Ken Hisuag

Last year I made a passing reference to Bloodstained: Ritual of the Night as the spiritual (or even practical) successor to the Castlevania series. The game was headed by Symphony of the Night creator Koji Igarashi, but I was more interested with Michiru Yamane of Bloodlines leading the soundtrack team. The music retains elements of gothic rock, but for the most part focuses on orchestral and symphonic styles. I already posted my favorite track in the previous post, but the soundtrack is deserving of a more proper feature.

I appreciate a remix which makes slight adjustments to the source motif to fit the flow of the arrangement. In this case, the vocal melody is equal parts recognizable and original. On the instrument front, the core of the piece was eurobeat, but contained momentary elements of oriental folk and metal. In short, an unusually good find. My fullest genre folder is the EDM one (*shrug*), so I'll use a few of those for this week.

Despite myself, I've been enjoying the music of Everhood lately. The head composer leans toward a post-modern style, often sacrificing structure for experience. Normally I'm against this style for lacking any sense of order, but in this case the game provides the context for the music, thereby returning some meaning to its construction. Additionally, other composers involved in the project favored more conventional composition styles, allowing the soundtrack to be a varied mixing of musical presentations.

Theme of the week is long-lived-leitmotifs, and no Touhou music phrase has been more prevalent in the series and fandom then the arpeggios of Theme of Eastern Story. More often then not, a Touhou fangame will feature its own take on this theme, blending it into whatever moods and styles characterize the project. As such, there is an abundance of arrangements that contain this motif, even though its nature allows for varied application. I would post some of my favorite examples, but it would mostly be Wanwan. I will limit myself to one Kaisendo Group title theme, and try to feature some other projects. Additionally, I have an inquiry: in what piece did ZUN first use the Eastern Story motif? It's named for the bonus track of Akyu's Untouched Scores Vol. 5 (released in 2007), but was obviously in use before that, most notably in the series's reboot Embodiment of Scarlet Devil (from 2002). However, the earliest feature of the phrase that I can find is actually the Seihou Project's first game, Shuusou Gyoku (late 2000). Is anyone aware of an older example?

In parallel to the motif-themed feature on Share Music You Like, I figured now would be a good time to feature the Angry Birds theme. Since its debut, the theme has been remixed numerous times across the series, especially for the spin-off game Seasons. While initially overseen by the composer, Ari Pulkkinen, music production would later be primarily handled by Salla Hakkola and Ilmari Hakkola (I can't find any confirmation over whether or not the two are related). By far my favorite version of the theme is from the licensed spin-off Angry Birds Rio. I can't find any conclusive information as to who handled the arrangement, and it is not available through any official sources (for obvious reasons). Finally, I don't foresee myself doing a unique feature for Bad Piggies, which has far less music available. The main theme of that game is worth noting, however, so I'll take the opportunity to include it.

I was rewatching some of my favorite Doctor Who specials recently. For those who don't know, the main theme of the series has been arranged and rearranged around the same motif for over fifty years. Across the TV series, movies, and audio dramas, there are at least twenty official variations. While I have been severely disappointed with the direction of the series of late, I have and will always consider the theme one of the best musical products of television ever. These are the three version I suspect to be considered "the best" by the fandom at large, arranged by Delia Derbyshire, Peter Howell, and Murray Gold, respectively. Ironically, the motif itself was composed by Ron Grainer, who was not otherwise connected with the show and never arranged it for the series. I might come back to talk about this theme more in depth at a later time.

Returning to the backlog. I can't remember when I bookmarked these arrangements. For some reason, I normally associate GarageBand with lower quality remixes, but this artist seems to make good use of the software. These specific entries are noteworthy interpretations of PC-98 themes.

