Soundtrack of the Year 2015 Post Archived
Originally posted January 18, 2016 on the old forum.
I don’t have much to say other than ... I’m tired of 2015. Haha. It was a rough year so I didn’t get to listen to everything I’d wanted to! I did get to listen to the Yasunori Mitsuda remix album, and a bunch of albums that Solune and I talked about over the course of a few months. My shortlist was apparently longer than some expected, and I do think 2015 had a lot of great albums. Although the Canadian dollar sank like a tank (and this isn’t going to change heading into 2016), I did try to listen to as many soundtracks as I could. However, I will readily admit that I did not get a chance to listen to everything like I usually do in previous years. Personal life combined with work combined with the crappy dollar combined with falling in love (this is a good thing), kind of made it a little hard try to check out new stuff. I was fairly on top of everything for the first half of the year and then everything kind of fell apart towards the end. The decision between my number one and number two soundtracks was fairly tough. I went through a lot of mental wrangling in terms of the question “do I vote with my heart, or do I vote with my head?” I don’t usually like going with my heart when I vote for game of the year or soundtrack of the year. It feels completely biased on my part, and I feel like I’m not evaluating something with clarity or based on its own merits. Then I sort of realized, “Well, isn’t that the point?” In my head, Undertale takes the win. In my heart, though, something else does, and it’s entirely based on context. So this year, I decided to go with my heart. Listening to my heart feels weird. I feel very strongly about two soundtracks this year, and therefore, I have decided to go with only two. This is also the first time that I think I’ve written a list where I’ve played all the games. I could be wrong on that front, but this comes as a genuine surprise. I am disappointed with the lack of Falcom on my list, but I am not entirely comfortable throwing a vote Tokyo Xanadu’s way because I’m almost finished the game. While I do have a lot to say about Tokyo Xanadu’s soundtrack at the moment, I would much rather experience the music further in context before throwing a vote its way (but the soundtrack is really good, and the game itself is quite fun!). Previous Posts: 2011 Soundtrack of the Year: 1, 2 2012 Soundtrack of the Year: 1, 2, LTTP Post 2013 Soundtrack of the Year: 1, 2, 3, 4 2014 Soundtrack of the Year: 1 / 2 / 3 / 4 Soundtrack of the 6th Generation: 1 / 2 / 3 I decided to forego the awards this year, particularly because I decided to forego my Worst Soundtrack of the Year award. My pick for that would be more than a bit controversial, and I think a few folks know what that one is so I’ll let it slide under the rug. Honourable Mentions x. Ori and the Blind Forest : I’d been waiting for this soundtrack for months before the game came out, and it did not disappoint. I was going to make it #3 on my soundtrack list, but halfway through my writeup for it, I felt as though I lost my motivation to write about it. Therefore, I am only including a top 2 this year. A lot of the tracks are incredibly emotional (Light of Nibel, and whenever there’s a rush to quickly platform (Restoring the Light, Facing the Dark), the pacing of the tracks do the level design justice. x. Tokyo Xanadu : Mixing electronica and violins makes this soundtrack fairly classy, from the upbeat yet elegant Strayed into Passage to the characteristic Believe It!!. Falcom hasn’t lost it; the sound is just evolved to fit Tokyo Xanadu’s tone. x. Nights of Azure : Holy shit, Nights of Azure is some hot shit, and I wish more people listened to this soundtrack cuz Solune and I love it so much. Moving from some hard rock (Malicious Roses and Edge of Apocalypse to the jazzy Hotel Ende. I wish I had way more time to spend with this soundtrack and imported the game because the soundtrack is definitely Top 5 material. x. Splatoon : Shooters aren’t my thing. If everyone I tweet didn’t bring this soundtrack up when I was asking for help with the archive, then I probably wouldn’t have known about the soundtrack’s variations. Sucker Punch, Ink Me Up x. Legend of Legacy : I like Legend of Legacy. Or, at least, when I played the Japanese version of it. It had stuff I liked to nitpick and the game is certainly not for everyone. The music itself feels like an extension of Hamauzu’s recent work. Ex: Twin Dimensional Battle, Initium (one of the better town themes he’s composed, imo) x. Kirby