“Lost in the Keg” is another background track. While I don’t have much in the way of context, in fact, the most I can do is infer that it’s an Oseram track based on the name. That being said- if it is a track related to the Oseram, it’s not like most of the others. This is because it’s more of a slow, almost sad track at times, especially compared to the others. Music for each tribe seems to use a handful of specific instruments for thematic purposes, and this track seems to lack percussion, one of the driving forces in a lot of Oseram centered tracks.
We actually start out with a clear guitar riff at (0:02), which pops up a couple times to lead to a second string instrument, likely a violin or viola at (0:10). Just the slow tempo and lower octave alone make this track seem heavier. At (0:21), the melody slowly begins to creep in, making a more quiet entrance. We don’t actually hear it for a few seconds, from (0:37) to (0:41). (0:47) brings in a secondary melody as well.
At (1:05) we actually hear the two melodies intertwine briefly as well, before both instruments continue to play the secondary melody. The melody in this track is more like a slow wave if anything. It raises faintly, before fading out again. It does this a lot, as well. Points like (1:47) actually show just how loud it gets, which frankly? It isn’t too loud. This makes sense, as it isn’t for a battle scene or a place like a tavern, it needs to be a quieter track to better help the player focus on their surroundings.
We do get another point where the melody changes though. Starting from (2:27), the melody we’ve been following fades out. The higher octave strings at (2:39) help ease us into the new melody, which starts at (2:52).
It doesn’t last very long though, as (3:18) does replace it with a different melody, one a little higher pitched as well. At (3:37) we finally get a slightly lower octave melody front and center again, but that also doesn’t last long. This is because the track starts fading out around the (3:50) mark, to allow it to end at (4:09).
While I’m talking about Silksong (slight spoilers for Act I soundtracks)
I want to mention the prominence of “Dies Irae” EVERYWHERE in Act I, it’s in the menu theme, it’s the bell jingle, it’s in NEARLY EVERY area (non settlement) theme save for Deep Docks (bc Forge Daughter?), Hunter’s Trail (bc ants), the Slab (bc flies?), and surprisingly I can’t hear it in Blasted Steps, but it is in the bell room theme, Repose.
I shouldn’t have to explain why having the musical poster child of “death and calamity” be one of the most prominent themes in the (early) game is a tad concerning. And with the religious aspects of the game being highlighted throughout Act I and into Act II, mixed with an oppressive system and worker exploitation in the Underworks in particular (and currency = faith), I find the usage of “Dies Irae,” which was originally played in a religious context, EXTREMELY interesting.
We aren’t just using it for death, which the Haunting is (again, reanimating corpses), but also for a religiously organized one. Hornet’s journey goes upwards, we literally ascend like the pilgrims do getting closer to this silken higher being who is presumably the primary one worshipped by Pharloom given their influence (Lace Act II conversation). (With this in mind, and with pilgrims being seen possessed or reanimated with silk in Act I, I’m moving forward with the assumption that the Choir [partly consisting of pilgrims who made it to the Citadel, and some of whom are reanimated] is also controlled via the silk, with seemingly very few npcs still possessing their minds.)
Timestamps if people want to double check up to Clockwork Dancers below:
- Menu (0:00)
- Enter Pharloom (1:02)
- Moss Grotto (0:05)
- The Marrow (2:24)
- Bell activation jingle
- Repose (0:18)
- Far Fields (0:44)
- Greymoor (1:18)
- Shellwood (0:01) [it’s the base line of the song!]
- Sinner’s Road (0:28)
- Bilewater (0:09)
- The Mist (0:00)
- Underworks (2:05)
-Choral Chambers? (0:28)
- that one Simon says mini game in Choral Chambers
Tried to analyze the majority of Stampede's OST purely by listening to it every day for 6 months. A lot of these are personal observations and thoughts, and I didn't include every song but, yeah. Some of these are attached to their scenes by memory, but granted, I've watched this anime about 3 times.
Anyway, I need more people to talk about the usage of leitmotif and musical-storytelling of this show.
(this will be part of that essay anyways so here is ya tag, @shinekittenace )
So. I think this fandom all has one thing in common: we all freaking like the OST. And I dont blame yall, that OST is worth the 10k word essay i will inevitably write about it because I know myself. But, I think we are sleeping on one of the most important parts of it:
The silence.
