NTT Publishing Co. The Quest for Rudra's Mines. Beginning for the End. The Mysterious Stone. Amazing Express. Ride on the Breeze. Under World. Earth Bound. Voyage to the Bottom of the Sea. The Ultimate Warrior. Holiday in the Village. Night Shift. Waiting for the Moon. Whistle Down the Wind. Place in the Sun.
Underwater City. Dance With the Zombie. The Nightbreed. Battle for the Fields. Evil Eyes. Dead Cells Original Soundtrack Review. August 3, July 13, July 8, July 2, June 8, May 29, February 5, March 21, January 26, January 19, Sion's "Sword of the Valiant" utilises bold brass fanfares to create a powerful melody that is lightly ornamented to provide a regal feel; supported by dense counterpoint and rampant timpani use, it is a fitting representation of the heroic and occasionally audacious character.
Its battle arrangement, "Strange Encounters," is a lot more upbeat and written in a welcome light rock style that hybridises elements of the Mystic Quest classics "Battle 1" and "Battle 2" while continuing to emphasise the main melody. The theme for Surlent, "Between the Two Worlds," once again employs use of a triumphant melody, but is orchestrated in a way that pronounces contrasts between thoughtfulness and power, and sensitivity and pride, reflecting excellent implementation from Kawakami once more.
Its variant, "The Spirit Chaser," is the most famous theme on the soundtrack and one of the most memorable, well-driven, and fun RPG battle themes ever created. Its lyrical rock organ melodies are delightfully pronounced against vibrant bass guitar and drum machine beats while the contrasting sections only add to the charm of the theme.
The third character theme, "Crime of the Heart," is the softest of the four, intended for the beautiful and innocent Riza, though still features a powerfully orchestrated section and receives a very upbeat battle theme, "The Flame and the Arrow". As for Dune's "Take the Gold and Run," it aptly reflects a lone wolf, opening in a style akin to Final Fantasy VI 's "Shadow," though receives the most complex development section to represent his depth.
Its battle variant is another classic, albeit composed in a similar style to the others. Sasai isn't scared to reflect a comical side in his compositions. A good example is "Under World," which evokes a sense of darkness through amazingly fun means. A slap bass guitar ostinato gives the track a quick metre and a stylistic rationale to be built around, while the haunting synth main melody corresponds in an unconventional way with it, creating cross-rhythms and syncopation.
The way two relatively simple forces synergistically correspond is the key to this track's success. Another action track is "Dance With the Zombie," one of the strangest Neo-Classical waltzes ever created. Kawakami alters the bass line so that each note on the second beat undergoes a pitch bend and revert to create a plodding and goofy effect ideal for representing a zombie moving its feet while dancing.
A disjointed synth vocal melody eerily glides over this bass line and the two major forces sometimes intersynch as if the zombie and the protagonist suddenly romantically come together while dancing.
It's an inspired and unforgettable composition that is deeply humorous.
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