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Other Game Music

That went fairly well, actually. I don't mind the coding-esque style, and everything seems to embed just fine. This next post is not on the archive site, but was initially posted just before the migration (I kept a copy of the post as a precaution).

After seeing today's announcement, I was hesitant to do a feature today just in case, but I'm presuming it will still be here afterwards, so here we go.

We conclude this month's series with one last OST, Silent Hill 4: The Room. I specifically say "OST," due to a peculiarity of this entry that is not usually relevant to my features. Usually "OST" can be synonymous with "soundtrack," with the distinction being that the former technically refers to official releases, while the latter consists of what is actually present in the media. Occasionally, unused tracks or bonus arrangements are included in an OST, but usually sequestered off from the main body of the soundtrack contained therein. In the case of Silent Hill 4, however, the OST album is apparently rife with compositions that have no presence in the game itself, and are mixed into the actual soundtrack without proper attribution.

While not technically a problem, the situation did force me to consider what my intent with these features is. It is not particularly rare for me to share unused tracks, but more as a bonus than as necessarily representative of the actual soundtrack. Yet in this case, I'm not sure that the additional compositions aren't intended to contribute to the overall experience; they may be mere extras that didn't make the cut, or they may be important context to the rest. I saw a comment somewhere that claimed Yamaoka composed his music for this particular game before he'd been told anything about it (or something along those lines); if that is true (and I don't know if it is), then perhaps the OST represents the full soundtrack as a project, even if only parts of it were applied to the game. Ultimately, I can't be sure.

Based on what I could verify, at least one of these tracks is not used in-game, and three of them definitely are; the remaining one I couldn't find conclusive citation for. All bear the characteristics of Yamaoka's style, if not the series as a whole.







At its core, the horror genre is defined by its intent to disturb and unsettle; literally, to horrify. As one who bases their epistemology and worldview upon the Bible, I tend to view horror as lacking in edifying application, and my reservations are only reinforced by the frequent presence of more obviously problematic elements (such as the common association between horror and sexual immorality). That being said, I desire my convictions to be objectively founded, rather than impulsive. I've previously demonstrated how the horror aesthetic can be applied beyond the confines of its initial function, and with this feature series I've attempted to engage it closer to home to respect its more technical accomplishments. I still hesitate to acknowledge potential of productivity, as even in the examples I've engaged with there remains the question of whether whatever achievements were present could not have been otherwise accomplished. Nevertheless, I can and will offer my appreciation where it is due: Akira Yamaoka is a talented composer, and his compositions are uniquely effective in what he intends for them. I respect what he has accomplished, even if it is outside of what I would normally be comfortable engaging with.
 
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This song starts out slow and nice but really PEAKS near the end at 1:40. The track is nice over all, I just really enjoyed the Flute part near the end and I think it nice way to end the track out with.

(Great game btw)
 


Another slow starter but quite the JAM about 1:30 into the song. The mix between organ, violin, and guitar when all are combined... Absolute EXCELLENCE!

(Last one I'll post on Eiyuden)
 
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I have officially finished "repairing" my posts in the major music threads, as well as a few other threads I've contributed to. Link-centric posts from other forum members are still in various states of disrepair, and as some of those members are no longer active they are likely to remain that way; for as long as the archive is active, their past contributions will be preserved there. Regardless, I am ready to resume my standard activities next week. I have a Fracture Feature right now, though, inspired by the recollections of past postings.
The Messenger does not get enough attention for its music, even with Sea of Stars revitalizing it a bit. It took over eight years for my favorite track to get a proper remix. That being said, I'm inclined to say it was worth the wait. Remix Rampage has done several other remixes from the game as well, which I would definitely recommend checking out.

Cave Story, on the other hand, has a decent supply of quality arrangements, even beyond its alternate soundtrack projects. None have impressed me quite as much as this one from Marcato Sound, though; the cinematic tone perfectly encapsulates and elevates the features of the original piece, and serves as a fitting homage to the game as a whole.


Just two for this one. I'll be back for a Ressurection Day post on the general music thread tomorrow, and then a proper OGM feature next Wednesday. Shalom, y'all!
 
