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Code Age Commanders Original Soundtrack :: Review by Chris
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Album Title: | Code Age Commanders Original Soundtrack |
| Record Label: | Square Enix | |
| Catalog No.: | SQEX-10053/4 | |
| Release Date: | October 19, 2005 | |
| Purchase: | Buy at Game Music Online |
Overview
Though many don't realize it, Kumi Tanioka is a remarkable composer. Why? Because of the amount of stylistic diversity that her works have encompassed. She has created everything from light-hearted Chocobo goodness to heavy rock-based All Star Pro-Wrestling and Fallen Angels madness, from light techno FFXI female character themes to ancient instrument Crystal Chronicles creations, from symnphonic epics like FFXI's "Awakening" to jazzy piano tunes with The Star Onions. Her latest work, the score for the futuristic action-RPG Code Age Commanders, doesn't bring us back to any of these works. It enters a completely new realm once again: the wild world of hardcore electronica and electro-acousticism. Shocked? Weren't we all? Now, Code Age Commanders doesn't feature much techno music, contrary to popular belief, but does feature hard-hitting electronic beats, endless synthetic loops, and, curiously, a lot of piano work. Admittedly, this album will not appeal to all; some will find its electronic beats blaring and others will feel the music is perhaps aseptic, because of its fresh, cool, but somewhat consistent and unemotional nature. However, it will appeal to a certain audience and is effective in conjunction with the game, meaning that its inaccessibility is merely a reflection on the limited tastes of the masses, always a bane to the popularity of most electronic soundtracks. For those who can tolerate the soundtrack's style, it's actually a highly refined and fascinating work, perhaps Kumi Tanioka's best to date, and also introduces one particularly promising new face, synthesizer operator Yasuhiro Yamanaka; he ensures that the synth is practically unrivalled, both where electronic and acoustic forces are used, and also arranges the sheer majority of the soundtrack.
Body
Though Tanioka created nearly 30 setting themes, which dominate the first disc, they're all individually fascinating even during a collective listening experience. Most of the themes come in pairs, with 12 themes each having ☆ and ★ variants, the first form usually introducing much of the second form's harmonic and, occasionally, melodic material. This is exemplified by the first two tracks, both called "Keid Crater." "Keid Crater ☆" is built from just an ascending electronic riff and a 'cello basso ostinato, which constantly loop and drive at fast tempo; colour protrudes from above in the form of acoustic and electronic melodies and the theme is supported by dynamic changes and occasional breaks featuring a distorted and disorientating synth glissando. Its counterpart, "Keid Crater ★," uses many of the same harmonies and motifs from the other track, yet has a slight industrial rock touch, no longer features the 'cello motif that represented the original's subtle earthiness, and generally feels much harder. While the second form of the setting tracks tends to be more intense and synthetic overall, there are exceptions to this rule, notably "Minitaka Valley ★." Entirely acoustic, this transfers the awesome synth basso ostinato from the original on to a marimba, intersynching it with lots of syncopated tuned percussion to create a mellow piece with groove; it later features one of the most atmospheric acoustic piano solos on the disc, a complete contrast to the jazzy electric piano use that led the melody in the first theme. Another largely acoustic addition that is less aggressive than its counterpart yet more deep overall is "Sirius Volcano ★," the most ambient setting theme on the soundtrack; utterly gorgeous thanks to its eerie vocal chants, luscious string interludes, and mysterious alien-like electronic effects, the theme is capable of sending a chill down the listener's spine but also leaving them spiritually enlightened. Though having two forms of each theme may indicate opportunities for repetitiveness, Tanioka ensures they contrast in an often inspiring way, and, sometimes, the versions are so abstract individually and contrasting when paired together that they're difficult to relate to each other. Yet there are similarities between each version and they're fascinating to note, even if each version can be appreciated in their own right too.
