After looking through my exhaustive music library, it turns out that to date I only have nine pieces of Chrono series remixes in my permanent collection, two of which are midis. It is the original scores that I love, not the fan music, and any attempt at a remix has to tickle my fancy in exactly the right way, or I simply will not acknowledge it. Add to that the rather immense pool of substandard remix fare, and the fact that there are a few good remixes out there that I’ve simply yet to hear, and, therefore, I have only the nine pieces out of hundreds of Chrono series remixes. At least this makes it is easier for me to choose two favorites.
In the interest of science, I loaded up all ten remixes and listened to them in turn, winnowing down the field in just two rounds. Before talking about the two I chose, I want to give an honorable mention to “Team Gato,” by Dale North and Mustin, and “Chrono Trigger Tribute Mix,” by D. Ingram.
“CT Blues,” by Schizophrenic Techno-Penguin #827 (1999, Videogame Music Archive)
The best remixes bring new perspective to the same old songs. “CT Blues” is a medley that invokes the melodies of roughly a dozen pieces in soft jazz style, which the artist interprets as blues. What really stands out about this remix is the wide range of moods that it reaches all within a single motif, which demonstrates the artist’s grasp of some passionate but genuinely involved techniques.
As I see it, the remix as a whole is meant to take the listener on a visit to the events of the game and consider them in a new light, with new emotional associations that invite listeners to reflect upon the story with a new perspective. The trick to this, as best as I can explain it, is that the source material is often significantly restructured and sometimes completely changed in emotional mood. The listener is unlikely to benefit from this without a good familiarity with the events and music of Chrono Trigger, as the new perspective does not have much substance of its own, instead relying upon the framework already established by the game. Really, what it means is that listening to this remix is like remembering all the fondest memories of this exceptional game.
The restructuring is so radical in some instances that you might have trouble identifying the original piece. That can backfire easily, but not in this case. Instead it can be a pleasure to get lost in the music for a few moments, knowing that, whatever it is, it’s Chrono Trigger, and that the next melody is just around the corner, besides. This causes the itch of hearing something familiar but not quite being able pin it down. Meanwhile, many of the melodies are immediately recognizable, which prevents these moments of intentional vagueness from causing helplessness in the listener.
Fans of Maestro Yasunori Mitsuda know that his work is very compatible with itself, which makes it feasible for some songs to be overlapped. This is noticeable early in, at 0’45”, when highly loyal remixes of “Remains of Factory” and “Manoria Cathedral” are played beneath an excerpt of “Battle with Magus,” which itself is simply an introduction to a liberal rendition of “Wind Scene.” The author favors this technique and incorporates it into most of the length of the remix.
However, in a delicious contrast, the most pivotal moment in the entire remix comes immediately after the aforementioned flurry of melodies, which give way at 1’42” to a piano solo of “Corridors of Time.” This interlude prevents the listener from succumbing to melodic overkill and invites a sense of easiness and poignancy in the remix’s overall tone, which establishes a layered fullness that would otherwise consign this piece of work to a much shallower realm.
While the remix as a whole is a bit sloppy in its execution—suggesting a capable but inexperienced artist—the first half of “CT Blues” is much more listenable than the second half, because starting at roughly 4’05” the artist makes the cringe-inducing mistake of sustain-pedal overkill. Indeed, there are more sustain pedals than release pedals in this song, which is never a good thing. Many of this song’s structural shortcomings are more egregious technically, but this one is the most conspicuous and harmful. It interjects far too much energy into the second half of the remix and brings things to the point of harmonic overload. Be tolerant and try to overlook this flaw, because some fine melodic interpretations will otherwise go missed.
Other elements that add to this description of “sloppy” execution include some rough edges in the compatibility between simultaneous melodies, a rather uninspired bass and percussion accompaniment that aim for “blues” but hit “lazy,” and the use of seventeen instruments, which could probably be tightened to promote continuity.
Given that “CT Blues is a medley,” I would be remiss not to put in a word about transitions. A good transition preserves the mood and the dignity of a medley. This remix features a good number of transitions, some of which are more artificial than suits the mood. A few are outright jarring. Most, however, accomplish the important feat of going unnoticed, while a few of the best actively participate in advancing the overall theme.
My personal liking for this remix is manifold. Firstly, the aforementioned “Corridors of Time” remix is simply the best I’ve heard for what is perhaps the most remixed song in the video game universe. Secondly, the “Robo’s Theme” rendition at 3’14” is a particularly uplifting and optimistic counterpoint to an otherwise bittersweet remix—especially for a “blues” medley, which just goes to show how comfortable the artist is with the genre. Thirdly, I have a real soft spot for Chrono remixes that end with the ticking clock sound effect and an allusion to the classic “Presentiment,” which comes in at 6’29.” This is an excellent dénouement, but is unfortunately marred by one last rogue sustain pedal.
Beyond these specific points of interest in the remixing, I also appreciate the loyalty with which the melodies are preserved, which is essential given how radically some of the source material is restructured to fit the jazz style. I think the most rewarding aspect of “CT Blues” in the long run has been my trying to go back and identify just what exactly is being remixed, straining my ears to single out one melody out of several at a time. To this day I still haven’t got them all figured out.
The progressiveness of this remix is also a good accomplishment. Listen to one part and then skip ninety seconds ahead, and you wouldn’t be able to tell that it’s the same song. Same genre, yes. Same mood, yes. Same style, yes. Same artist…maybe. But same song, nope. It is both continuous and progressive, and I like that.
“CT Blues” is definitely worth a listen. Its ultimate accomplishment is its reminiscence of a truly outstanding game. It wouldn’t be much of a song without Chrono Trigger there to provide the imagery.
“Song of the Mountain,” by Urza (2003, Overclocked Remix)
I have to get up in three hours, so I’m going to leave this one for another time. I’ll be back to edit this eventually.
~ Josh