The first Everhood established itself as a singularly unique experience above all else, evident in every aspect thereof, including its music. I was surprised when the developers announced a sequel, given it didn't seem like the kind of project that could be continued, but I was nonetheless intrigued, and greatly anticipated its release. Sure enough, Everhood 2 came accompanied by an OST nearly twice as long as its predecessor, but with every bit as much chaotic genius. Composer Cazok takes precedence over Chris Nordgren this time, with significant contributions from newcomer Stewart Keller and returning artist KM_EXP. Compositions range from relatively straightforward mood setters to imaginatively memorable combat themes, with the anticipated sprinkling of confusingly constructed experimental tracks which defy standard musical taxonomy. The quality I had come to expect from the first soundtrack is maintained throughout the second, making it difficult to pick through for a feature; overall I can say I'm more than satified, and look forward to sharing more herefrom at some point in future.






 
My procrastination on this week's feature was due to indecision. I already had the OST and representative tracks planned out in advance; but on the other hand, a recent unexpected release had me inclined toward an opportune alternative. Ultimately I've decided to stick with the first option, and delay the series feature I'd intended for next month in favor of catching up on the soundtracks I didn't get to feature over the hiatus.

So how did I come to find, and subsequently listen to, the soundtrack of Corporate Life Simulator? Certainly not the game in question; what little I know about the title (which is little indeed) does not motivate me to investigate it any further. As it so happens, a specific track was utilized in a completely different game; encountering it there, I was impressed sufficiently to determine the composer Bignic and track down the track's initial origin, which lead me to this OST. The style reminds me of the early 2010's era of indie gaming music, in a good way; the melodies range from simple to creatively adequate, with heavier focus on bombastic presentation. There's a different angle of imagination in these compositions, favoring unusual application of standardized forms as opposed to reinventing them, resulting in something comparable but elevated from higher-tier stock music. It may not measure up to the intricate smorgasbords of more recent VGM, but I'd argue it's still noteworthy in its own right, and certainly fun to listen to regardless.




 
I've always intended to feature The Elder Scrolls IV: Oblivion at some point, just as I'd previously featured Skyrim and Morrowind. I wasn't in any particular rush, however; typically recent released of note take priority over classics, with the month-long series features being my way of balancing between the two. But now the old and the new are met together in Oblivion: Remastered, providing me the perfect opportunity to finally listen through the iconic compositions of Jeremy Soule's second Elder Scrolls soundtrack.

My immediate considerations are those of comparison with my previous experiences, which for once are exactly as I had anticipated. Morrowind's tone was often subdued, possibly reflective of the technological limitations of its time, but retained a sense of serenity. One could intuit the fantastical intentions of it's motifs without priory awareness, but also appreciate them for their own merits. Skyrim showcases a far grander scale of sound; its instrumentation is often far more complex with greater depth to its layering. The potential perceived in its earlier predecessor is more fully realized in both quantity and range, ensuring a diverse and memorable experience throughout. With these two OSTs on either side, it should be not surprise to find that Oblivion strikes a middle road, accomplishing the grandeur of its successor while retaining a nostalgic air. I detect none of the marks of antiquity that characterized Morrowind, yet it still feels overall as a step toward but still below Skyrim. To a certain extent, I perceive this as an advantage; where Skyrim's scope can be intimidating and difficult to encompass, Oblivion feels contained and calculated while still holding the same quality of presentation. While my own nostalgia inclines me to favor the most recent of Soule's contributions, I believe the OST being presented at this time is likely a better representation of his style, being more precisely comprehensive of its varying applications (to which I hope my selection of tracks does justice).




 
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I'm somewhat reluctant to feature Rift of the Necrodancer just yet, for the sole reason that I am still waiting for release of the Shopkeeper variant OST. However, since such is not technically guaranteed, I would prefer to ensure the soundtrack was covered before too much more time had elapsed; I can always return to it later if need be.