So, spoilers for the entire games I guess.
I want to mention the three main instances of this phenomenon, listed down below with its explanation why it got me the way it did.
1. Primrose’s stabbing in her chapter 3.
Just, everything. The way Simeon appeared after the fight was already very, very sus. But, who really expected him to fucking stab her? the way Bonds of Friendship just suddenly halted and you hear that piercing soundeffect? Fucking perfect
2. The duel pop-up in Olberic’s chapter 3
Oh this one got me good. Like, first of all the choice of playing Sorrow over Erhardts speech is phenomenal. It just meets all the right notes for it to be emotional. And then it slowly fades out and just, deafening silence. And to make it worse, you see that thinking bubble above Olberics head and the duel pop up appears. Just jdhdhdhd that was the first moment in this game that really made me cry. (Not to mention Olberics reply I fucking sobbed during that scene)
3. And the one that really made me pause the game, the ruins of Hornburg.
I mean, it would have been easy to compose to tragic, noble song for this area. Add some horns in it, give it Olberics leitmotif badabing badaboom. But, the concious choice of silence except some wind really made me want to pause the game. It really makes your realise how abandoned and how tragic this was, by just doing… nothing.
Sometimes, in games, silence can be more powerful than any song.
I’ve recently beaten Final Fantasy XV and have been sating my need for more content by consuming all the DLC, scripts, and anime (which I’m sure you understand if you’ve also played). The other way I’m coping with the fact that I’m done FFXV is by analyzing one of my favorite songs from the OST, Too Much is Never Enough by Florence + the Machine.
Mind you, these lyrics are subjective and you may find other metas that have a different take. Enjoy them all! The fun is in gathering all the different ideas to discuss. And since you’re here, this is my perspective on what the lyrics mean in Too Much is Never Enough.
BEWARE: FFXV Spoilers Abound
Proceed with Caution
About 1500 words | 5- to 10-minute read
A year like this passes so strangely
Somewhere between sorrow and bliss
He never really grieved his father fully, not on screen at least, and I think these lyrics really speak to that. He’s on the road with three people he loves like family*, but in the meantime, he’s lost his father without really getting to say goodbye. And they had such an emotionally charged but unexpressed (or under-expressed) father-son relationship that he’s never quite fully recovered from or processed his loss.
* not negating any ships here, just acknowledging his bond with all of the Chocobros
– – –
Oh, who decides from where up high?
I couldn’t say I need more time
Oh, grant that I can stay the night
Or one more day inside this life
I love this direct contradiction because that’s just so Noctis: to conceal what you really need emotionally even as you know that’s what you need.
To say you don’t need more time, but praying for the one night or maybe just one more day there, with his family—that’s all he needs before he lays down his life for them.
Because Noctis naturally doesn’t say what he feels, sometimes even saying the opposite, or says just the tip of the iceberg of his real feelings. That cloaked duality comes across here in a really meaningful, subtle (and yeah, hurtful) way.
But it also shows this desperate (not sure if this is the best word, but it’s that quality of needing someone), vulnerable side to Noctis that just wants a single night more even as he also says he couldn’t say he needs more (not that he’s singing, just going on the Noctis angle).
As much as Noctis is kind of spoiled and definitely takes his friends for granted, that doesn’t change the depth of his love for them.
And though this is the official lyrics line break, I do think it’s interesting that it can be heard either as shown above or:
Oh, who decides from where up high? I couldn’t say
I need more time
As an alternate interpretation of “who says it has to be this way, I don’t know” and then the plea for a little more time here with the ones he holds so dear to his heart. This ability to hear it differently really reinforces the duality/contradiction of these lines.
– – –
And the crown it weighs heavy
‘Till it’s banging on my eyelids
Retreating in covers and closing the curtains
I once told my friends that Noctis was like a cat that hides beneath the bed and the Chocobros all have different tactics for getting him out—this section of lyrics reminds me of that, but way prettier and more poetic.
Retreating in covers and closing the curtains, shutting out the world, because he’s avoiding feelings, the pressures of royalty, etc. The specific things being avoided in these lines are royal obligations and the cost of being the True King, of course.