and the Rainbow Curse : I didn’t finish this game. I, uh, didn’t feel like it jived well with me, and anyone who knows me knows that I absolutely adore Kirby. But this game has some fantastic tuneage, from Great Cave Escape to Dethskullk Jam to The Final Battle. A lot of the soundtrack drives back to previous Kirby games, which is to be expected. However, the tone of the music moving directly back to Kirby Super Star sounds felt right. x. Transformers Devastation : I had to laugh when NTom64 brought this one up to me, just because I... wasn’t expecting it? I didn’t play the game, so I don’t know if any of the music fits the context at all (never mind that I saw the Transformers movie and I know The Touch fits super-well), but holy crap, the music is incredible and I think it deserves the Badassery Award. Sample: Face the Devastation 2. Undertale
Toby Fox
It’s not even a damn contest. I can reiterate what everyone has said in this thread up to this point about Undertale, but it’s undeniable that this is one of the best soundtracks of 2015. Heck, it might be the best soundtrack of 2015 if the whole “voting with your heart” thing didn’t get in the way for me. Basically, it took a lot of convincing to get me through this game. For one, another GAF member (Shadow Hog) gifted me the game on Steam because I essentially refused to play it at the time. And I’m still thankful that he did. I played through the whole game with Noi doing his own playthrough and we pushed each other through the game. It took some prodding from EmCee to finish off the game and get the True Pacifist Ending to add more meaning to the soundtrack overall (and I took Noi with me in tow for that, too). Now that doesn’t mean I don’t like the game. I just got spoiled on the endings and a lot of things before playing the game because, well, a lot of people wouldn’t shush about it. When I played the game, I felt like it was about the journey not the end. The game’s musical journey is fulfilling. Writing about Undertale’s soundtrack feels like a daunting task simply because there is just so much to say. From references to other games, to leitmotifs being used in single areas, to different types of instrumentation, to different soundfonts being used... there’s a lot of things to say about the soundtrack, and even just glancing through this entire thread, there are a lot of different things that people are saying about it. Undertale’s soundtrack is fairly difficult to review. There are a lot of tracks (well, actually, that part isn’t too difficult; I’ve reviewed 100+ track albums before), they all have extremely varying track lengths, and they all use different soundfonts that somehow create a cohesively-sounding album in the end. Overall, the album encourages the listener to be attentive: to soundfonts, to leitmotifs, to different references to other games, and more. There are twenty-three leitmotifs in the entire soundtrack. Undertale’s soundtrack release also composes of music that hasn’t been used in the game. I think the best way for me to approach the soundtrack, and Noi and I were talking about this last night when he was trying to get me to stop panicking about writing this post in general, is through discussing the leitmotifs. It’s like he said to me, “When you listen to <track>, what do you think of?” Well, there are a lot of things to think of. Nearly every single theme in Undertale references something else internally and externally. There are so many albums and soundtracks that use underlying motifs for everything, but Undertale kind of goes for the nth degree with respect to subtext and motif usage. The soundtrack opens up with Once Upon a Time, serving as the Undertale theme and the primary leitmotif in the game. The thing about the Undertale theme is that I guess it’s supposed to evoke a comparison between either Pollyanna or Eight Melodies. Going into the Start Menu continues a Mother comparison in terms of the Fun Naming themes without the “OK desu” part. More of the Undertale motif picks up in the comforting midi string theme Home, and it’s here that you start piecing together that all of the thematic similarities between each theme and their usage essentially crafts a story. Or at least, it lets the player have expectations of characters or areas. I particularly like the B-portion, where it sounds like it’s channeling some of the acoustic-driven themes Chrono Cross. It is also here that the player recognizes that Undertale’s soundtrack isn’t just a mesh of soundwaves; it uses midi to its advantage and thus steps up soundfont usage even further. The Undertale