Despite most of the setting themes featuring electronic beats of some kind and often lack especially memorable melodies, eclectic influences are more than evident. Some simple examples are the gorgeous nationalistic fanfares of "Muphrid Palace ☆," the Einhänder-influenced hard-edged techno of the "Zauruk Terminal" themes, the heavily syncopated nu jazz in "Regulus City ☆," and the industrial percussion and grungy bass riffs of "Alphecca Island Great War," an example of electronic body music (EBM) and one of the few 'field' tracks that doesn't have a direct counterpart. Keep in mind that all these themes are done within a sophisticated electronic framework, with the purely acoustic pieces being very scarce; though none of these themes are examples of superb composing, they are interesting, effective, and diverse. One of the bonuses is that some themes reflect a wide array of influences as they develop. This is perhaps best exemplified with "Col Hydrae Ancient Ruins ☆," which opens with an eerie chromatic chord progression on vocals in a 'new age' aura before transitioning into featuring the most aggressive piece of EBM in the album. Another example is the way "Stadium Ruins ☆" transforms from being an ethereal vocal-led theme into a brash one with string crisis motifs. Sometimes the themes used on the soundtrack are reminiscent of Tanioka's previous works, too. The principle example of this would be "Elnath Power Plant ☆," which appears to be an abstract cross between "Metalworks" from FFXI and "Goblin's Lair" from Crystal Chronicles. Light-heartedness and militarism combine remarkably well. The curious 'call and response' structures employed between the lyrical flute part and the deeper string parts amuses, while the lively syncopated harmonies and snare drum use maintains a sense of action, before the piece goes off on an abstract tangent in the well-crafted and strangely addictive development section. Though the track time may look meagre at 2:40, keep in mind that, like most themes on this soundtrack, there is no loop, which is a curious key to maintaining pace at times, not a disadvantage to the overall experience. A passionate, buoyant, and superbly developed composition, this one makes the listener just want to get up and dance.
The colour of both discs is boosted incredibly by four major themes performed by full orchestra, easily the most noteworthy additions to the soundtrack. The "Main Theme," distinguished clearly on the track listings as a joint creation of Kumi Tanioka and Yasuhiro Yamanaka, is an epic and buoyant creation that effectively characterises the whole soundtrack. Think the sweeping melodic progressions, grand brass fanfares, and sense of perseverence of Vangelis' "Chariots of Fire" main theme, and speed it up, add all sorts of cool electronic overtones, and give a tuned percussion part the secondary melody, and you have an idea of what is about. It's a special creation with the charm, character, and exuberance that represents Tanioka together with the refinement, development, and sophistication that Yamanaka has added. And then there's the "Prologue" and "Airwing," two arrangements from Norihito Sumitomo; these are among a handful of themes in the soundtrack that feature major changes in style and emotional capacity throughout. "Prologue" is dark and grand, opening mysteriously with beautiful synth vocals against a long-held string note, before full-orchestral textures enter and a series of majestic fanfares are heard. The third minute of the track sees the tide change and the pace quicken with the entrance of brass crisis motifs. Soon after, an exhilarating action sequence is introduced, as it becomes clear that the main character, Gene, has an uncertain fate ahead of him. As for "Airwing," this is the pinnacle of the action themes on the soundtrack, combining wit, agitation, and instrumental variety into an unpredictable, dramatic, and enticing mix with some absolutely awesome metamorphoses in character. Unfortunately, "Ending" falls short of reaching the same heights. The first two minutes are musical bliss; they wrap up all the major character themes in a poignant instrumental arrangement that also features rich piano lines and the soundtrack's characteristic tuned percussion and synthetic vocal use. However, the rest of the theme is merely a straightforward recapitulation of the main theme with no adjustments. While this is perhaps the only time it is used in the game, its integration feels like a cop-out on the soundtrack, as if Tanioka didn't have a clue how to fill four minutes of credits and just shoved something on top without even considering how the transition from instrumental bliss to the hard-hitting main theme would sound. Reprising it is a good idea, but some changes and an improved transition were needed if the appearance of the "Main Theme" at the end of the first disc is to be justified.
The second disc of the soundtrack has a firmer thematic basis than the first, with the character themes introduced at the start of it being arranged for many of the battle themes and some of the event themes. The four main character themes themselves actually have less of a sense of character than the secondary character themes, curiously enough, but this is probably appropriate, partly because they are largely intended to represent basic thematic material that is a memorable symbol of each character's quest, and partly because fleshed-out interpretations are not possible when the characters they initially represent have yet to be developed; one-dimensional themes for main characters in game soundtracks almost always fail. That said, basic symbolism is quite clear in such themes. Notably, light and dark are contrasted in "Fiona" and "Gerald," who spend their lives in servitude of the White Army and Black Army respectively, though it is clear from each theme's similarities, particularly their near-identical harmonic frameworks and equivalent use of synth vocals, that both have doubts about their leaders and each is, at heart, more similar than might be initially suspected. Away from war, innocence is represented with "Gene," as interpreted by the use of a rich exotic flute melody that is reminiscent of Tanioka's work with Roba House, while the laid-back nature of "Haze" is ideal for representing the character's need for pacifism. Perhaps the most representative character theme of all, however, is "Aliz," the theme of Gene's sister, a secondary character. Her theme demonstrates one of Tanioka's talents — her ability to create simple, evocative, and well-developed piano lines — unlike any other creation on the soundtrack, ideal for representing said character's innocence. While the theme features a descant throughout, it's principally a repeated tuned percussion one, which represents the character's youthness further, while also evoking a sense of mystery regarding her disappearance and, most importantly, a representation of her humanity. Definitely the most charming character theme of all, however, is the theme of "Ashe." Its electronic overtones, unforgettable string primary melodies, witty tuned percussion descants, and deep secondary melodies all result in the creation of a highly enjoyable and complex theme, almost like a more buoyant version of Final Fantasy XI's "Mithra."
