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Other Game Music

Ken Hisuag said:
Much hype!

. . . Noted.

I've got the thread record updated, but I have not been able to locate the original version of the "Arena Theme" from Monster Hunter Generations (Ultimate?). For the sake of others in my position of not being familiar with the music theme process of this series, I'd like to clarify that themes carry over from game to game, and may be posted to Youtube under entries in which they appeared but were not featured in the official soundtrack thereof. Case in point, the White Fatalis theme (Ancestral Dragon) from Monster Hunter Freedom is actually from Monster Hunter 2.
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Nice stuff. Although, it appears you've pasted in everything twice lol, you may want to fix that.

By the way, I did some researching for you and found that the MHGen Arena theme is called "Draped in Valor". And regarding the difference between MHGen and MHGU, the latter is basically considered an expansion to the base game. You could make the distinction to point out which songs came from the base game and which one game from Generations Ultimate, but I don't think anyone will really mind it, seeing as you bundled in the Monster Hunter World: Iceborne themes under Monster Hunter World anyway. You've also used some of the Japanese names for the monsters in some titles, but again I don't think it matters much.

 
I was fairly certain when I covered Breath of the Wild that it would be my largest feature, since anything larger than that would likely be split across multiple entries.

This week, I determined to feature Bravely Default. I like this soundtrack, and it features one of my favorite themes in all of VGM. However, there are difficulties involved. It is a very uniquely styled soundtrack, which always makes for a more difficult feature. Additionally problematic is my perpetual tendency to compare Bravely Default's music to that of Octopath Traveler, which shares just enough musical similarity and stronger personal appeal to permanently put the former at an unfair disadvantage towards me. But more than any other factor, the most troubling hindrance to the conciseness of this post's selections is the aforementioned favored theme; while certainly enjoyable on its own, context is required for full appreciation of the piece.

So to give proper representation to both the game and the specific track, I am going to treat them as separate entities. This post will be about the game's soundtrack as a whole, and a later post will address the theme in question.
This is a battle theme. I understand that you're not always meant to hear these in game if you're playing properly, but nonetheless it serves as a good introduction for its featuring the game's main theme leitmotif.


I presume this is an area theme. Contrasting the previous piece, it has a lively and cheerful tone in the standard style of JRPG music. It also features the game's leitmotif as the previous track did.


With those as a foundation for expectations, we get some of the more quirky styles. This theme adapts an unique application of swing to a marching accompaniment, building up from an almost comical but slightly foreboding tone into something far more intense, only to fall back to its roots at the last moment.


Somewhat in resemblance, this theme starts with something akin to jazz in the standard "sneaking around" tone, then unexpectedly transitions into the more intense chord progression of a heroic mission.


On a very different part of the spectrum, we have an very unsettling antagonist theme, masterfully constructed to embody the unease of an evil presence (again, in the standard style of JRPGs). The instrumentation in this piece is spectacularly selected and incorporated into each other.


To wrap up and assure that this soundtrack is capable of more conventional but still impressive orchestration, I leave this more reflective piece (though even it manages to end on a somewhat climactic note).


I had planned to say quite a bit more on this soundtrack, but a combination of my own indecision, checking for Monster Hunter track names, and the general business of life, I am pushing my time as it is. Perhaps I'll amend this post later for relevancy's sake.
 
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Monster Hunter Rise soundtrack showcase

Part 2/4: Monster Hunting


Spoiler

Alright, for this entry it's time to get into some more battle themes, building upon the previously featured Sanctuary Abandoned by the Gods. The first song I want to show in this post is another generic area battle theme. Although I previously mentioned about the use of vocals in this soundtrack, this theme relegates that to more of a background role, maintaining more of an instrumental focus compared to the other area themes in the game. Nonetheless, this theme is a favourite of mine.




 
Monster Hunter Rise soundtrack showcase

Part 3/4: The Chase


Spoiler

In my first post, I mentioned that there were some exceptions regarding all songs. Chase themes are what make up a large portion of these exceptions, being completely devoid of the vocals used so prominently in their battle counterparts. This gives them an entirely different feeling that helps to fit the feeling of pursuing a monster; and yet even then there is so much variety between different chase themes.

The chase themes are short, due to them rarely being played for long in the actual game, but nonetheless have some of the most personality of all the music in the game.

The first one I'll show is Chameleos's chase theme, as an example of an energetic chase theme.