motif doesn’t surface until much further into the album under the Hotel and Can You Really Call This a Hotel, I Didn’t Receive a Mint On My Pillow themes, which are more flamenco-based, upbeat and resort-like. I particularly like the latter theme simply because it merges the Undertale theme with the uptempo nature of another character’s leitmotif (rather, the leitmotif isn’t used, but the tempo is). The live acoustic with the final Undertale theme in the neutral ending is so, so good. It mixes another leitmotif from His Theme and the Undertale theme to create a piece that’s used in a particular area that weaves in and out of battle and serves as an excellent conclusion for the six-hour journey. The Undertale motif is used in further pieces on the soundtrack, but I will elaborate on those further down the line. Your Best Friend is the next motif and it’s kind of one of my favourites simply because it comes from this stupid two-channel harmony but extends into something else entirely as the motif is used beyond this track. The next track is a major spoiler, but This theme is hilarious out of context because it’s just amazing how much mileage a 23-second loop got in six entire variations with different samples and soundfonts entirely. It makes complete sense in-game, but listening to it out of context like I initially did, I had to wonder why a 23-second initial loop got so much mileage and different soundfonts applied to it in one single theme. Finale has a ton of synth bass applied to it and I adore its pacing with a piano lead turning into a backing. Trying to apply the theme to a synth bass-orchestra is a nice touch too. Ruins is one of the more curious tracks in the game because it’s referenced several times in places that I didn’t particularly expect. I love the B-portion after the introduction because the percussion is so good. It’s the first place where you start realizing that everything is all connected. Ruins is further referenced in Waterfall, for instance, and it’s an entirely different area altogether. In fact, the Ruins leitmotif fits into another character’s motif altogether and gets a bit combined. Undyne has her own leitmotif, which sounds rightfully knightly and gothic (yet the loop is incredibly short), but in battle themes and general themes concerning Undyne, a lot of the leitmotifs intervowen into these themes are that of Ruins. The few themes that are raw arrangements of Undyne’s own theme in another soundfont (and I may add that the sampling is fairly decent for some of these soundfonts) entirely is Dating Tense!, and Run! (which I feel is a better arrangement of the two). Undyne’s battle theme, Spear of Justice is a hot number, with several portions throughout the track dedicated to sampling other themes: from Undyne, to Ruins (specifically, the version of it in Waterfall), Don’t Give Up, to An Ending. The backing makes the theme for me, and the introduction hits the right notes, especially when they’re held. The C-portion with the different arrangements and instrumentations of Undyne’s theme before the loop is so melodic and catchy. Battle Against a True Hero also samples a bit of Ruins itself, bringing a little more percussion and synth strings into the fray. Additionally, the Waterfall/Ruins motif also lends itself to Another Medium and CORE (with those two themes adopting thematic elements based on the characters that integrate themselves into the plot of those areas). Another Medium is probably the biggest theme that popped out at me. I played through Undertale together with Noi and we just sat there talking while this theme was playing in the background while just going “baby, this theme is so good, isn’t it?” to each other. Aeana brought it up with me, and I did indeed feel like it references X-Naut Fortress. And a lot of themes in Undertale, thematically-speaking, references a lot of other themes from other games, whether it’s in terms of a soundfont used, or just... being like Dating Fight! and Oh! One True Love. Temmie Village is fucking stupid and it isn’t even cohesive, and I love it. I enjoy the stupid soundfonts used, and I enjoy that it’s supposed to refer to the music played whenever a character’s behaving like an idiot, due in part to the lack of percussion in the track overall. Death by Glamour is one of the more fabulous tracks on the entire soundtrack. The piano harmonies aren’t as cohesive as possible, and the beat is kind of frenetic, but I think that’s what makes the piece its own. It’s an arrangement of CORE, Metal Crusher, and It’s Showtime! It’s a gigantic showcase of, well, being kind of