In comparison to its predecessors, Rift is relatively subdued in its compositions, favoring dynamic quality over bombastic presentation. I want to emphasize that I respect this direction; ideally continuations in a franchise ought to grow or creatively deviate from their characterizing features, and I believe the music team has accomplished both in this instance. Said team has expanded from Danny Baranowsky and Jules "FamilyJules" Conroy to include Alex Moukala and Josie Brechner, all of whom have contributed significantly. Either by concerted effort, ideal synergy or as mere consequence of even distribution of work, the soundtrack as a whole seems fairly consistent in style. Overall I was very pleased with the releases (aside from the aforementioned neglect of Freddy Merchantry).




yeah I snuck one in there; your welcome ;)
 
Orchestral composition is not particularly unusual in VGM, but the style thereof is usually restricted to specific forms (most commonly cinematic). There's nothing wrong with this, and it might even be considered a sensible formality for compatibility with its intended application. Still, I have occasionally wondered what it would sound like for an OST to be formatted in other, less common styles; say, for example . . . opera? Enter Symphonia, which I perceived from early promotionals to potentially be a manifestation of this concept, and now know to be exactly that. A team of three consisting of Oliver Esman, Lou Corroyer, and Alexandre Bucas-Francais have brought to reality a soundtrack that exhibits the progression styles of Romantic Era composition, and somehow made it work as video game BGM. I can't imagine a more perfect execution of this idea (complete with live orchestral performance by the "Scoring Orchestra of Paris"), and while I doubt it will become any more prevalent than this, I'm nonetheless delighted by the experiment of this instance.




 
After a full year of waiting, Chambers has finally released in early access, bringing with it a proper OST. I arguably should be waiting a bit longer to do a feature, at least till I have more information concerning the musical distinction between this and the demo; but I refuse to put off featuring "Wellwater," so I might as well get a full feature in the mean time.

F4D returns from the developer's previous project Golden Light with an American Western styled funk-rock blend. The tone is heavy-handed in these tracks, even the relatively calmer ones, establishing thereby an underlying atmosphere in varying intensities; this contrasts with my usual experience of different styles being utilized to differentiate status of gameplay or setting, though it's admittedly the same principle at play. I might ironically compare this approach to the Silent Hill franchise, but that could also be proximity bias on my part.

Other contributions from the Chambers: The Outlaw demo remain unaccredited at this time (or at least I couldn't find anything on them), but as some of their tracks have made it to Youtube I'm inclined to figure them in. These contrast sharply with F4D's compositions, being more varied in style while still keeping theme. I appreciate the musical range these tracks add to the overall collection, though I remain uncertain as to the intended effect; perhaps as development on the project continues, I'll get a better idea thereof.



 
The Xenoblade Chronicles series has received a great deal of acclaim for its music, with specific emphasis on its development of leitmotif across its entries; or so I'm told. I'll readily admit to being intimidated by the prospect of listening through three massive JRPG soundtracks while keeping track of the various melodies therein. As impressed as I was by my select forays into the Final Fantasy series, the style standard for such projects is not usually in line with my preferences, towing the line between cinematic and VGM in a way that I find difficult to keep track of. But for all that, I admire their objective quality, and desire better acquaintance with their merits. So this month I'm going to try and make my way through the major entries, and hopefully manage to experience for myself what makes them stand out.

The first game's music team is primarily comprised of Manami Kiyota and a group called ACE+, itself consisting of members Tomori Kudo, Hiroyo Yamanaka (known as "CHiCO") and Kenji Hiramatsu; additionally, Yoko Shimomura contributed significantly. All seemed to work equally in various areas of the soundtrack, even trading off compositions for alternative arrangements; I perceive this isn't uncommon in such projects, but I'm unsure how prevalent the practise is across the industry. The result is a collective ambiguity of overall consistent style, but with the potential advantage of select consistency in a given part. In tone, the soundtrack fairly well rounded; tracks for general events and areas range from reflective, complacently smooth, and energetically joyful, while more intense performances vary from heroic to forboding as need presumably demands. Where the soundtrack especially seems to shine is in individual track progression; compositions are arranged such as to start quickly, but still build up into themselves, each being an impressive performance even outside of context. This is great for me, given I'm often without context and have to judge a track based upon its immediate presentation in the OST.