 
Half as a followup to last week, half as its own feature, today we're momentarily returning to Bravely Default to address what is arguably its most significant contribution to VGM.

I mentioned last week in passing that I inadvertently compare this soundtrack to that of Octopath Traveler. While technically both games feature the same styles of music, the way they each incorporate them is very different; Octopath's soundtrack is crafted to its world building, while Default's music tends to be more experimental than serious (given time, I might make a better argument for this position, but for now this is sufficient to define my perceptions surrounding the two). I clarify this to contextualize one of the more noteworthy parallels between the two, that being their shared gimmick of instrument-specific character themes. In Octopath, these themes served a primarily story-focused purpose, often playing at important moments in each character's journey to denote moments of change or progression. For Default, the character themes represent a foundational game mechanic concerning combat.

There are four character themes in Bravely Default. I don't think I need to clarify the "focus" instruments; if it isn't apparent immediately, it will be later.




All of these are great compositions in their own right, especially considering the constraints under which they were arranged; each had to be exactly the same length, and they manage to complete a standard motif cycle within a relatively short time. However, they are ultimately not the focus of this feature.

This is the theme of the game's final boss. The soundtrack arrangement has strung together independently looping phases into a cohesive musical journey. This accomplishes one of the most compelling culminations I've yet come across in VGM, pulling together the musical identity of the entire game into a single piece that simultaneously distinguishes itself as unique. This is accomplished by building the piece around its own motif, and including only the most undeniably important leitmotifs for its climax (rather than going for the effective but often unremarkable general medley or main theme remix approaches). The result is one of my favorite standalone pieces in video game music, and deserving of a slightly more spectacular presentation.


There's probably (definitely) more to say about this piece, such as the significance of in-game buildup, but I think what I've presented should be sufficient (this feature is already a week too long, anyway). Till next week!
 
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Monster Hunter Rise soundtrack showcase

Part 4/4: Wait, it's not Japanese?


Spoiler

The final part of this showcase is going to focus on the absolute highlight of this soundtrack: full on vocal songs, with LYRICS. Although before I dive right in, a quick disclaimer: these are NOT in Japanese. Although it sounds similar, the songs are actually in Monster Hunter's fictional language. Japanese versions of all these songs do exist as bonus tracks, and I very much recommend listening to those versions too, but as they are not used within the actual game, I will not feature them here.

All the songs are canonically sung by in game characters, by the way! (But in most cases the singer and the character's VA are not the same.)

The first song I will feature is used within the main area of the game's village - and seeing as this is where you'll end up in between every quest, it fits its job perfectly of creating a homely feeling even though the song is actually a prayer for the protection of the village against calamity




 
Given the references in the previous two-ish features, I had to take advantage of the association and return to my all-time favorite soundtrack, this time with a bit more in-depth explanation.

Octopath Traveler's music can be sorted into specific categories according to the function they perform in-game. This is surprisingly useful in identifying the styles that characterize the soundtrack as a whole.

The firstly perceived major category is, of course, the character themes. Each theme is structured around a specific instrument, and meant to represent the personality and motives behind the character. In concept, this isn't a new idea, but these eight tracks are an unusually successful application thereof. It's difficult to choose one as an example, but rather than go for my personal favorite (Tressa, the Merchant), I've decided to use Ophilia, the Cleric. This theme is slow without being sad, a calm and hopeful melody that proceeds peacefully along its parts, but maintaining a clear progression rather than stagnating. As such, it is a beautiful parallel to the character it represents: a charitable young woman who overcomes her insecurities with a deceptively powerful selflessness. Though I personally believe the game does quite poorly it terms of character development (that is, the progression of a character's arc across the story), its initial character presentations are wonderfully compelling and perfectly matched by the accompanying musics.


The second and possibly most important category is the area themes. In case it wasn't obvious, the game's thematic gimmick is "eight," and the world is made up of eight different areas with varying climates, and each houses one character. Some have argued that the game is not meant to be about the characters, but rather about the world itself. I'm inclined to agree with this perception, both because of the lacking development of said characters, and because of the way the world is emphasized in events and characterized through its music. Where the character themes are diverse in their individual styles and moods, the main area themes all share a sense of awe, unifying the otherwise contrasting presentation. All are worth listening to, but The Sunlands stands out to me for its stylistic synergy with the other themes encountered around it. The plucked strings are reminiscent of Arabic folk, denoting the desert it represents, while the melody embodies that majestic mood.