like… um, Roundabout by Yes. The reference was so good that I had to laugh. Even the bass and percussion was replicated so well. A few folks who’ve played the game, and know where Roundabout is from may also get an additional reference, and then everything will make complete and utter sense. Definitely up there with some of my favourite tracks in the game. From here on, I guess I should probably not discuss names of tracks. The penultimate boss‘s theme is one of my favourites. For all of the emotions it evokes, and for the callback to this theme at the beginning of the game (which I truly enjoy has a few channels compared to the actual theme which uses more channels), I can’t help but to feel like it’s my favourite? It sounds like the most honest theme in the entire game. Even though it’s entirely honest, it’s an arrangement of this small theme from another of Fox’s works. It’s nice to see it expanded into something with greater detail. I love the C-portion of this track, due to the percussion and synth voice degenerating into synth piano and chiptune prior to a piano in a lower range taking over prior to the loop. It assists with making the pacing so smooth and frenetic, and emotional to boot. Even if I didn’t hear the theme in context, I’d still feel the same way. Noi and I did another ending last night together. When we heard Here We Are, I mentioned to him that it sounded fairly... Meguro-like? Perhaps that was an error in terms of analysis on my part, because upon further consideration, it reminded me a lot of OFF and Yume Nikki. It also uses the soundfont for this, though it’s not readily apparent. One of the more interesting tracks, Amalgam is a strange sampling of Earthbound tracks integrated into one thing that’s kind of cohesive taken as one whole product. Finally, what a lot of people feel the theme that caps the entire soundtrack off is the final True Pacifist boss theme. Or rather, both of its themes. Noi and I sang the whole things to each other while we were playing through the ending together. In fact, EmCee refused to let me vote for Undertale until I’d finished off the True Pacifist ending, and I could tell why. The first half of the track I linked is one separate theme for an entire phase, using three different motifs dedicated to stronger Undertale themes, opting for a synth violin opening, then transitioning forward into a synth guitar and chiptune. Undertale likes to lie about its upfront appearance. You suspect the entire soundtrack to drown in chiptune, but it doesn’t. The second theme, completely obliterates that notion, opting for a stronger sense of synth/electronica with a combination of guitar, drums, and a nice little xylophone. It’s a very pleasant and semi-rock-opera-esque way to cap off the soundtrack as a whole. I suppose, that the strongest suit that this soundtrack has, is that it tells every character’s story. The synergy between every piece in an area dedicated to that particular character, and also callbacks to other area themes is so flawless that sometimes it’s not even noticeable until you start to think about it. The soundtrack isn’t entirely flawless. A lot of the unused tracks simply sound like that: unused and unpolished. It’s nice to have them there, but they stick out in not the best way. I feel like tracks on the album should have additional loops. Speaking about the soundtrack in a game context, it’s difficult to narrow down a shortcoming because the way each theme is used is dedicated and carefully placed. Undertale was a pleasure to experience, both the game, and its soundscape. It’s an inspired album, internally and externally. It’s probably a stupid and silly reason, but I can’t help but to compare the soundtrack to what Nier the game was: a collection of different references to everything else and nods to other games woven into one thing. Of course, the collection of different soundfonts and different samples in every theme and from theme to theme is really… strange, but I kind of dig it? It’s a testament to the fact to a lack of cohesion doesn’t necessarily break a product because I feel as though Fox got what he wanted out of the game and out of its soundtrack’s lack of cohesion. It’s all over the place, but it fits. It’s different, and out of context, it sounds like the strangest thing, and even in context it sounds like the strangest thing. But because it’s so strange, it sounds so natural and fitting. Undertale is a strange journey. Its soundtrack being strange, yet so cohesive is absolutely fitting, and it has earned its spot as one of the best and strongest soundtracks of 2015.