The soundtrack fails in one key area, and that is the way it piles on filler tracks throughout the middle of Disc Two with the leftover secondary character themes and most of the event themes. It's disappointing that the worst character themes are often the ones with the most initial impact. For example, "Guinevere" is one of the richest pieces on the soundtrack in terms of timbres, featuring synth vocals, high-pitched electronic sounds, a completely unique tuned percussion instrument, and, most interestingly, a distorted electric piano sound that shows a technical innovation from Yamanaka. However, as one of the few themes that fails completely in the area of development, looping after 0:32 seconds, it continues to remain an enigmatic addition, but is also highly underwhelming and disappointing overall. The following theme, "Sullivan," used to represent a military commander, is merely a bombastic 'ditto', while Ashe's grandfather's theme, "Alvin," is a big pile of repetition and nothingness. As for the event themes, the sheer majority of them offer nothing original that hasn't been heard in superior form in the area themes. Listening to the first five seconds of the first three — "Memory," "Thought," and "Recollection" — reveals that Tanioka has taken a highly formulaic approach. Each theme is opened and led by synthesized vocals and this does little to offer variety; they're inoffensive and functional, but unnecessary filler in a soundtrack largely jam-packed with goodness. As for the rest, there's hackneyed representations of a 'comical' event (just Tanioka's trademark light-hearted percussion use once again) and feeling 'fear' (a chromatic ascension of discords, the oldest tension-creating method in the book), neither of which exceed 30 seconds. In addition, there's more synth vocal repetitiveness in "Reign" before it becomes all annoying and light. Indeed, these attempts at conveying basic emotions or certain events are largely dull and disappointing, on par with Disc Four of Romancing Saga Minstrel Song Original Soundtrack as a detractive force to an overall refined soundtrack, though there are several consolations. For one, not all themes are bad: "Serious," one of the most genuinely moving additions to the soundtrack, "Fate," a charming militaristic variation of "Ashe," and "Coded," which features more electronic and percussive goodness, are all colourful additions to the soundtrack. Also, the three poor character themes and six dull event themes are so brief that it is easy not to notice them and even easier to forget them. They just happen, and fortunately just as you move on to longer and better things.
So it's time to prepare for and engage in battle in perhaps the most enjoyable and diverse part of the soundtrack. Four themes successfully ensure that the move from 'event' themes to 'battle' themes is a natural evolution that doesn't startle in an unpleasant way in a progression of themes that sees a gradual increase in pace and action emphasis. From the 'new age' passiveness of "Facing the War" and Drakengard-influenced endless looping of acoustic samples in "Aggressive Behavior," two clear action-oriented tracks emerge — the upbeat character theme variation "Gene's Determination" and the instrumental bliss of the abovementioned "Airwing." But this doesn't make the entrance of "Havel" and "Vient," the two most aggressive pieces of electronic body music on the soundtrack, complete with unrelentless beats, distorted electronic samples, and an overall sense of pessimism and despair, any less impacting. It's immediately clear from these themes that the soundtrack is reaching its conclusion and something decisive lies ahead, but this is not heard before Aliz and Ashe's themes receive relatively light electronic remixes; "Ashe Hetero Carillon" succeeds in being the single most 'whistleable' theme on the soundtrack. And so the 'decisive battles' begin. Tanioka's four battle themes, one each for each of main characters, are worthy, integrating features from each character's original theme and making them more rich and upbeat through combining the soundtrack's trademark electronic beats and overtones with a more traditional sound that hearkens back to the days of Tanioka's Final Fantasy battle themes. While all succeed, it's "Decisive Battle Gene" that achieves the comprehensive development and boasts the emotional and textural variety to be of truly remarkable calibre. Tanioka successfully ensures that the first two minutes of the track directly use the originally light tuned percussion motif from Gene's character theme as an actual crisis motif, made all the more convincing with "Awakening"-style synth vocals and more of Yamanaka's masterwork with the highly prominent, distorted, and glissando-ridden electronic line. It represents an innocent boy trapped and faced with the prospecting of facing a foe he would never expect to encounter, yet has the determination and character to persevere despite his agitation, in a simple and emotive story. The best part of the theme, however, is its second half, when the pace quickens, a hard beat becomes evident, vocals become even more epic, and an ethnic instrument related to what led Gene's theme originally takes the lead, playing a fast and somewhat repetitive melodic progression that grows more intense as the harmonic progressions become deeper. It all amounts to a finely crafted and complex creation that will not letdown Tanioka's previous fans, particularly considering its acoustic emphasis.