Less notable but no less noteworthy is the "situation" category. I put this one in quotes because it is somewhat difficult to properly define these themes. They play during moments of conversation, usually cutscenes, but are not tied to specific events as much as their accompanying emotions. As reinforced by the naming scheme, these tracks function as emotional cue cards, playing over a scene according to the emotions that scene consists of. My personal favorite is Enveloped in Kindness, a soothingly sweet melody on acoustic guitar intermittently backed by a string ensemble.


Cities and settlements sit in their own category of sub-areas. Rather than representing the land, they instead help define the people and culture of the location. Harking back to the world emphasis, the many tracks of this category feature a variety of differing styles that do just as well at characterization as the main character themes. To keep this feature to a reasonable number, I'll forgo using Sunshad, City of Pleasures as an example; but if the previous Octopath feature is still functional, both Flamesgrace, Guiding Light and Settlement in the Red Bluffs should serve equally well.

Finally, there are the battle themes. Neither the highlight of nor a disappointment to the soundtrack, these high energy pieces fit surprisingly smoothly in amongst the other categories despite being the obvious oddball. In addition to the primary compositions, each character has a unique musical intro that leads into the boss battle themes. This serves to customize the boss music to each route during its instigation scenes, while also tying in the character's personality to the event. Since I didn't use Tress's theme earlier, I chose her intro For Treasure into Decisive Battle II.


That should do it for now. With how much I love this soundtrack, it's extremely likely I'll come back to it yet again. At least I took the time to do a proper feature for this post.
 
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I decided to feature Shantae: Half-Genie Hero when the SSBU costume was announced. Being that it is the third Mii costume to come with a music track, I figured I ought to bite the bullet and finally look into the source material.

Long story short, I'm not that impressed by it. I found myself making (rather ironic) comparisons to Rabi-Ribi; in both cases, the music is less about characterization, story-telling, world-building, or thematic stylizing, and more about just being music. While this isn't a bad thing in the slightest, it does mean there will be less heart in these themes, making them seem more simple and ultimately less memorable. I could be missing something; this game and its music is well-loved by many. But at this time, I'm not sure I get it.

Nonetheless, the music is still good, and there are some stand-out tracks.
Obviously we start with the theme that made it into Smash, Neo Burning Town. There's a Sonic-esque tint to the melody progression, with influences of Middle-Eastern folk (or whatever it's officially called). Both of these are blended into and/or buried under soft EDM instruments, resulting in a unique sounding piece.


Representing a smaller part of the soundtrack is this delightful funk-jazz piece called Sky's Song. This was one of the more surprising finds for me; I've not heard anything quite like it before. The blending of slow jazz with the stuttering effect of what I hesitate to call glitch doesn't sound like it would work on paper, but somehow balances out here. I'd like to find more of this style, whatever it is.


Finally, that-one-piece-that-stuck-in-my-head-and-now-I-can't-get-it-out, otherwise known as Cape Crustacean. I'm not sure what it is about this melody that seems to catchy to me, but I've caught myself whistling the tune many times since first hearing it.


I'll probably have to look into the other Shantae soundtracks eventually, but I'm in no rush on those.
 
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Splatoon is my favourite game series, I think the ost from both games is great too so here are some of my favourites:

Now or Never, from the first game (the splatfest ver. of this is also good):

https://www.youtube.com/watch?v=BxDN8QVGjK8
Fresh Start, from the second games single player mode:

https://www.youtube.com/watch?v=cKb5v-0R3xU
Fly Octo Fly/Ebb and Flow from the second games DLC:

https://www.youtube.com/watch?v=h1c6JlGiRVg
(I also reccomend watching the Splatoon concerts too)

 
Team Ladybug's Deedlit in Wonder Labyrinth saw the return of Pepo Soft as composer. Being unfamiliar with Record of Lodoss War, I cannot say whether these themes are remixes or original; but either way, they carry the same style as employed in Luna Nights, though perhaps with a heavier blend of orchestral sprinkled throughout the techno-rock.



There are, of course, stand out themes that break away from the regular billing for specific purposes, such as cutscenes and minigames.


Unlike it's predecessor, the game is somewhat lacking in battle themes, either in a literal sense or with insufficient variance between them (and I'm fairly confident it's the latter, but the soundtrack layout is a bit confusing).


