but like I’d forgive a beautiful woman for just about anything, so it is with that bass. The accordion, the congas and the piano are equally as forgivable (although little forgiveness is required). I’m trying to place those drums…Sonic Implants? Wherever they are from, they are pretty slick as well. I would have liked a little more full of a sound during The “Last Battle” jazz style melody at 4:43 is a great subtle touch that keeps the arrangement flowing right along and 5:20-6:33 is beautiful guys."

Gray chimes in as the most succinct voice, with his amazingly direct:

"Excellent in all categories. A little too much reverb though."

For my money, since a play by play is largely unnecessary and this should be an easy sell to all Mitsuda fans and anyone simply looking some excellent instrumental work, I'll add that I certainly dug the piece like the rest of the panel, though I did feel like the percussion was a bit too soft and left-heavy, exacerbated by perhaps a smidgin' too much verb. However, the drumwork itself is something to write home about, so just pump up the volume beyond what you'd normally do and the situation is mitigated. Excellent, varied, and as weed in particular says, smart stuff; a veritable wonderland.