The past three weeks have represented what I personally believe to be the three most important soundtracks in the Super Mario franchise. Initially, I planned to feature Super Mario Maker this week. As I said before, the diversity in Mario's music across the series makes it impossible to narrow down to a few examples, because no two are quite alike. I figured SMM would be a good way to illustrate this. However, I felt increasingly obligated through the month to somehow fit Super Mario World in somewhere, as it's at least as iconic as SMB1 and 64, both as a game and for its music. An important aspect of SMW's soundtrack is the usage of the Overworld Theme's motif as a leitmotif throughout the rest of the soundtrack. Nearly every area theme is built around this leitmotif, adapting it to whatever mood is being represented. This fact makes the soundtrack an interesting study of motif adaptation, for those who might be interested. Rather than give up on the example of the series' complex range, I realized I could illustrate the same point (arguably better) with SMW's slightly less well-known but still fondly remembered sequel, Yoshi's Island. Ostensibly a continuation of the World subseries, SMW2 was practically incomparable to its predecessor, creating a completely different mechanic to build the game around (as is common for the overall series). This is as true for the music as the rest of the game; the leitmotif gimmick was abandoned for a more imaginative soundtrack which experimented more with the sound production capabilities of the console. Most people have heard the Athletic Theme and Flower Garden, and the former at least has already been posted to this thread (and possibly both). However, these are by no means the full extent of the game's music. While these two soundtracks are certainly somewhat alike (and far more alike then the spaced-out examples from earlier in the month), there is still a distinct stylistic difference between them, which is characteristic of the series as a whole. I presume that Koji Kondo is the kind of man who likes to experiment with his music, to try and find new ways of accomplishing his goal each time he is set to the task. Granted that this is less relevant for more recent Mario games that he had less a hand in, but as he was directly responsible for four of these examples and directly associated with the remaining fifth, it should be safe to say he was responsible for the diverse musical legacy of the Super Mario series.

I've begun to familiarize myself with the new soundtrack, and consequently with some of the more noteworthy remixes thereof.

Moving from the classic era to the modern era, I'd argue the standard set for all 3D Mario games thereafter was the soundtrack to Super Mario Galaxy. This is possibly the most iconic soundtrack from more recent Mario games at this time, and if not, then certainly the most revered. Instead of the quirky music that Mario was otherwise known for, this game featured high production value orchestral scores, presenting themes in epic fullness. In time, I suspect this will be looked back upon as a turning point in Mario music (if it isn't already).

Been awhile. Missed thread's anniversary. Had song planned. Here it is (remind people of thread): Long day. Short sentences. Good song, though. ?

That was the linking factor. Benjo did a Dark Road of Fate remix for the album as well. -_- sure why not I say I post some a-TTTempo, so I do.

While not as well known outside of the video game community, the music of Super Mario 64 is almost as iconic as that of the first game among fans of VGM. In many ways, this soundtrack served as the fulfillment of its foundation, incorporating and expanding upon many of the classic themes. A part of me would like to show examples of this like Cave Dungeon and the Title Theme (literally called that in the OST). However, the soundtrack is just small enough that I want to limit the feature to four themes, and three of those have basically been chosen for me. Aside from being the most highly regarded themes from this soundtrack, they also do a great job showcasing the range of music present. Main Theme (better known as "Bob-omb Battlefield") captures the fun, zany spirit of the game, which is reinforced by the infamously memed Slider, but contrasted by the soft ambience of Dire, Dire Docks. To cap off the feature, I'll use one of my personal favorites: Koopa's Road. The defining characteristic of this song is the chord progression; while very by-the-books, the very reason for the standard is its effectiveness in creating an ominous but resolute atmosphere (*cough*purefuries*cough*). This is yet another side of the soundtrack from the other themes.

The shrine seems pretty quiet; I think I might be the only one not playing the new game right now. As much as it would behoove me to post some remixes of the new themes, I haven't had a chance to listen to them yet. So until there's a proper download for the OST, I'll just stick to my backlog. There is a linking factor between these two arrangements, but I suspect DF is the only one who will know it.

On the heels of the extended Len'en feature, I am initiating the second themed month for Other Game Music: Mario May! Over the next several weeks, I'll be featuring four different Mario soundtracks in an attempt to represent the music of the series. Every new entry goes out of its way to be unique from the last while still maintaining its essential aspects; this is part of why Mario has endured so well. Consequently, nearly every game has a somewhat unique musical identity, making a true summation of its music technically impossible. Nevertheless, I believe there are specific examples that stand out from the rest, and will serve to give a fair impression to anyone who is (somehow) unfamiliar with it. First up is, predictably, the original Super Mario Bros.! The music from this game is arguably the most iconic VGM of all time, to the point that even people who don't play games at all are usually familiar with it. While relatively simplistic in composition due to the limitations of technology, some of the motifs are surprisingly detailed.