Picking tracks for this feature was rather difficult; plenty appeal to me as suitably representative, but few stand out beyond the rest. I've tried to highlight each of the composers proportionally, as well as favor certain noteworthy aspects of the project (particularly the day/night variants). I can't help but perceive my choices as unbalanced, but with such a large soundtrack it's probably to be expected; time will tell how it compares to my later selections.









 
Most soundtracks will inevitably contain a mixture of what I will refer to as "max-effort" and "filler" compositions. It isn't usually feasible or even beneficial to dedicate the same level of time and energy to every part of a project. Some parts are objectively more important than others, and thus deserving of more attention; thus resources can be conserved from lesser aspects for the betterment of the whole. To a certain extant, this principle is an important component of my ability to organize these features; provided I can differentiate between the focus and filler tracks, I can prioritize the former to construct an accurate representation of what the full collection has to offer. This is especially important when it comes to larger soundtracks, since the percentage of the project I am able to share is necessarily reduced.

However, Xenoblade Chronicles 2 has given me an unusual amount of trouble in this regard. From the get-go, I was taken aback by the degree of effort I was perceiving in the arrangements. The first major area theme (identifiable by its "night" counterpart) was more fully developed than most late-stage themes from other soundtracks I've heard, featuring a variety of sections and subsections to its progression and motifs. Further on, I encountered the game's first standard combat theme (innocuously titled "Battle!!"), and found it comparable to some end-game conflict themes I'm familiar with. I found it necessary to reorient my perception of "filler" sound as I made my way through the OST to have any hope of picking out specific tracks. Safe to say I came away significantly impressed.

While Shimomura is absent this time around, the other composers from the previous entry return, and are further joined by Yatsunori Mitsuda (Hiramatsu is also creditted separately from the ACE duo). Distribution of work seems better this time around; while a majority of the composition and arrangment is handled by ACE and Hiramatsu, the contributions of Mitsuda and Kiyota are more consistently characterized. Whether I correctly perceive this or not, I did not experience as much confusion over the collection compared to my experiences with the first game, and subsequently less trouble deciding on appropriate tracks for the feature.







 
I doubt many people will listen to this or even see this post but this remix I cannot find on Youtube, online, or anywhere else, so I will share it here. Due to the current situation with Touhou music on Youtube I didn't want to risk uploading it to my channel so I will share it here in the form I originally found it from.

www.mediafire.com

Aya + Reisen Stage&Music

MediaFire is a simple to use free service that lets you put all your photos, documents, music, and video in a single place so you can access them anywhere and share them everywhere.
www.mediafire.com

This file is from MY personal Mediafire acct. because the original link is to a Mugen forum that requires registration to download files. So I spared you that hassle. This is a M.U.G.E.N stage and these 2 stages had these files for the background music.

You don't need to know or do anything else with the stage files. You can delete them if you want.

Both songs are remixes of "We are number one" with both Reisen and Aya's themes respectively.

Personally I Love the Aya version the most. Please enjoy.
 
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I'm inclined to a Fracture Feature today.
This is from another Crypt of the Necrodancer full album remix project, by one "JuurTy." I generally love finding these, and while this particular one is a bit lacking in quality compared to others, there's some genuine imagination in the countermelodies. I picked the "Power Cords" remix as being the least held down by the limited instrumentation.

Hardly a recent discovery, but one which I've neglected to share previously due to lack of proper source, by which I mean past attempts to locate it failed to bring up an official posting. My interest in FNaF's Security Breach is somewhat lacking, so I can't be bothered to find out if Allen Simpson was the sole composer or a contributor; but regardless, this track has stood out to me for some time, and I'd just as soon have it placed here.

A week after I posted a remix of my favorite track from The Messenger, another remix of legendary proportion happened to be published. I am somewhat inclined to forgive the game's fanbase for the minimal supply of musical appreciation, given the amazing quality to be found amongst the limited exhibitions. This particular orchestration was headed by Tyson Wernli, whose previous work has been on my list for a bit; I ought perhaps to prioratize getting to that feature in the near future.
 