And it does remind me of the pointedly kingly moments of Noctis—like when Jared was killed, he focused on Talcott, speaking to him like his king rather than as his friend. He showed empathy, understanding that this situation wasn’t fair and it wasn’t right, but he promised to make it right.
That’s not something he’d say like that to his boys or Luna—similar, maybe, but not the same. If you know him as Prince Noctis, you aren’t getting past the curtains. He won’t let you in because you need him to be an icon, and he won’t disappoint you that way. But if you know Noct? You stand a better chance, at least.
Another moment is kiddo Noctis declaring to Gladio in Brotherhood that he won’t lose their sparring match—he has lost every one at that point, he has no reason to believe he’ll succeed. But that’s what is expected of him, that’s what he needs to do as prince.
And as much as that pressure is a lot—that crown weighs heavy—he embraces it, he wants to meet that expectation and make them proud. But the cost is both his closed nature and in a way, being blind to the costs of the crown. He knows there’s a cost, he’s said to Prompto that being a normal person is kind of nice. But he doesn’t acknowledge a limit to how much cost is too much (an interesting twist on the title, now that I think of it).
There’s a bit of idle dialogue in-game where Ignis comments on Noctis looking worn down, and Gladio says he needs to take better care of himself—and Noctis tells them that’s their job. I’m using this as an example of him not seeing self-care as worth it, seeing this cost as not being too much to pay, blind to its toll—and his friends have to take on that toll for him so he can keep on going.
But honestly, even the fact that Prompto says nothing is part of the cost. You know this boy probably wanted to speak up, but he 1) might’ve felt it wasn’t his place, thanks Noctis and 2) is the least pushy of his friends.
He lets Noctis come to him when he wants or needs something, so he puts his own feelings aside for Noctis’ benefit. Prompto is someone he can avoid the crown/feelings with who won’t bring it up before he’s ready, which is important, but it’s Prompto who shoulders that burden in the meantime.
Though I also want to say I think the really beautiful thing with Luna is that she gets the special privilege of seeing Noctis as himself and the True King simultaneously— they are one and the same to her, and I think that’s a big part of his feelings for her too.
Again, not negating any ships here! I’m a multishipper, so this game is a grand ol’ buffet of cute ships to me.
– – –
And who cares about the thing I did that night?
So what, maybe Luna had it right
And who cares if I’m coming back alive?
So what, least I have the strength to fight
Okay, so if you look at these four lines separately, you get more options, but I’m choosing to look at them all together because angst.
When Luna dies and sees Noctis one last time, she says they can’t see each other again “because my prayers have been answered, my calling fulfilled”.
That’s what I’m thinking of with “maybe Luna had it right”, but this introduces an interesting thought that Noctis thought she was wrong before. Suggesting that perhaps he was angry with her for praying to die for them even if that is the cost of the Oracle’s covenant. Basically his thought path would be along the lines of “wtf Luna, haven’t I lost enough?”
One of the five stages of grief is anger, so that’s especially intriguing to me because I have a feeling Noctis would also feel guilty about being angry, and of course he’s all caught up in his own feelings for the indefinite future as he works this whole mess out.
The first and third lines of this section apply well to the endgame. He’s referring to his own death for the safety of all without actually using the word itself. Avoidant even now, because sometimes it is just too much to take, whether you’ve made your peace or not (and of course he had, he says as much).
But it’s also an extension of not having any idea of what cost is too much—he’ll pay any cost for them and the world. Let’s be real, it’s mostly for the ones he loves, but he lives up to his duty with pride.
But he’s still being dismissive of their feelings. He doesn’t care if he comes back alive, but they do. One last cost he leaves them to pay, but that is part of their duty in this. They filled the time he had with love and a good deal of patience, so they must be among those not exactly celebrating at the return of natural order.
In a way, that last line is for all of them—having the strength to be there, to fight, to live up to the honorable, painful duty set before them—they can be proud of that despite the steep cost.
Thanks for reading!
If you’ve got thoughts to share, I’m happy to see them.
Been a while since I’ve done one of these! (Been wiped out from stuff for college recently.) However I finally have the time to sit down and do another! Next on the list is “The Way to Barren Light” this piece, while I can’t find the details on the wiki, I believe the ban is accurate, and it plays while the player is getting to Barren Light.