Altogether, I'm not as impressed as I was with Luna Nights, but I suspect that has more to do with my lack of background with the material, and this is still much better than what I'd call "average."
 
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Also, since I'm still haunting the shrine for the tournament and the opportunity has presented itself, there is now sufficient context for this remix. I've references it before, and it's still one of my favorites.
 
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I have a hypothesis that rhythm games with original soundtracks will always have some of the best music in gaming. I'm not spread nearly wide enough in the genre to provide a comprehensive analysis in support of this idea (hence "hypothesis"), but this week I stumbled upon an OST that fit the criteria and failed to disprove my suspicions. Mad Rat Dead features the work of several artists, but the only name I'd heard of before was that of Camellia, known for plenty of things but by me specifically from his work with Toby Fox and Temmie Chang on Dweller's Empty Path. My introduction to this soundtrack came in the form of a full soundtrack video, and the first track featured was by this composer.


My interest sufficiently captured, I proceeded to locate the soundtrack proper and investigate it more carefully. The music's style is consistent in its heavy beat and high tempo focus, and in little else. I get the impression that each stage chain has a specific genre theme (first several level tracks all seemed to have an electro swing influence, while later level tracks featured different styles), challenging the composers to get creative with their compositions. The following tracks contain use of oriental folk instruments, RPG orchestra, and and the "supported piano."




Finally, I'll leave off with one of the boss battle themes. These are essentially just curtain fire challenges with minimal combat, and as such the music isn't that different from the platforming BGM. This one stands out particularly, however, being associated with one of the more pivotal moments in the game's story, and appropriately capturing the mood of the events. Comparisons may be made (and have been) to a certain other theme in VGM with a similar tone and progression structure; I leave it to you to determine if this was a coincidence or not.
 
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Getting this out of the way first . . .

There is a degree of effectiveness to utilizing a consistent musical style in a soundtrack for the purpose of worldbuilding, especially when the story's setting is significantly distant from what would be familiar to the audience. Sci-fi and fantasy settings frequently benefit from this methodology, to the point where some sounds are culturally identifiable with these genres by association. This is a concept I've been appreciating of late, especially while recently listening to the soundtrack of Dust: An Elysian Tail.

I actually know very little about this game, and as such most of what I say is based purely upon my experience with the music. This first track, which I gather backdrops a hub-type area, it suitably ambient to promote a peaceful atmosphere without having the homely feel that usually characterizes these sorts of themes. One thematic aspect of this soundtrack is its expansive feel, characterizing a world that is meant to feel large and open; this theme needs to impart the idea of "passing through" to maintain that feeling.

BTW, this track was composed by Alexander Brandon, known for the Deus Ex soundtrack, and is comparable to those compositions.


For the majority of the game, the music is far more upbeat and high in energy, presumably to accompany frequent combat. Yet even the most exciting tracks preserve that awe-like tone, maintaining the world's characterization through each new area and situation.


Boss themes may occasionally be an exception to a video game's soundtrack consistency, since they necessarily put you in a situation that is out of the norm. The best soundtracks, however, will work to incorporate the established style into these tracks as well, using the audio to fortify these encounters as part of the world and the story rather than existing outside of them.


By this point, hopefully the existence of this game's stylistic theme is evident and identifiable. It should be noted that choosing to have a musical consistency in your soundtrack will strengthen its worldbuilding, but will also come with its own risks should you desire to do something different at some point for any reason. If you break your own consistency, you jeopardize the characterization you given the world and risk damaging the audience's ability to identify with it. Ultimately, there is one track in Dust that I believe takes this risk, though considered carefully and likely accomplished without too much damage. Nonetheless, I struggle with this track, as the inconsistencies seem to me unnecessary. But it is also important to understand that this in no way lessens the quality of this composition.


As a whole, this is a very good soundtrack. I believe it apt for comparison to Ori and the Blind Forest, which bares several similarities on a conceptual level.
 
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I'm late.

Celeste is one of several soundtracks I featured on the thread fairly early on with far less commentary then they deserved. This game makes very strong use of leitmotif manipulation to convey its themes in the music. For example:

The motif for main-character Madeline's determination/climbing efforts is established in the level one track First Steps. The tone of the piece is positive, almost cheery, with moments here and there of reservation (especially right at the end). The motif itself is in a major key, but continually fails to resolve, always favoring its dominant note over its tonic, and is arranged with a slight stutter to its progression.

