This is unfortunate, but the inevitable consequences of adopting a style that is not always enjoyed by gamers to a series that, with the possible exception of most of Koji Hayama's contributions to Front Mission 3, has always been known principally for its militaristic tracks and largely acoustic instrumentation. The score is, quite simply, completely inaccessible to over 99% of the population, at least in terms of a stand-alone listening experience. Arai succeeded in creating an experiment, certainly, but is this score really capable of being appreciating for anything beyond its experimental qualities? Body Defining the overall success of musical experiments can be difficult, as an assessment of musical accessibility is rarely an accurate assessment of the inspiration, appropriateness, and musical refinement of the score, and indeed this simple fact cannot be more true here.
He had already made one published composition to Sega Touring Car Championship, but found this project too limiting, so used this opportunity not only to use his other two inspired yet rejected tracks from that score here, but to experiment to the full. Riow Arai, was given a free-license to create a largely techno-based score by the game's producer, but also to experiment as much as he already liked. The artist employed to create this score was neither a Square Enix employee nor a game musician at any other company, rather someone who seems generally disinterested in game music, a self-taught electronica musician that now specialises in producing mainstream dance music solo albums. It's completely different to all other Front Mission scores, neither being militaristic or especially melodic, but rather something completely alternative. Front Mission Alternative is the biggest anomaly in Square Enix's wide discography to date.
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