![]() ![]() ![]() Some evil chants are introduced as they get louder and louder, then a bit of drum and percussions are introduced, followed by more eerie chants. “Dark Element” is yet another boss theme. I especially like the part in which a drumbeat is rapidly played by the end of the loop very interesting. “Iron Crab” starts off with a slow rhythm, then the percussions, drums and trumpets all join in to add an element of danger to the music. In my opinion, Disc Two had some filler tracks, so I’ll only comment about the ones I enjoyed, starting with “Abandoned Mines Level 2.” This track sounds very good, as it starts off with a chorus, followed by percussion and harp, and then chants are added. Halfway through, we hear something like a haunting wind that flows by. “Rosencrantz” sounds very eerie, as it starts off slowly, then builds up with the percussions and trumpets. I can imagine Sydney taking his poor victims and filling them with dark thoughts as this music plays. “Brainwashing” sounds like something out of a movie score. It’s also one of the more beautiful tracks on the Original Soundtrack. “Snowfly Forest” sounds quite light-hearted yet somewhat mysterious with it’s violin and harp use. “Wyvern” is one of the more slower boss tracks, all done with trumpets and horns, which represent the massive Grand Dragon all too well. “Crimson Blades” starts off with a violin, then the trumpets and horns lead the way, until the percussion and strings continue to the end of the track. The drums and percussion soon take a more prominent role, which creates an even more foreboding atmosphere before the voices come in again. “Abandoned Mines Level 1” definitely sounds foreboding thanks to the ‘Ahhs’ heard from the voices. However, soon the percussion take its place and it becomes yet another winner boss track. “Golem” stands out from the other boss themes, as it sounds out of place due to it electronic sounds. “Sanctum” is a brillant choral piece and it hints mystery and uncertainty all the way through. Gradually, however, drums and percussion make their way back into the theme, clashing every now and then, and the harp reintroduces itself, followed by those eerie chants. Later on, a beautiful melodic interlude takes place, which sounds a lot quieter compared to the very fearful melody before it. “A False Memory” starts off with weird chants, then we get an eerie melody backed up by bells. ![]() “Dullahan” is the second boss theme in the set, but, unlike “Minotaur,” it relies mainly on percussion and the harp to bring in the sense of danger, which is fitting while fighting the headless knight. With it’s slow rhythm, it sounds more like something you’d hear in a Resident Evil game. “Catacombs” is one of the better ambient tracks - it’s gripping and very eerie. “Reminiscence” is one of the tracks that isn’t dark, but rather light, happy, and beautiful. After a while, the ‘cellos fall quietly while the trumpets and drums take the lead and the percussion ensues, till the track cycles for another round. “Minotaur,” being the first boss track, starts off with violins and trumpets backed up by ‘cellos and percussion. Later on, the drums fall quiet and let the trumpets and harp take the lead role, till the violin and voices suddenly clash at the end. One of the early eerie tracks is “Closed Leá Monde.” It starts off with some eerie chorus-like chants, then the drums and trumpets make their way, accompanied by a violin and harp. This was the track that got me hooked on the Original Soundtrack. It starts off slowly, but then builds up into an orchestral masterpiece. “Climax of the Graylands Incident” is the very epic track played in the opening scene. Bodyĭisc One starts with “Opening Movie.” Even at the very start, a wide assortment of instruments are used, such as a violins, ‘cellos, trumpets, bells, and some well placed percussion instruments. That’s enough about the genius, now on to the music. Furthermore, all of his works so far prove this reputation to be true. ![]() Sakimoto is also reputed to be well-trained in a classical-orchestral style that probably even Koichi Sugiyama of Dragon Quest fame would envy him for. However, Sakimoto chose to go solo in Vagrant Story and the results are equally breathtaking. Sakimoto is mostly recognised for his previous works on the Ogre Battle series (with Masaharu Iwata and Hayato Matsuo) and the breathtaking Final Fantasy Tactics (with Masaharu Iwata). Hitoshi Sakimoto - one of the biggest names in VGM history - is chosen to write music for a very dark game, none other than Vagrant Story. DigiCube (1st Edition) Square Enix (2nd Edition) ![]()
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