It's important to note that this motif is not technically Madeline's theme, nor necessarily (though partially) that of the specific obstacle of climbing the mountain.
I used First Steps in the first feature, but it's indispensable to the point.


The second level is about the main character's doubts and fears, especially regarding the task at hand. The earlier motif reappears, but in an altered form. The original stutters are now full stops, favoring thirds and seconds from the tonic, and what's left has been transposed into a minor key. The tone is heavily somber, and even slightly hostile in its progression (and that's before the transition into its faster tempo form).


As is the way of story, it's not till near the end of the game that the primary character conflict comes to climax, culminating in an intense battle accompanied by a third variation of the motif. This is actually both previous iterations literally colliding with each other, although the negative version remains in emphasis for the moment.


Following this sequence, the conflict is resolved, allowing for the game's finale to take place. The music for this level is a true rectification of the two versions, returning to the positive tone of the original while tempering it with a new emotional range from the minor key variant. The pauses remain, but are more consistent, presented as reflective rather than fearfully hesitant. Unique to this iteration of the motif, however, is the consistent return to tonic that gives the motif its musical resolution.


Even without details, the theme of the story is communicated through this leitmotif.

I might make a month's theme out of revitalizing old features, but I'm not sure yet.
 
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I was looking back at those previously mentioned old features, and realized I'd edited most of them to include more tracks some time ago. There's only a couple exceptions, specifically from the short-lived double features, but I may as well take care of them now.

I normally prefer soundtracks that convey aspects of the accompanying story, either by setting the mood for certain events or by transference of themes via leitmotifs. However, I can also appreciate when the primary purpose of the music is to assist in worldbuilding, also done by mood and leitmotif. Hollow Knight is an example of the latter; its music focuses almost entirely on the characterization of the world you're exploring rather than the characters you interact with. All non-combat themes are ambient and slightly melancholy, as befitting a long-dead kingdom, and the entire soundtrack is composed with minimal instrumentation, presenting a simpler sound then one would expect from orchestral arrangements. Beyond that, each area theme is customized to influence perception:
From the morose introduction of the deserted Dirtmouth,

to the majestic serenity of the Queen's Gardens,

from the ominous spaciousness in the caves of Crystal Peak,

to the almost comparatively goofy yet still melancholy tones of the Fungal Wastes.


This is just scratching the surface, of course, and doesn't even touch on the battle themes (though you can get a taste of them from the end of Crystal Peaks).
 
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An unfortunate aspect of leitmotif study is the occasional guessing game one must participate in to determine what the theme represents. Most often it's made clear enough to understand provided you're looking for it, but some of the best usages of the technique are much more difficult to evaluate due to subtle usage, over and under usage, and disguised application. I've had several encounters with supposed patterns in a soundtrack that I can't determine the meaning of (or often the existence of a meaning), and sometimes the only way to be sure of a correct interpretation is the confirmation of the composer. Being that this can rarely be depended on, speculations will likely remain as just that.

Today is the six-year anniversary of Undertale, which bears one of the most infamous video game soundtracks of all time. All music in the game was written by the game's creator Toby Fox, and he is acknowledged as a master composer. Undertale if full of obvious leitmotifs, and some of them are easy to understand. There are quite a few, however, that I'm personally unsure about. Of these, my personal favorite is the "Home motif."

The earliest most obvious feature of this motif can be different depending on how you play. If, for any reason, you decide to close the game before reaching the end of the first area, then you will be met with the game's Start Menu upon opening it again.

By all appearances, this is a very simple and unassuming track; as you progress through the game, you have the ability to add characters to the menu, and the music fills in as you do so.

If you reach the end of the first area without closing the game, then you will hear the theme of the tutorial character's Home before listening to the menu track. This is a much more dynamic usage of the motif incorporated into a larger piece, and possibly may be considered the leitmotif's point-of-origin.


Whether or not a player realizes the existence of the leitmotif may affect his perceptions concerning the theme. It continues to appear in the game, most notably in a relatively random event associated with a variety TV show that functions as the Underground's primary source of entertainment.


At this point, the leitmotif is associated with several differing contexts with limited straightforward connection. In what is possibly it's most relevant feature, it makes up one-half of the game's title theme, during an event in which the emotional motivation of the currently perceived antagonist (primary obstacle?) is divulged.


