I have no idea who Yasunori Mitsuda is. But if Julian Wass, .L.W.H., FRIENDZONE, Keyboard Kid, N.G., and Ryan Hemsworth (amongst others) took the time to honor him, maybe I should. Released on Lefse records, MITSUDA follows some of the community’s most prolific and proficient artists to pay homage to the video game composer of the same name.
I’m terribly interested to hear exactly how this project spawned; we so rarely get a view behind the curtain on concept projects like this. This one, though, raises about as many questions as it answers. How did each of these artists come into contact with Mitsuda’s work? What about his sounds are so inspiring? Why pay homage now? The one question, though, that this tape answers conclusively is, to me, the most important one: how does one combine diverse talents on one tape to create a coherent piece of music?
My guess is that conceptual integrity + talent = coherence. No track stands out above the rest. No beat resonates harder. No pitch elevates the sensations more than another. And that isn’t to say that you’re in for a monotonous trip to nowhere. You’re in for a ride, driven by some of the most talented people you can think of, towards the common goal of honoring someone important in the community. This same community, is now forced to expand. Take me, for example. Before this, I had no idea who Yasunori Mitsuda is. But, because of this tape, I’ll spend the time I need to become acquainted with his work. And that’ll spread. Other will do the same.
Anyone who listens to the contributing artists’ work (in general) will be forced to expand their own musical spheres to include a larger body of work. To try to understand the entirety of the musicality portrayed on this album wouldn’t make sense. Suffice it to say, though, that a conceptual integrity surrounding fantastical whimsy envelopes this tape. The true force, though, behind this tape, in my mind, is its ability to grow our musical minds. We live in a world where the boxes that contain genres are speedily overflowing, bringing in elements from any and all adjacent genres. This tape has a similar effect, but in a more honest, complacent way. MITSUDA forces us to integrate the sounds of gaming into our dialogue.
And that’s no small feat. The music in games is incredibly important, but has never been honored as a pure art form. If we accept this tape (and we should), then we implicitly accept the widening of our dialogue to include not only a new genre into another, but we also include a new genre into the larger dialogue of music in general.
***No Big Deal, MITSUDA Just Forces Us To Look At Music In A Totally New Way, Which Is How I’m Assuming These Artists See The Man Himself***
-CUTT CZAR (HERONALD REAGAN)
FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE