ReMix:Final Fantasy II "Analog Freedom" 3:28

BONKERS really came out swinging for Rebellion; his 'Rebel Dream' was a highlight of our first flood, but this shorter synth-rock jam is just as good, and even channels ELO towards the end with some rapid-fire arpeggio flurries - always a good thing. Here are Nick's abridged (!) comments:

"It's been so long that I don't even remember when I decided to take on the beautiful town theme. It's just THAT blurred together. All I can remember from back then was thinking "What the hell am I going to do with this song?" I had an initial idea to approach it a la "Roaming... Please Wait" with the intro, but change the song into 3/4...

Further time passes, and I ponder, and I ponder. "What can I do that will do the town theme justice? That doesn't destroy the feeling of the original too much?" Straight rock wouldn't work, it'd be too contrasting. Metal is entirely out of the question. 3/4 original concept is outlandish. Eventually, I have an eye-opener. Analog warmth. This one phrase caused an explosion of ideas. I wanted to do this sounding analog, and warm with many retro elements from eras all across the last 50 years, including almost a full NES channel set in there. (Pulse 1 & 2, triangle - though triangle is processed a lot for other reasons.)

So I had my spark. I started creating new effects chains, researched synthesizers, effects (gated plate verb kick/toms, for example), tape saturation, noise, and sounds of all kinds to try and recreate within my limited digital domain. I created new instrument combinations. New instruments. One effect in particular of the 80's that I just absolutely adore and had to find a way to recreate it was what I call "80's Shimmer Guitar." And it's exactly as it sounds. The best example of this effect that I can think of is the 2nd OP to Mobile Suit Zeta Gundam. My creation isn't entirely faithful or the same (it's missing some parts to it), but it was good enough and it was the best I could do.

Song structure-wise, around that time I recalled I had done some analysis on the 90's synth rock ballad version of "Requiem of a Nameless Soul" on the Dracula Battle albums a few years prior. And I thought that that was a brilliant place to start structurally and almost exactly fit a lot of the ideas I had for "Town." And I thought that the intro would mesh well with my intentions. Instead of the song being silent for a measure before the melody kicks in, that measure is used as a pick-up measure for "Town's" melody. And so that's where I started. (Although the actual melodies for "Analog Freedom" would actually be the VERY last part of the music to be recorded. But I'm getting to that.)

This is the first step in reaching my middle ground between creativity and repetition. (Unlike "Rebel Dream," which is completely the opposite and my swan song to progressive rock style'd song structure.) From now on, I hope to make most of my songs this way. Though exceptions will be had depending on what the source calls for.

Time went along and I had more and more ideas, and I refined my instrumental palette more and more. And music started flowing out and out. For the first half of the song, I wrote 100% completely original accompanying lines and counter-melodies of music and did not use any of the original from either Tsuyoshi Sekito's version or Uematsu's Famicom original. But at the same time, I created intentional similarities in rhythm and used similar harmonies in order to retain the feeling of the source. Though that's not to say I completely ignored them. By the time the solo comes around, both Uematsu's original NES pulse wave counter-melody and Sekito's acoustic guitar lines are played at the same time (even though, IIRC, some of the chord tones are not 100% the same). Uematsu's on a NES pulse wave + honky-tonk heavy-chorused piano and organ. And Sekito's on pulse wave + 80's shimmer guitar + heavily-chorused and tremolo'd warm electric guitar.

...I think the song turned out really well for what limitations I had to work in. And, for once, I am truly proud of what I accomplished. Being able to accomplish 90% of what my vision was. Brandon and everyone on the team, as well as my friends and family, have been very supportive the whole time. And I'm incredibly thankful for that. It feels so good to finally feel like this weight is lifted off my figurative shoulders.

I sincerely hope from the bottom of my heart that many people can hopefully enjoy this song and perhaps feel the intention of my vision when listening."

Judges certainly did; Flexstyle writes:

"Wow, that was fantastic. I could nitpick but this song honestly really blew me away when I heard it. It's laden with source, so no worries there. I really love the guitar work in here--worthy of any '80s rock ballad "Best-Of" compilation. The chippy synths in the mix just add some fantastic character. Love the tempo changes and all that."

Chimpazilla adds:

"The lossy master has a warm feel to it, it doesn't bother me too much. Really great performances and sequencing here, arrangement is solid. Lots of fun tempo and time sig ideas. Fun listen!"

A few things to add:

1. I love that Nick took the mix title and the analog concept as far as he could, really embedding & imbuing the whole piece with a vintage warmth.
2. Pivoting, unpredictable arrangement, but doesn't jar - feels more exploratory & unfettered, echoing the second half of the mix title.
3. Mellotron cameo!?!
4. While the overall piece is quite strong, it finishes really strong, and the energy in the final minute or so is legit epic and makes me smile.

Nick's a "big concept" arranger, and I almost pity him for the extreme amounts of analysis & consideration he puts into his work. Know that it is appreciated! This is the type of exuberant, blinding celebration of music & life that I do kind of associate with certain ELO tracks, and I hope Nick takes that comparison as a compliment, because that's certainly how it's intended. Fantastic.