1. Final Fantasy XIV: Heavensward (patches 3.0 to 3.15)
Masayoshi Soken (some original tracks by Nobuo Uematsu)
This is where I decided to listen to my heart. I really wanted to give Undertale the first spot, because speaking as an evaluator, I felt that Undertale was the most consistent soundtrack of the year and the most impressive soundtrack from one single person. However, as I keep playing Heavensward and experiencing what I feel and what my friends feel, I can’t help but to think with my heart instead of my brain. I picked up Final Fantasy XIV after years of Noi asking me to play the game with him and I didn’t really want to start playing it because I wasn’t interested in any of the jobs until Ninja was implemented. Perhaps it might be slightly unprofessional on my part (lol “professionalism” when it comes to organizing a thread) to choose a soundtrack based on my personal biases and experiences that is game-specific as opposed to the musicality of a soundtrack. A lot of my decision-making with respect to this soundtrack has a lot to do with personal experiences, so please bear with me. A lot of Final Fantasy XIV’s soundtrack, particularly pieces from A Realm Reborn and the 2.x patch content, can be a bit mixed. While some of it is amazing, like Thunder Rolls or Torn from the Heavens, some of it doesn’t feel entirely cohesive. This is due in part by some of the music being remnants from the game that Final Fantasy XIV was, and the game Final Fantasy XIV is today. It is also due in part to Masayoshi Soken having not come into his own entirely yet. Soken has composed for other games, such as Mario Hoops 3-on-3, but these games typically side-games or games that don’t have a lot of traction outside of niche circles. I believe, even since last year, I was waxing poetic about Soken’s work simply based on out of context experiences with his music. Now that I can say I’ve experienced his work in context, it’s even better, and I understand the following he has. Final Fantasy XIV: Heavensward is, for the most part, Soken’s time to shine in the sun. Although the main theme, Dragonsong, was composed by series’ veteran Nobuo Uematsu, many of its leitmotifs are carried on throughout the entire soundtrack. I do feel as though Dragonsong is more cohesive than Answers; however, that is a personal bias considering I liked Final Fantasy XI’s theme, Distant Worlds, far more than Answers. Truth be told, I did not start warming up to Answers until my Free Company started raiding the Binding Coil of Bahamut more often. That being said, there’s a lot of what Dragonsong does, which works for me more than Answers did (and I’m typically not a huge fan of Uematsu’s vocal pieces at all). Susan Calloway’s diction is, as usual, incredibly excellent. Hearing her voice feels like a gift. As some may recall, I’ve studied vocal music, trained as a mezzo-soprano, so hearing another soprano with a lot of control feels amazing to me. Physically-speaking, it’s hard to control your voice when you get into a higher range and your voice is more of a power voice than a paper-thin voice. My vocal coach and I spent sessions together trying to get my voice under control for Phantom of the Opera pieces where I did both parts when I was younger, even. I’ve come to admire sopranos who can get it done flawlessly, and Calloway is one of them. It’d be an honour to hear this live one day. While the lyrics describe nothing but the legend of Saint Shiva, Hraesvelgr, and the history of Ishgard itself, the way the music is composed, with many of the note holds, some of the simplicity and elegance melodically-speaking, and the feeling and diction emanating from Calloway’s vocals makes the music more meaningful. I feel that way every time I let the game’s opening trailer roll. Many of the game’s themes revolve around Dragonsong’s motifs. Well, “many” is probably falling short of how many truly use its motif. Despite this, as Thoraxes and I had discussed months ago, this soundtrack demonstrates a lot of Soken’s growth as a composer. Dragonsong appears numerous times in different motifs, from the slowest, most delicate pieces, so the more energizing pieces. I enjoy the redone prelude, since much of the instrumentation used in terms of strings is more evocative of cold and loneliness, which enhances Heavensward’s thematic elements a little more. I’ll personally be sad to see the theme go when 4.0 rolls around, but I love leaving the game on the start screen just to listen to it even more. The boss theme, Ominous Prognosticks, is more melodic than the A Realm Reborn boss theme, and it’s even better. It’s easy to hum, and I love the percussion and brass. The percussion drives the entire thing and the strings and brass carry it all the way through, especially frantic bit in the C-section. When the theme launches into the main melody in D, extending into the main Heavensward melody, with the chorus, it’s paced so well with the percussion hitting hard then extending into the main traditional