ReMix:Final Fantasy VIII "Even Ill Omens Need a Break" 5:27

Gotta keep things brief again because OCR's MAGFest panel is in a few hours, but we've got a super-transformative trip-hop & jazz piece from The Vodoú Queen & crew off of Final Fantasy VIII: SeeDs of Pandora! It's trite to say because I'm an internet elder at this point, but whatever: this is a vibe. :-) Let's break down the roles:

• The Vodoú Queen: arrangement, lyrics, vocals, mixing, production
• dpMusicman: piano
• Gamer of the Winds: flute
• SirCorn: tenor saxophone
• Shea's Violin: violin
• TSori: trumpet

I said this was transformative, so let's include VQ's handy source usage breakdown to illuminate things for those of you bold enough to compare "Premonition" with her arrangement:

"Parts from the source used (all adjusted to "Premonition's" key signature as Bb major/G minor):

* "Premonition" = whole song at various points
* "Succession of Witches" = 0:00-0:15 (piano keys in the original source turned into marimba/glockenspiel in remix)

Source Breakdown:

* 0:24-1:10 = the beginning of "Premonition", with additional vocal ad-libs/chops and live violin paired with synth violins and acoustic guitar
* 1:11-2:05 = paired marimbas/glockenspiel plays slowed-down versions of "Succession of Witches'" beginning keys, slightly modified, along with "Premonition" main and additional live instruments improvising with the melody (e.g. flute)
* 2:06-2:50 = live horns and sax paired with synths and live flute bridge up to the main chorus of "Premonition"
* 2:51-4:07 = plays on-par with "Premonition" original source, albeit with additional live instruments, hip-hop drum vibes, lo-fi organ, and castanets
* 4:08-5:01 = fully improvised section -- "Interlude" -- the horn parts written with "Premonition" melody in mind; upright bass and guitar strums play "Succession of Witches" (~0:00-0:15) as soft plucks in the background
* 5:02-5:28 = we end with the recognizable verse of "Premonition", as if we started right back at the very beginning after the record skipped..."

The source usage breakdown was very helpful, so thanks for that! Judge MindWanderer observed: "Such a strange arrangement, almost stream-of-consciousness", which is a huge testament to its spontaneus-sounding energy. I've heard odd stuff back in the mid-90s like UK trip-hop band Baby Fox (e.g. "Curlylocks" and "In Your Dreams"), so while this obviously isn't a 1-for-1 style analogy, I'm all about swimming in the jazzy, trippy murk here! VQ was particularly proud of this arrangement, deservedly so:

"Okay... Firstly, this track -- out of the *three* I've done for the album -- I think is my proudest labor of love. ...I don't know if I should say or call it my current "magnum opus", but it does feel like a great culmination of time and effort I've taken since September 2020 to learn the art of music production, theory, and the science of mixing. It's almost like... it has all finally started to click (to a degree, still lots to learn, mistakes made, and help along the way), but the encouragement and freedom to express has really pushed my all and my knowledge with this remix of "Premonition".

Similar to "FLWV", this started out quite small. I was already transposing/transcribing/chopping up "FLWV" and "Premonition's" MIDIs for some initial ideas for "The Extreme" remix, working *a lot* with the Sorceresses' themes from the original soundtrack. (I've got an odd interest and keenness on their lore, theories, image, and allegories between the game and real-life source inspiration). I placed "FLWV's" haunting piano-hits into the beginnings of "Prem's" intimidating soundscape, and... paired with me messing with various vibraphone/bell/chime-sounds from LABS and Kontakt, and making a lot of lo-fi hip hop tracks recently, it turned into this.

My initial idea for "Premonition" was, actually, some sort of hilarious version in ska/reggae. I *might* still take up doing that as a remix, but playing with this arrangement's MIDI came smack in the middle of me doing a piece for Newgrounds' NGUAC and NGADM at the same time. In juggling those, I turned to studying old blues and jazz records, some of the stuff my parents used to listen to when I was a kid (Pat Metheny, being a big one). I was looking for melodical inspiration, and some stuff by The Fugees, Nujabes, and other similar-esque hip-hop artists for the "vibes" and atmosphere. Therein came the *spark* to do "Prem" in that genre, instead, with a hefty lean towards jazz. (I was in an "everything must have sax/brass" mood. xD) Jazz, but with a creepy sound design fitting for a sorceress...

I really do hope people can hear the difference and my skills getting better and stronger step-by-step, with each of the three songs, and I hope people enjoy them all. This was a blessing on all fronts: from the timing, to the happy volunteering of live performances, to the "lightning in a bottle"-effect I felt once again embracing and listening to several artists I truly love and aspire to. John Coltrane, Miles Davis, Yusef Lateef, Maze, Jerome Najee Rasheed - it was a pleasure and an honor to try and do something akin to their iconic sound roots, styles, and leitmotifs, and to equally come out with something I feel is very "me" -- in developing my own style -- as a chaotically-filled bundle of soulful funkyness. <3

Once again, shout-out to Jorito and DFW for giving me the chance and opportunity to do this. And a HUMONGOUS cheers to dpMusicman, Gamer of the Winds, SirCorn, Shea, and TSori for their positively wonderful live recordings woven into this song. I really don't think it would have came this far and been this unique without their input.

Thank you so much, from the bottom of my heart. :)

[*NOTE: Also, FWIW, as I guess a bit of Easter egg about the remix's title, "ill omen" is a reference to witches/warlocks/sorcerers/etc. being referred to as such in Europe and in the Colonial-era U.S., with the hunts and trials. Many times, black birds and cats were associated with them (like Ultimecia's wings), and were said to be a prelude to bad tidings, and were associated heavily with witchcraft. I also tried to carefully choose the ad-libs in the song to tie to the sorceresses in-game, with their ability of foresight and independence/disdain from and for society.]"

Judge Chimpazilla was engrossed with this one and provided a nice "atta-girl" for The Vodoú Queen, who has even more FF8: SeeDs of Pandora material that'll eventually be showcased on the front page as well:

"What a unique collection of sounds, effects, sfx and vocal chops all with an awesome chill vibe. I love weird arrangements like this; they tell a story and I really dig that. We all appreciate the source breakdown, that sure makes things easier. [...]

I really do like the eclectic combination of instruments and sounds. The arrangement stays fresh all the way through. Elements are layered in unique ways and everything fits together really well both in sound choices and mixing/balancing. The writing is really creative and fun. Drums sound great when the groove starts up at 1:43. I thought the arrangement was over after the record scratch, but that tapestop outro is the perfect ending to this varied mix. Mixing and mastering are working well overall. Lots of fun, tons of creativity here. Love it, nice work."

My friends, I dunno what I heard (creepy jazz?!?), but I dig it. :-D Loved the female vocal snippets used in the intro and was glad they were so involved for the first couple of minutes; there's a ton of other creative sound design here to bask in and enjoy, and you never know where you're going to end up, but you know it'll be interesting and intriguing along the way. The live instruments strewn throughout mean that the arrangement's always full of dynamism. Just seeing all of these jazz and lo-fi influences mentioned here, it's apparent VQ is a huge student of the game and always aiming to add more techniques and approaches to her arsenal. Very nice work by Angélique & crew; we're proud of you too! :-)