I like the sound of the French lyrics, but the audio isn't balanced properly. The vocals sound on top of the music, rather than being part of the piece. Otherwise, these are very good arrangements; I especially appreciated the Ancient Temple and Capitol City pieces. Having covered all four of the currently released Len'en Project games, I can now return to the more familiar territory of Touhou arrangements . . .

Subnautica: Below Zero is getting its full release next month, and I'm very much looking forward to it. I have plans for next month's posts, so I figure I should cover the original Subnautica now. The game is known for many things, but I consider the sound design to be its greatest accomplishment. As expected of a survival game set in a uniquely styled ocean world, the music is primarily ambient in nature, so as best to reinforce the experience. The two most common moods invoked are wonder, for exploration and the world at large, and fear, for the dangers encountered along the way. I can't say how well these emotions are communicated to those who haven't experienced the game, but I'd like to think it was captured quite well. Although rarely heard in-game, the soundtrack also features a number of "dance" tracks. These are often very beat heavy, and somewhat more focused on melody. All songs in the soundtrack, regardless of style or usage, are relatively short.

I'm not going to claim I'm familiar enough with Len'en 5 ~ Brilliant Pagoda or Haze Castle to properly represent it's music, nor do I feel guilty for it. This game is possibly one of the most creative takes on the curtain fire genre, featuring a branching story in which you can make choices mid-stage that effect what bosses you'll fight and consequently what dialogue you'll get to hear. A single stage is guaranteed to have multiple potential bosses (even some stages have multiple themes), and consequently there is a significantly larger quantity of music for this game. All together, the total number of pieces Jynx had composed for Len'en over the previous three games was fifty-seven. This game alone featured fifty-four in its soundtrack. Granted, many of these themes are rearrangements of previous themes, for returning characters. But still . . . Acknowledging that I've posted two out of the three games' menu themes already, I still think War Record of Heaven and Shadow ~ Playing soldiers is a perfect introduction to this soundtrack. Next up will be my personal favorite from this game, the "main" character's theme Feathers Flying off the Beaten Path ~ Eleven-dimensional. As is the case with at least half this soundtrack, this is technically a remix of Yabusame's theme from Len'en 1. But where that theme is slower and focused on dissonance, this version is slightly more energetic, and features a new section with a standard harmony, creating a contrast. I've only got two songs left, so I'm going with Necromaster. A double remix of two themes for the same character, both from the previous game. You wouldn't know it if you weren't familiar with the original themes, though, which imo is the best kind of "mashup." Finally, to close off this Len'en feature, I could not forget to include one of Suzumi's themes. My personal preference is MO-NA-D-2 ~ Memory Forgery; it's slightly more subtle than its counterpart MO-NA-D-1, with a more easily discernible melody. Otherwise, it's arguable the most important theme in the game, so I couldn't very well leave it out. Proper representation of this game would require more than four examples, but I do not have the strength of will to pick any more. Hopefully these features have pricked the interest of those previously unfamiliar with Len'en.

It turns out I haven't featured FEZ yet, so about time I rectified that. Disasterpiece is my go-to example of modernistic VGM. While retaining the form and structure necessary to be considered "music," his compositions tend to be more experimental in nature, with less emphasis on melody and more emphasis on background patterns. Normally this isn't a style I enjoy (still trying to figure out Hyper Light Drifter), but it was uniquely suited to the perspective-based puzzle game of FEZ.

Ask and you shall receive. I know I have more somewhere, but I'm having trouble finding them at the moment so I'll have to get back to you.

Bonus bonus, because I came across this and remembered Busker's post on FalKKonE's chiptune arrangements.