Final Fantasy battle opener prior to the loop. It’s one of the better boss themes in the series, and it’s incredibly catchy. The Primal themes in this game are different from those of 2.1-2.5. Ravana’s themes demonstrate that Soken’s not all about rock operas or metal. The first half is a hilarious waltz. The strings make this far more than the chorus. But then you’re blasted into the second half with some hot bass (throatsinging) vocals and setting itself far apart from the other upbeat primal themes. The instrumentation doesn’t run far from the vocals, and the brass doesn’t overtake any of the vocals, letting the lyrics play out gracefully. I can just sing “the war still wageth on” when it comes up because I know when it’s coming up in the movement. I like it. It’s one of the better Primal themes in the game because there’s a lot of depth to the instrumentation and care taken in lyrical writing. For the second primal theme, Bismarck, Soken decides to go with more electronica as opposed to rock or what he did for Ravana. More drum and bass, and it sounds really good. It’s the first primal theme out of the two main ones that I gravitated towards because of the bass. The second phase adds some piano and slight vocals. The bass and percussion stand out more in front of the rest of the music and it’s something I always appreciate in any sort of music because bass anything is my sort of jam. The second portion of the track where the piano is added is nicely rhythmically-paced, integrating vocals. It’s hard to say out of the two primal themes which one I enjoy more, but it entirely depends on my mood. Heroes is the final boss theme of Heavensward, and it integrates parts of Dragonsong into the theme. Even listening to it while writing this up, I find myself humming the harmony because it’s my favourite part as opposed to the lead melody or the vocal portions. The portions where the main melody of Dragonsong flows in, it’s difficult not to be enraptured by the string sweeps, the percussion, the orchestration, and the brass. The Azys Lla theme is one of my absolute favourites. I don’t know what to gush about first. The introduction with electronica? The organ melodies (oh hell yeah, the organ melodies)? The theme is a deliberate nod to Final Fantasy VI’s New Continent, albeit with different instrumentation. I love the backing, too. It’s not something you typically hear unless you have a good audio system, but in some good headphones, during the downbeat/piano portion in D, there’s some really nice stuff being done with hi-hats and synth vocals. It’s fairly different from other area themes in the game overall, and it stands out by being a completely different genre from everything else. I have a very deep affection for Coerthas Western Day, and Coerthas Western Night, simply because they were really the first two themes I went out to experience for myself when I got to the Heavensward patch. The instrumentation in both is so melancholy, hinging on strings and piano in a cold wilderness. At the same timeChurning Mists Day and Churning Mists Night don’t get a lot of love in-context because... well, not a lot of people like that place. It sucks. Musically speaking, both themes are really nice inverses of each other and easily told apart due to a complete difference in terms of instrumentation. One is a beautiful piano rendition, and the other is draped in strings and plucking. The introductions of each piece are fantastic and tender and slow. Contention, linked previously, is one of my favourite themes in the entirety of Heavensward, and half of the reason is because it’s a very important theme for me. It is supposed to illustrate a deeper connection between two characters in the Heavensward narrative, and hence it’s a graver arrangement, led by a piano, of Dragonsong. However, in a personal sense, I generally associate the theme with Noi and me fighting then making up, or just being together listening to the theme and telling each other that we love each other very much. Thus, Conviction is very important to me, both as a game-player, and as an individual. Musically-speaking, it’s a wonderful grave piano arrangement of Dragonsong, and it doesn’t necessarily build or change outside of synth strings being added in a layer. Nothing necessarily overtakes the piano until a small grave climax in the theme. It’s very tender and I love it very dearly. I kind of dislike the Idyllshire Day and Night themes, and I find the Hinterlands Day and Night themes fairly unremarkable. I feel like they don’t necessarily add anything musically or add anything with respect to musicality other than “here’s this town theme, it sure sounds like a town theme”. The Hinterlands themes simply use instrumentation that don’t necessarily tug on my ears. By contrast, the Ishgard themes (Pillars : Night / Day; Foundation Night / Day), are much better and more grounded in emotion along with motifs for Dragonsong better portrayed through instrumentation. The piano, the brass, and