Perhaps its title should have made it obvious, but being without context I was unaware how Xenoblade Chronicles X fit in with the rest of the franchise. The answer: it doesn't. I can only assume its inclusion in the series is due to gameplay similarity, as there is little resemblance in any other aspect as far as I can determine. I'd be tempted to call it a spin-off, except the entire Xenoblade Chronicles franchise already qualifies for that, being derivative of the Xenogears series (which was originally composed for by Mitsuda, hence his involvement in this sub-series). Nonetheless, I wouldn't argue with someone classifying this entry as an autonomous production.

The majority of this soundtrack was composed by Hiroyuki Sawano (and I suspect even many of the tracks not directly credited to him were still primarily his work). His style here, whether chosen or habitual, is primarily electronic blended with varying degrees of rock, symphony, and forms of folk. Many of the OST tracks are dynamically arranged, meaning each is a medley of a given theme's variations. As such, mood and progression aren't as clear cut compared to the related series entries, but on the other hand most tracks can represent the wider soundtrack's range individually. Still, I'm not sure but that I prefer the separation of parts in an OST, as it gives me more freedom in selection.

Vocal performance is a significant component of this soundtrack as well. I try to be careful with these, as I am aware of risks in unmindful engagement with certain kinds of songs. In this case, the usage of lyrics seems to be primarily for effect, being added to tracks without being the focus of composition; the exceptions tend to be very clear. I was surprised at the mixture of English and German employed in this Japanese production, especially as I couldn't identify a thematic purpose to it; for all that, the performances are skillfully conducted and unusually varied, so credit where credit is due.

Ultimately, I found this soundtrack impressive for its hybrid sound, and appreciated some of its stronger melodies. However . . . I wonder whether it would have been better to listen through the series in production order, instead of covering X after 2? I suspect I would have been even more impressed without awareness of what 2 would bring to the series later. Considering how distinct X is regardless, however, I will hope that I have not done it too much a disservice by my approach.







 
In hindsight, a soundtrack of such magnitude as Xenoblade Chronicles 3 ought not to have been approached with a deadline; at the very least I wish I had allocated my attention more generously toward it. I'm glad I had additional references to pull from and direct my focus efficiently, otherwise I don't think I'd have been able to do this feature in time. Even so, I do not promise a "sufficient" feature; I'm pushing the limits of a "selection" as is.

For this cumulative effort of the franchise, the full team from 2 is back, and the arrangement work is spread fairly evenly between them all. The soundtrack is rife with motifs and references from previous compositions, but the real backbone of the entire project is its new leitmotifs, which are prevalent throughout its most vital arrangements. I rarely encounter a soundtrack constructed so thoroughly on such a large scale, and am highly respectful of this team's accomplishment. For all the obvious care, however, I can't help but question the efficiency of the project. Presumably each track serves a specific function, and the necessary quantity is set by the scope of the game for which they are manifested, but I do wonder at what point the output outweighs the returns. Then again, the larger team may alleviate potential overbalance (and after all, what do I know?).

Compared to previous entries, 3's style is generally more mellow and reflective, with more upbeat presentation reserved for battle themes. Intensity varies according to setting, but some of the most important tracks are also the most contextualized, making them difficult to fully appreciate through casual listening. Familiarity with previous OSTs is helpful, but the significance of certain motifs may be difficult to grasp regardless. Technically this is perfectly acceptable for a soundtrack, but I am loath to recommend additional research into the context; as much as I appreciate the technical accomplishment and artistic genius of the music, I have multiple issues with the games themselves. My preferred approach would be to seek out videos explaining the underlying meaning within the compositions (I personally found Nicolas Daoust's video especially helpful), but it is ultimately up to the individual what they consider the best use of their time.

I try to keep these features reasonably sized for approachability, but allow myself leeway in proportion. I'm still not happy with the quantity of tracks I've settled on, but I fear cutting any out will negatively impact the flow (which is already shaky at best). Thus, for one of the largest soundtracks I've yet attempted to cover (and possibly the largest I've ever tried to fit into a single feature), I'm stuck with an album-sized selection that should still hopefully indicate the musical value the larger collection has to offer.
An early area theme that does an excellent job setting the tone for the OST as a whole.


One (actually two) of the primary leitmotifs; an entire feature could be dedicated to the application thereof, but I unfortunately don't have the time.


A multi-faceted track featuring another of the primary leitmotifs (all of which were composed by Mitsuda).