Now, despite Barren Light being an Oseram settlement, this is a softer piece, with softer woodwinds and lighter percussion being utilized instead. We have the main theme leitmotif at (0:14), which leads us to the start of the main melody at (0:20). (0:30) actually ends up switching the piece into a lower octave, and while it’s still much softer than the average track related to anything from the Oseram, it’s still a noticeable tone shift. We hear some more strings at (0:48), played with pizzicato, though the strings heard at (0:57) are a bit more what we’re used to.
At (1:08) we get another tone shift. This time, it begins to sound lighter, almost uplifting in a way. The strings are the main instrument by now, and while it remains in a lower octave, it’s steadily rising and getting louder. It reaches the peak at (1:22), before slowing down a little. It slowly fades out before ending abruptly at (1:38) instead of having a few seconds of silence like some of the other tracks we’ve listened to here
Tonight we’re looking at “In All It’s Splendor”. While I did struggle to find where this one plays, I did find a Reddit thread pointing something out- this track plays in both the demo used for the 2021 State of Play, specifically around (10:15). This track is a little on the longer side as well, sitting at around 4 minutes. It’s also a track I’ve found works surprisingly well as background noise for things such as studying, as while it has a lot going on, none of it particularly gets in the way of things.
While we get a lovely start from some wind instruments at (0:04), I feel the real introduction to this track comes in at (0:06). This is because this is where we hear the percussion for the first time. This percussion serves as a backing for a majority of the piece. That being said c we have our first major part of the actual melody at (0:18). This is where a woodwind in a higher octave comes in, adding an additional layer to the track. This also serves to set the tone for the rest of the track. Starting at (0:31) we get a light crescendo, which makes the track seem lighter than it did before. While it isn’t very long, it does lead to some variation in the woodwind section at (0:43).
A lot of this second minute is the same as the first, however the addition of what sounds like a different kind of strings, this time being plucked, around (1:37) is a nice change of pace. At (1:48) our original melody is also countered, which is a nice choice as well. (1:54) also brings back the crescendo from the previous minute as well.
Interestingly enough, around the (2:08) mark, the track does start to feel a little more somber, in a way, likely due to the octave lowering. This also becomes part of the background, letting parts like the one at (2:14) stand out more. This entire section is actually leading up to something bigger as well, with (2:30) being a good example of it being a more quiet buildup. At (2:35), it starts to get a little louder too. (2:40) also has an interesting effect in the back that’s oddly reminiscent of a clock ticking. By (2:50), things have started to speed up a little as well.
The plucked strings lead into (3:00) as well as supporting the rest of the track as it eases into the final parts of the piece. Interestingly enough, (3:09) also adds what’s oddly reminiscent of wind.
Of course, the biggest problem with this piece is that it repeats. Nothing wrong with that, of course, as repetitive tracks are ideal for open world settings. However it does make analysis a little difficult
“Spark and Flame” is a surprisingly soft track, given the name and the ties to the Oseram. While this is due to the fact that we hear this track when Aloy first meets with Petra in Chainscrape, it is still interesting hearing an Oseram centered song that doesn’t have percussion front and center (a good example of one that does is “A Wager Over Barrels”, which is next on the list!)
It actually starts off soft, and stays that way for most of the track. Right at (0:05) we have some strings playing the main melody, and for a second it sounds like they’re playing the leitmotif heard in Meridian, though it quickly becomes its own melody instead. It’s also worth mentioning that just because percussion isn’t the main instrument doesn’t mean it isn’t here- it can actually be heard in the background. (0:16) adds some woodwinds into the piece, and they do take over for a brief moment. Of course, at (0:28), we hear both woodwinds and strings begin to share the melody. While the woodwinds do tend to draw more attention, they’re played in tandem with the strings.
(1:10) is a fairly interesting point of the track. It starts fading, almost like it would at the end. However, at (1:13), the piece starts up ahain, and it seems to be dominated by strings specifically here. It takes until (1:23) for the woodwinds to get a place in the spotlight since the fade earlier. They’re quickly overshadowed again, as there are noticeably more string instruments by (1:38). And while we didn’t get the Meridian leitmotif in all of its glory at the start, at (1:58) we get a brief leitmotif from “In the Flood”.
The track seems to end at (2:06), as it starts fading rather quickly. This works out though, as it ends at (2:13).