the organs play out the prestige of a town theme mixed with a main title theme, and it’s a pleasure to listen to every time. However, the main dungeon theme for the dungeon in the Idyllshire area, Ink Long Dry, is one of my favourite themes in all of Heavensward. That jazz piano is some of the hottest stuff on this side of D4. The bass stands out, and while the time signature for this piece is weird, and everything about the piece is so weird, it’s the most relaxing piece in the entire game for me outside of another soon to be mentioned. Jazz fused with some weird instrumental hip hop in the main portion of the track, and it sounds so good. Out of the two postgame dungeons in 3.0, I like The Fractal Continuum more (not just because my damage-per-second shoots through the roof based on my job, but it doesn’t hurt!). While Neverreap sounds like a standard arrangement of The Sea of Clouds, Fractal brings its own fun melody to the table with organs, synth, a nice backing guitar, fun backing percussion and hi-hats, a nice little piano. But man, listen to that percussion. It’s almost to die for and I’d love to drum that myself if I ever got better at playing the drums. The Alexander themes are a true treasure. It’s something you kind of expect from the area, and from Soken himself due to his previous work and which genres he chooses to set his themes. The ambient theme doesn’t get a lot of play, and honestly due to the area, it doesn’t get a lot of love either. I kinda dig it because it reminds me of 90s rave music. The electric guitar melody is pretty hot, the organ is hard to hear but it adds a lot of melody, and the backing synth is jammin’. The one theme that everyone loves (well, not Jucksalbe :V :V) is the boss theme! This shit right here is super-hot. The lyrics are hot (dc, dying, dying, electricity!), the percussion is so fucking good in almost every section of the theme (particularly A-portion prior to a verse, with the electronica). The introduction is so good, and I’d love to hear an entire piano quartet rendition of the entire theme because of that. Sometimes I go in, hum one part of the melody and Noi hums the other for the harmony and it feels so good to know someone else gets it. Metal is probably the one theme that some folks who don’t play the game might know? There was a live version done at a panel and some non-FF14 players thought it was hilarious on my timeline, anyway. The lyrics are lore-specific, with FF14’s Goblinspeak pervading throughout the entire theme. This is where “No Busydeals For the Wicked” comes from, and you can’t help but to sing along to it to have something to laugh at because folks aren’t doing their jobs in the raid and not picking adds up when they should also the tank isn’t stunning the legs ... and... what? Metal is a theme that’s more or less a typical Soken theme. The lyrics don’t kick in until the battle actually starts and someone’s hitting something. The instrumentation is so caustic, particularly due to the reliance on hard percussion coming from all angles. The synth and the electric guitar pick up at a fantastic point during the theme’s chorus, and I especially love the bit during the second verse with some of the off-beat string points. It’s so frantic and sounds added in because they were late to the party, but it fits so well. The 3.1 themes are a bit hit-and-miss. The Diadem and its battle theme sound great for the first few times, particularly because they invoke the traditional prelude, and it hinges on more of an orchestrated sound as opposed to the rock or gothic themes that we usually get for raids. The B-portion of the former theme is probably the best part of it as opposed to the introduction which includes the prelude, because it sounds more militaristic due to the percussion, and yet, it evokes a sense of wonder due to the brass and flute. That being said, like any MMO theme like this, it gets very repetitive very quickly, particularly before its loop. The battle version of the Diadem theme is really cool due to the pacing of the track, and because it integrates the classical Final Fantasy battle theme introduction. I like it far more than the exploratory theme, and I kind of wish it had a longer loop because I’d rather hear that for 90 minutes straight as opposed to the exploratory theme. The two dungeon themes in 3.15 are really good, though one is old. Pharos Sirius only got a new (very excellent) piano introduction, and I wish the rest of the piece were more arranged to set it apart from its easy mode predecessor. Saint Mocianne’s Arboretum is gorgeous. I’ve used it as study music. The woodwind introduction, with the piano D-portion is my favourite. Never mind that the dungeon itself is gorgeous; the pacing of the track itself, particularly in its C-portion with its pacing piano prior to the loop and the B-portion relying more on strings and guitar, allow the player to perceive a sense of beauty and magnificence with respect to a slight reference to Final Fantasy IX. It’s