What does The White Mages sound like?

Organic piano, acoustic guitar, string, wind chimes, and a few windy synth arrangements of Final Fantasy music.

The review of ‘Ode to Final Fantasy’ by The White Mages

We already have metal band The Black Mages, formed by three of the series’ composers, and now Peter Broderick presents us with The White Mages. A folk-laden counterpoint to the metal and rock alternative, The White Mages takes on the more delicate or acoustic-driven sections of Final Fantasy soundtracks. Whilst some are quite close to the originals, others are more personal interpretations. As a whole, the selection on ‘Ode to Final Fantasy’ is a fantastic starter pack for what could turn into a fabulous arrangement series.

‘Eternity, Memory of Lightwaves’ kicks off the album beautifully with the rich, evocative piano intro of Final Fantasy X-2. Synths drape elements of the arrangement that start off as wind chimes before crystallising into something more shimmery and tonal. This sample pops up across the album, and I keep thinking we’re going to get a delicate tinkle, and instead it’s an icy, slightly ear-piercing synth. It is possibly the only production issue that doesn’t melt nicely into the recordings, but I’ve gotten used to it over repeated listens. The violin strings on ‘The Promise’ are richer and more nuanced as they are real, not synthesised. Peter’s vocals are layered and soft, bringing a vocal pop style to the Final Fantasy XIII ballad. Its tender approach keeps in line with the original, whilst sounding very different.

‘Freya’s Theme’ is one of the more direct arrangements, but the instrumentation is gorgeous. Using folk wind blaggards to sing the whimsical main melody over skipping arps is a beautiful touch. It’s like the original has been given a live instrumental arrangement, and it works a treat. Taking the same approach but with a different sound is the tense and percussive ‘Under the Rotting Pizza’. This mixes live drums with breath work from Peter to create a stealthy danger, whilst the violin carries the original synth melody. It’s still got grit, but it finds it in a new, inventive way. ‘Hymn of the Fayth’ is turned into a solemn Nordic vocal performance crossed over with a monastery-born resilience. As it’s Peter’s voice layered into a collective aura, the all-male approach gives it that Tibetan tone. Instead of additional strings, a lone airy tone hums out underneath. It’s a beautiful arrangement.

Stepping into a playful light, The White Mages take on the ‘Chocobo Theme’ is a unique one. Honky tonk piano, egg shakers, jaunty violin, and strange bird sounds make this a childlike toybox rendition. I’m reminded of Yasunori Mitsuda’s HakoNiWa Soundtrack. So pure, and full of wonder. Meanwhile, ‘Aerith’s Theme’ takes the less-is-more approach with sumptuous piano, violin, and xylophone. It is delicate and lives up to the daunting emotional highs of a fully orchestrated arrangement.

It’s when Peter and The White Mages try the lesser arranged tracks that I get particularly excited. ‘Listen to the Cries of the Planet’ is a track that is hardly ever arranged, but this is a standout performance. From the slow-motion rave of confusion, Peter uses his own voice and the violin to create spooky ooh’s and off-kilter pizzicato plucks. It’s a clever mesh of organic and electronic instrumentation that works very well. Similarly, ‘Atonement’ takes an organ, violin, xylophone, and vocal approach to the original, making it sound more ethereal than gothic or holy. ‘Melodies of Life’ is played over lapping ocean waves with acoustic guitar, English language lyrics, but with an almost Hawaiian or Okinawan folk arrangement. Gentle hand percussion keeps a rhythm, and Peter’s clean and soft vocals have a sunset campfire quality to them. By keeping the music so clean and crisp, the arrangement has an innocence and purity that an overblown production would drown out. The album then rounds off with a piano, violin and chime arrangement of ‘The Prelude’.

I think this is a lovely collection of arrangements, and what I love most about them are the less-trodden paths they take. The pure and simple approach lets the melody do the work. I appreciate the creative ways Peter injects different instruments or styles into the arrangements, whilst keeping the spirit of the original intact. If this becomes a series, there are so many deep cuts that I’d love to hear get The White Mages treatment. It’s also worth noting that The White Mages and Erased Tapes pledge to donate half of all proceeds from the album to Doctors Without Borders. Great music and a worthy cause.

Recommended track: Melodies of Life

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