An example of Hiramatsu's upbeat style.


The return of Kiyota, and an example of the more standard tone for areas.


An example of ACE's less intense arrangements.


The more intense side of the soundtrack outside of battle themes.


The more intesne side of the soundtrack within the battle themes.


A night theme, and a supplementary showcase of Hiramatsu's softer style (alongside the earlier "Yzana").


A more a-typical arrangement form, in keeping with stylization of different area types.


The standout combat theme, and arguably the finest work the soundtrack has to offer.


Despite myself, I couldn't leave this one out. Oh well; eleven tracks would have been odd anyway.
 
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With last month finally over with, I really needed something easy to recalibrate, and settled on Tim Haywood's Bloons Tower Defense 6 soundtrack. More than the culmination previous entries' efforts, this presently most current installment of the series dispensed with strict adherence to the iconic motif in favor of stylistic variation; while the overall tone remains familiar, each piece gains a more unique identity, and Haywood's talents of composition are made more evident. As the game continues to receive attention from its developers, new arrangements are occasionally added to the OST, but ultimately it remains a pleasantly concise collection, perfect for the casual listening necessary for its associated project (and subsequently for my intentions at this time :).



 
I recall hearing a lot of praise for the music of Skullgirls, but nothing specific enough to prioritize looking into it myself before now. The soundtrack is predominately made up of jazz, medium- to high-energy but not exactly intense (I'm tempted to use contrasting examples, but I'd rather avoid doing that too much). I don't normally hear this kind of jazz in modern OSTs, and I appreciated the contrast this offered thereto. This isn't to say I prefer one sort over the other; while the melody-centric styles remain my preference, the more passive sorts make for excellent background listening, and I'm inclined to mix the two together in my playlists for varience.

I was surprised to realize Michiru Yamane was on the composition team, and her contributions are definitely the highlight of the collection; stylistic elements of her previous work are very noticeable here. That being said, Vincent Diamante is credited ahead of her, leading me to presume him as primarily responsible for direction, and there are several excellent arrangements from him as well. Finally, additional contributions are present from what seems to be a sub-team duo comprised of Brenton Kossak and Blaine McGurty, blending well with the rest of the OST while still improving the variety a bit.





 
It is my prerequisite goal with these features to have thoroughly listened through any given soundtrack before sharing my curated preview. There are a couple reasons for this, but the most important one is the avoidance of a hastily formed perception, which may subsequently result in improper representation. Nevertheless, in the interests of keeping the presentation of these featured relatively regular, there are times when I am forced to either fall back on a previously experienced soundtrack to buy more time, or to risk an "early" feature without having fully explored the OST. This time around, however, I feel fairly confident in that risk; having gotten through just over half the OST to Clair Obscur, I'm not only eager to share but satisfied that the tracks I showcase will do as much as I could hope for in recommending the rest to whomsoever might be inclined.

Clair Obscur: Expedition 33 is a melancholy game, and a great deal of its music is melancholy to match. However, there is also a surprising degree of tonal variation, as though there were interludes built in to the album's progression. Lorien Testard has the equivalent of a full orchestra and more available to him, yet he is careful in how he utilizes these in any given track. All manner of genres are present; every time I thought I had discerned the limitations of the OST's character, a new approach would overturn my perceptions. Two things remain constant: The overall quality, and the prevalence of the major leitmotifs, which are expertly woven throughout in recognizable yet natural ways. Overall this was well worth checking out; I look forward to continuing my way through this soundtrack, and I may even commit to an additional feature later on.





 
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I thought I might cover the Sea of Stars DLC, which came with a decently sized soundtrack addition. However, as I was reviewing the OST, I was motivated to refeature the base game instead, for sheer appreciation of its quality. Despite feeling rushed at the time of the initial feature, in hindsight I'm satisfied with the tracks I chose to represent it; but for all that, there are still plenty of compositions and arrangements available to emphasize the worth of effort therein.
By virtue of being more readily available for my listening, Eric Brown's work has more readily retained my focus; Mistuda's contributions are equally reputable, but given there's relatively few thereof amongst the whole, it is perhaps justifiable to not force representation.





 
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