The end of the soundtrack is quite a mixture. It features the character themes being wrapped up with epilogue themes, the aforementioned "Ending" theme, and representations of the Otero creatures before finishing with a fun few bonus remixes. The epilogue themes for each of the main characters wrap up their stories well and are made more enjoyable by the reuse of the memorable melodies, despite relying a little too much on synthetic vocals once more. "Epilogue Gene" is easily the best and most developed of the bunch; the recapitulation of Gene's theme with full textures in the final minute and a half is memorable and poignant. The three Otero themes, used to represent little coded creatures that attack and battle with the main characters, are very brief but feature the most mature and hard-hitting electronica on the soundtrack. Composed by Yamanaka, not Tanioka, they are ideal for creating a robotic sound and vary in style quite a bit, reflecting the considerable talents and all-round goodness of the soundtrack's synthesizer operator and principle arranger once more. It's been a while since actual remixes featured at the end of soundtracks — Vagrant Story Original Soundtrack's counterproductive bonus misfits likely the reason why — but Code Age Commanders sees their return in a suitable electronica atmosphere and gives two new talents a chance to demonstrate some of their skills. Yamanaka gets his final chance to shine with "Main Theme -PubMix-," a rugged electronic interpretation of the "Main Theme" made to sound like it is being played in a bar, and "Gomeisa Marsh ☆ -Recode Edition-," a brief variation of one of the less notable area themes. This guy really can't have enough praise for his contributions to this score, which demanded more expertise and versatility than Tanioka's composition role, and actually had a massive effect on the score's overall level of technical and compositional refinement. As for the other remixer, Ritsu Mizutani, she succeeds in creating two amusing creations — "Keid Crater ☆ -EffectMix-" sees various sound effects be used to recreate the harmonic and melodic foundations of the original track, while "Theme Ashe -Otero Mix-" is even more amusing, taking samples of the Otero's cute and devilish squeals and integrating them into a remix directly alongside the Ashe melody that has proved a highlight in several other themes. All in all, these remixes are not something the average listener would want to revisit again and again, but are inspired and amusing takes on original themes that ends the soundtrack on a positive note (well, the sound of a single Otero, to be pedantic...).
Summary
The Code Age Commanders Original Soundtrack is decisive proof that Kumi Tanioka and Yasuhiro Yamanaka are two of the most talented and versatile Square Enix employees who should never be underestimated. While the soundtrack can grow a little dull with its characterless secondary character themes, uneventful event themes, and reliance on electronic beats, synthetic vocals, tuned percussion, and piano, it has more than enough variety — particularly in the diverse setting themes, quaint major character themes, and breathtaking battle themes — to keep listeners thoroughly enthralled once familiarity has been achieved. Indeed, this is the first time that acoustic and electronic forces have combined so successfully in a Square soundtrack, both in terms of the realism of the synth and in the way that electronic beats and melodies can feature in an undetractive way in a piece at the same time as acoustic instruments. Yamanaka is ultimately the bonding force that achieves this, reuniting the producer's inspiration for an electronically-influenced score with Tanioka's acoustic leanings, as a result of spending endless hours refining the synth and personally adding and refining each piece's electronic elements (his arrangement of most of the in-game themes likely encompassed manipulating, if not creating, all their electronic elements, his area of speciality). Still, Tanioka also does very well, creating a variety of sophisticated, melodic, and captivating creations, and, together, they make an excellent team. This soundtrack will obviously not suit all listeners, but previous fans of Tanioka's work and those listeners with an electronic leaning should certainly check it out, as it is an impressive creation, albeit a tad inaccessible.