In conclusion, I submit that I consider this the theme of the Underground's residents, or perhaps more accurately the "life" of the Underground. The story told to the player through Undertale is communicated by residents as their own, the theme plays multiple times associated with their media, Home is notably the first example of proper habitation, and the menu will become more detailed as you recruit residents of the Underground to it. All that being said, I'm not confident in my evaluation; part of me suspects I'm reading too much into it. I should note the likelihood that some "leitmotifs" featured in the game serve questionable thematic purpose, such as the "Ghost Fight motif," which is associated with three related characters and one unrelated character. Fox has been known to repurpose motifs for multiple reasons beyond thematic story telling, so I leave it up to you whether or not you share my interpretation.

Edit: The motif also features in Once Upon a Time, which is a cutscene track and more difficult for me to contextualize. It also appears in Hopes and Dreams, but there's lots of motif references in that piece; it's more meant to be a round-up-retrospective-turned-boss-theme.
 
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Starting this week, I'm changing my weekly posting from Wednesday to Tuesday. I don't typically have much time available on Wednesdays of late, so this will be a lot easier for me.

That said, it's about time I covered the second disc of Okami! I am consistently impressed by the volume of music this game has. My current style of review doesn't fit very well with my listening strategy for this soundtrack, but it's worth that sacrifice in my opinion.

Princess Sakuya's Theme works well as a comparison piece, by which to better estimate the other styles present. It's what may be called a standard Oriental folk composition, using traditional instrumentation for a serene sound commonly associated with the genre.


With a slight adjustment of focus in instrumentation, Ushiwaka's Appearance invokes a sense of beauty and awe, unique from the previous track but retaining many of the same characteristics.


Tsutamaki Ruins, on the other hand, presents a very different mood. The instrument balance is changed around to create a slower, deeper sounding piece with a most foreboding effect. While far less active than the previous tracks, it remains noteworthy for the contrast in tone accomplished within the same genre.


Somewhere between these parts of the spectrum is the dynamic blend of Kusanagi Village II. While it's more comparable in style and instrumentation to the first two tracks, I detect influence of mood reminiscent of the third track that gives this piece a broader, more complex personality than any of the previous pieces.


Finally, while many personally encountered examples of games committed to a specific musical style may sacrifice it for more intense and energetic genres in their combat music, Okami remains consistent throughout, allowing for some amazing and relatively rare compositions. I considered between Ushiwaka's Dance ~ Playing with Ushiwaka and Red Helmet's Extermination as potential examples, which sound very similar to each other and even share a few motifs. I've eventually decided the former has ever so slightly better progression out of the two.
 
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Drakengard 3 one of the more controversial games i've ever heard about (and unfortunately PS3 exclusive so u have to emulate it unless u have a console) i watched it whole and do not regret a single minute of it even though it's such a bloodbath game is great (at least in my opinion) but ost isn't great, it's godlike (it's same series as nier which most of you possibly know/heard about just alternate world and happens in distant past)

 
I've had Chicory: A Colorful Tale on the back burner for a while now, and I've finally taken the time to listen through it. Raine's skill and style has continued to evolve since Farewell; Chicory showcases a much wider range of instrumentation than the previous projects, without loosing anything of the dynamic arrangement that characterized them. I haven't looked into the game itself, so my commentary will be limited; but I believe I've picked out an acceptable showcase.
The Town of Luncheon, whatever other purpose it may serve, features the game's primary leitmotif, i.e. the main theme. It is perhaps intentional that the track serves as a perfect foundation for estimation. The soundtrack as a whole leans toward this more laid-back and light-hearted tone . . . mostly.


There's an impressive balance of energy across the soundtrack. Dinners, The Big City is a bouncy jazz piece, not quite big-band but emulating the style. It's also an example of the main theme being adjusted for other pieces.


In the other directing, we have the calmer reflective tone of Chicory's Theme. This track features a unique technique that I have yet to notice outside of Raine's work, that being the audible recording of the piano's mechanical noises to accompany the piece. I'm surprised at how effective this seems to be at making the arrangement feel more intimate.


As an example of the diverse instrumentation, my personal favorite track is Supper Woods, featured surprising early in the soundtrack. Leading with a harpsichord, backed by maracas, carried with flutes and accompanied by all manner of orchestral ensemble, it's quite a contrast to the relatively consistent instrumentation of Celeste.


In case there was any doubt as to the carried over influence, however, the earlier sounds and styles can be found in what I take to be combat themes. I also detect elements similar to Pigstep.
 
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