ReMix: Final Fantasy VI 'Return of the Phoenix'

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Continuing the theme of FF6 mixes from members of the judges panel, next up is Gray's second 'Phoenix' mix, the first being from FF4. The mixer explains:

"The original was in my opinion more carefree - I've changed it to a more dramatic, thoughtful new age symphonic piece with orchestral and electronic elements. Structure, form and rhythm have been changed significantly, lots of new compositional elements, along with new intro and ending sections. This was somewhat inspired by an idea I had to try to combine some Castlevania musical elements into a Final Fantasy 6 mix. Enjoy.

I think that last line specifically helps explain some of the surprising, risky, and cool electronic stuffs happening here, as at a certain point the mixes takes off and gets pretty electro and edgy; I can hear how inviting the Belmonts into Squareland could have ended up conjuring such textures. Up until 1'22" you've got a normal, high-quality GL orchestral piece going on, with uber-dramatic percussion, thick strings, and generally elaborate, lush arrangement, but then a solo female vocal enters, accompanied by a rapid synth arpeggio and more electronic rhythmic colors, with the peggio speedin' up to double-time at the two-minute mark, leading into a build that resolves and is followed by... pitch-bent oriental strings? Sure, why not. Hey, he makes it work, and even manages to use the last minute or so to change the tone to decisively triumphant and achieve a nice harmonic closure. Don't know what he's using, here, but the solo female vocal here adds a lot, giving the piece an ethereal-yet-worldly, victorious feeling to it. Some of the intervals can be likened to pieces of Zimmer's Gladiator score, and if there's one thing Gray isn't shy about, it's making his percussion loud and giving it a lot of well-earned emphasis. Can't blame him; if I'd put together a rhythm track like this, I wouldn't let it get buried either. Plus, I think drama and general over-the-topness is part of the nature of the piece, regardless. Flute flares, bells (but of course), harps that ain't afraid to glissando, well-mixed brass, and an arrangement that throws all of these myriad musical tools around fluidly - great, elaborate stuff that definitely takes risks, more than usual for GL, and is singular, striking, and memorable.

― djpretzel