a very nice arrangement of the Dravanian Hinterlands theme, and it makes the theme even more respectable. The new Vanu themes are so well-done to me. They’re so evocative of some Genso Suikoden III pieces that tried to inspire the same tribal tone but those themes weren’t always so successful at it. I especially enjoy the piano in this theme, combined with the underlying backing and percussion. It sounds so frenetic and disjointed, but it works so well, and I’m glad that these themes were integrated into the patch. The Gundu theme may not start off as strong, but its final portion before the loop has an excellent orchestrated background with a flute lead. I couldn’t help but to think, upon hearing the themes in the patch for the first time, that Soken grew a little bit. He’s not confined to rock anthems or electronica anymore. He can still land into traditionalist territory and set himself apart. I don’t have much experience with the Lords of Verminion theme because I don’t usually do the event. But man, it reminds me of Mortal Kombat. It’s so easy to dismiss it because of the electronica backing and the percussion, but the best part of it is the violin passage. Even then, it’s unfortunate that the loop is so short, when matches are apparently five to ten minutes long. The Void Ark themes are probably the best new pieces of music in the 3.1 patch. While traditionally gothic, it’s not every day that we get organ and piano-filled themes like that in Final Fantasy XIV. Void Ark’s Calm Theme relies on its organ, its piano, plucking, and softer percussion. I feel like I know the melody in and out because I have someone humming it in my ear every time I run through the dungeon with him. There are times when I literally have to tell him to shush because I’m concentrating on healing or hitting a thing, but it honestly makes me love the melody more because it tells me that the melody is quite catchy. Even during the battle theme, I can’t help but to sing the main melody along with Noi because it keeps me at ease when I’m in a tough situation. I do enjoy that the brass became more prominent in this version as opposed to the organ and piano in the former. The Echidna boss theme is still a variation of the Void Ark theme, but it includes choral work, more brass, and more percussion. The bells return and there is a sweet interlude in the C-portion with the original organ and flute before picking up to the main instrumentation. The final theme added in patch 3.15 is the (final boss spoiler) Primal Extreme boss. Some people kinda hate because it’s not enriching enough, but I love it. I love the B-portion, post percussion introduction, with the piano prelude joining an arrangement of the main final boss theme/Dragonsong arrangement. It’s a good arrangement in a completely different key. After the big bombastic portion finishes, a piano transition occurs which I absolutely adore. It’s backed by synth and very little percussion, and the portion slightly arranges the Azys Lla theme. It then transitions to a paced choral portion of Dragonsong with a final brass fanfare before looping. I haven’t done the fight yet because the running joke is that my FC is busy doing silly distracting things instead of new content (hey man, 3-4-manning content is plenty fun!), but man I’m sure I’ll love it in context when I do finally do it. I had asked Noi to run the Aetherochemical Research Facility with me on Friday because I was still struggling to vote between my heart and my head. And after our run was over, I realized that I should go with my heart. Listening to Dragonsong arranged with more percussion and emotion (brass/piano) made me realize a lot of things. Heavensward as a whole brought me closer to a lot of other people whom I consider good friends of mine. It brought me much closer to Noi in ways I wouldn’t have dreamed of three years ago. Talking about our experiences with the soundtrack, a few of us singing the soundtrack to each other, going “whoa” at some new pieces of music, and gabbing a whole lot about different parts of it made me realized that maybe it’s not so bad to go with your heart once in a while. From a technical perspective, Heavensward’s soundtrack is not perfect. It definitely has a few duds. Speaking from standpoint reflective of soundtrack cohesion, while Heavensward elects to use Dragonsong everywhere throughout its entire soundtrack, it isn’t successful in some areas, and it ends up being dragged down because of it (ex: Sohm Al; this is an arrangement for the sake of an arrangement to me). Heavensward’s highs more than make up for its inadequacies, however. This soundtrack, despite essentially being a motif arrangement soundtrack, demonstrates that Soken has grown very much as a composer since A Realm Reborn. And patch content demonstrates that he still is growing. I look forward to seeing what Soken does next, and I genuinely hope that he gets attached to a mainline single-player Final Fantasy game for everyone to experience his work.