Len'en, week 3. Possibly my favorite in the series from a musically collective stand point. First off, good ole' stage 1 Decayed Tranquility ~ be motivated, leading into its melody with an encouraging but leisurely pace that picked up only a tad bit by the loop point, just as a stage 1 theme should. Next up is boss 4.1, stage 4 having three different bosses depending on who you're playing as. 4.3 is a theme for the series' main characters, but Only in Beige, Only in Earnest does a better job at showcasing the variety of sound this game has to offer. BTW, the stage 4 theme is basically Len'en's Retribution for Eternal Night, as in it's a stage theme arrangement of Len'en's main theme. While it's far from one of the best tracks in the series (or even this game), you may want to give it a listen anyway: Each of Their Thoughts and Footprints. For the third feature, I'm skipping ahead to the extra stage theme The Lost Road that Widens the Sky. At some point, Jynx developed a signature intro style in which he'd use an instrument unusual for a Touhou-style theme, and then not use it for the rest of the piece. This gives quite a few of his themes very recognizable entrances, which helps make them more memorable. Of course, the best themes follow up the intro with quality motifs. Finally, a jump back to the stage 5 boss theme. Len'en 3 technically has between three and four "final" bosses; the primary responsibility for the incident lies with this character, but at some point in production Jynx moved the boss up a stage to make room for a different character. Thus, there is a certain sense of finality to Moon Child ~ Homunculus Dream, in keeping with the original intention. Also noteworthy is that this piece doesn't loop in the normal way. I believe these four tracks do a fair job at representing the unique diversity of styles Jynx employed for this game's soundtrack. However, I can't pass this entry by without mentioning my favorite theme in the series, A Name Cast off from the Edge. Coincidentally, it also happens to be the longest piece in the series to date, and everything I said about the previous record holder from the previous game applies. Possibly a bit repetitive, but with spectacular progression!

Bonus post, because this technically counts as "game music," but also wouldn't work for a weekly feature. Friday Night Funkin' mod for an Undertale AU that I know absolutely nothing about. This is the kind of application of the FNF style that I had hoped for when I first came across the game.

By now, I figure my stronger preferences in music are detectable. If not, then I'm succeeding in my goal of variety. Either way and to that end, this week should be a bit more unusual: Guilty Gear XX Without question, this is a hard metal soundtrack. Each theme uses a gimmick to make it stand out from the others, usually a contrasting instrument or style. Holy Orders employs a harpsichord, Babel Nose features some oriental influences, and The Original has interludes that almost sound like they came from a different game, but the electric guitar is always present in one way or another. Despite this not being my usual cup of tea, the track Blue Water Blue Skies caught my interest, and eventually led me to investigate the full OST. That's why it's GGX2 specifically; the piece I came across was from that game, and I've not been motivated to search beyond it. Anyway, it's really late, so Imma come back to the tournament tomorrow. G'night!

@Dana Iclucia Definitely not your standard folk, but a very creative arrangement nonetheless. It seem this was the perfect time for a Len'en themed month, with the next remix tournament around the corner. This week is game #2, although canonically I believe it takes place simultaneously with the first entry. This is personally my least favorite entry in the series thus far, simply because fewer motifs stand out to me. By far my favorite theme from Earthen Miraculous Sword is the menu theme, Repose That Detests Even Good Luck ~ Need umbrella! The confident entrance of the piece with a lengthy, repetitive intro to a expectedly simple motif bolstered by a many-layered accompaniment is, in my perception, a fitting representative theme for the series as a whole. After that it becomes more difficult to choose between tracks. I'll feature Prismic Accelerator for it's fast-paced presentation and featured ZUNpets; of all the themes thus far, this feels the most "Touhou"-like. Next will be Below a Deep Vanishing Cloud ~ Mow Down! This theme has a stronger motif and good progression, but is most noteworthy for being the longest theme Jynx had composed up to this point. I find it impressive (and possibly confusing) that his long themes don't feel unnecessarily stretched out, and in fact usually maintain good progression through to the loop (yet there are some shorter themes with lesser quality in this regard . . .). Finally, Mono Eye ~ Ironic FATE, the extra boss theme. Now might be a good time to mention that the titles rarely mean anything, except when they do. This piece has what is probably the best primary motif in the game, and does a great job presenting that motif without overusing it. The majority of Jynx's work is more chaotic and defiant of traditional music structure, while he saves themes like this one for late-game use. There may be a study to be had on that topic, but I'm not currently invested enough to attempt it.