Origins of "Original Sin"?

No, not the Christian theological concept, though the origins of said concept are mildly interesting. I’m talking about this, which is claimed to be an outtake track from Final Fantasy X:

Supposedly, these two minutes of badassery were intended as a final boss theme, but was replaced by the incoherent piano mess used in the actual game. (Which, if true, really kind of sums up everything about that game, doesn’t it?)
But two things make me suspicious. First, the instrument quality is notably lower than the game, especially when it starts referencing “Hymn of the Fayth” at around 1:25. That might be because it’s a draft and they were planning to replace the instrument samples, or it could be because it’s a fanmade remix. The other, bigger, reason is that I can’t find any sources whatsoever on where it came from. It’s not on the tracklists for any of the soundtrack albums, none of the sites or YouTube videos that have it mention where they found it, so where’s it from? It’s possible it was extracted from dummied out game data or something, but that kind of belies the notion that it was a draft (since why would they have put it in the game before it was finished?) and I can’t imagine a AAA game released in 2001 using that SNES-calibre “waa” voice this does for “Hymn of the Fayth.”
If anyone has any sources on where it came from, let me know?
Regardless, it’s a really good track from or based on a shit game* that mostly has shit music. Enjoy!
*Well, okay. The gameplay actually has some notable improvements on past Final Fantasies–the sphere grid is a good balance between customizability and preventing the characters from being completely interchangeable, and the ability to swap characters out at will is nice. But there’s no excuse for still having random encounters in 2001 CE, none of the characters are remotely interesting, the story is a thematically incoherent, aimless meander through an arbitrary series of plot gates, and the voice acting on the English version is laughably terrible.

Have a playlist

So… thanks to a number of issues, I have pretty much fubarred this week, and I apologize. The fuckupery has reached the point where this is actually Tuesday’s post, even though it is going up Wednesday morning, while Wednesday’s post will go up some time in the evening, and then hopefully that will bring the planets back into alignment and the flow of time will again proceed in a normal, ordinary fashion through Thursday and Friday’s posts.

Also I’ve had to delay the last Fundamentals post and the post about #GamerGate they were building up to, because I’ve been to fatigue to maintain function in the requisite thinky bits.

Oh, and I’ll also finally get the Kill la Kill liveblog up this evening, too. Sorry about that.

So, much of the music in the Xenosaga series is really, really good. I mean, you’ve got Yasunori Mitsuda and Yuki Kajiura, how could it be bad?

The answer is “quite easily,” because some of the music in the Xenosaga series is fucking terrible. (Especially everything in Xenosaga II that wasn’t a cutscene, because somebody other than Kajiura did all the actual gameplay, and they did a terrible job.) Also both the actually good composers occasionally like to dabble in styles they really shouldn’t, like atmospheric droning noises, elevator music, and some weird twinkly variant of techno that I’m sure has a name and equally sure I don’t care, because it’s weird, twinkly, and techno.

However, everything good in the series would make a ridiculously long playlist, so I went a bit narrower than that. Here, then, is the Best Parts Version of the Xenosaga soundtrack, clocking in at 2 hours and 12 minutes.

“Rains of Castamere”

Game of Thrones is getting increasingly clever in its use of the rather mournful “Rains of Castamere” as a leitmotif for the mounting tragedy of the Lannister clan. Best use to date, I think, was the most recent episode, where the “And so he spoke, and so he spoke” part, played on cellos, emerges out of the mostly unrelated background music immediately after Tyrion’s (amazing, potentially Emmy-worthy) speech at the end of his trial, leading into a full, cello-heavy instrumental version playing behind the ending credits. Ramin Djawadi, the composer for the series, doesn’t get anywhere near enough credit, in my opinion.