Discover Top Posts Tagged with #experimentalism

Wyrwa, grudzień 2025.

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First announced as Project Dragonsphere, Drag-On Dragoon – or Drakengard in the West – was developed by Cavia, a small group composed of talents formerly employed by some of Japan’s largest software houses. Originally showcased to Enix for a possible publishing deal, the game ended up being launched after the merger with Squaresoft, having thus benefited from the wide reach of the newfound group whose wherewithal made it available worldwide in 2003, translated into multiple languages no less.

The game is best described as a peculiar combination of an open-range sword battle action found in Dynasty Warriors, and the celestial delights of the seminal 3D shooter Panzer Dragoon. The saga of prince Caim and Angelus, the dragon with which he made a pact in return for his own soul, is accompanied by the extraordinary work of Takayuki Aihara and Nobuyoshi Sano, the duo responsible for this, one of the most singular approaches to the task of composing the soundtrack for an epic fantasy video game.

Released in two volumes, the anarchic background music is structured as a collage, in that it stitches together fragments of some of classical music’s most celebrated themes in a manner which the musical wizardry of the information age, alone, could permit. Although the presence of erudite music is not altogether uncommon in video games, whether featured as a side theme, motif, or the more or less obvious inspiration for original compositions, I cannot recall any other exercise where the music originated from the employment of a similar method.

This extravagant compound of cyclical samples, abruptly interwoven - often with little regard for tempo -, is borrowed from the works of composers such as Bartók, Debussy, Tachikovsky, Respighi, Mahler, Rimsky-Korsakov, Richard Wagner, Antonín Dvořák, Mussorgsky and Holst. The creative process started with a selection of extracts from a number of pieces from these composers, which were then performed and recorded specifically for the occasion in collaboration with the Tokyo New City Orchestra. The resulting recordings were then subject to a unique process of editing, looping and layering, with the aid of discernible audio filters and effects that grant the final mixes a distinctive aural identity.

It should be noted that neither Aihara nor Sano’s previous work bears any similarities to this their most groundbreaking proposition, their portfolio being constituted of far more conventional electronic thrills that can be heard in games like Ridge Racer or Tekken. In fact, the closest approximate I could detect would be Aihara’s work in Soul Edge, whose original coin-op themes he arranged for the domestic release, while still working at Arika.

Despite the passage of time, the Drag-On Dragoon soundtrack retains its status as one of the most implausible, experimental musical compositions ever to emerge in the field, a blend of musical utterances from the great masters, at once familiar and disturbingly out of place. It evokes a sense of grandiloquence and chaos, of commotion and unease, its creators never too timid to wholly embrace the unexpected.

#drag-on dragoon #drakengard #nobuyoshi sano #takayuki aihara #classical music #experimentalism

im thinking that people need to start being more experimental with they media. the only thing genre labels are good for is telling you what to try and expand on. tired of mundane media.

when i was younger, i always found myself upset that certain musicians were hard to categorize. many groups just had something unique to me, and i couldnt find anyone who could replicate that. for me it was always a roadblock, but now i see it as something great

why should someone stick within the bounds of a certain box when their whole piece of uniqueness is how it says "fuck you box i never needed you anyways" and does something cool with it.

i love that indie creators are getting recognition they deserve but i just feel like things have gotten boring. and not in a "things used to be creative but now they arent because society" way but just that some stuff has reached a point of stagnation

the whole reason i came to jungle/breakcore music is because it pushed the limits for what i even thought could be music. i had never heard anything like it. now there is lots of music that can nice and cleanly be fit under the label of "breakcore" and i got bored of it.

same thing with indie horror. when it first started, it was new and fresh and defining, but its all now under the genre "indie horror"

not even just new media. i would definitely consider myself a fan of jazz music, but i prefer the more experimental, post-bop side of things, compared to what most people would imagine when they think of "jazz"

i dont think its bad that this type of media exists. i just wish that people would try and go outside of their comfort zone. and definitely no shame to the creators of any type of media that i happen to not like, more power too ya! im just some random netizen, no one with authority. just my 2 cents.