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Shin Megami Tensei Persona 4 Soundtrack Side B (US) :: Review by FuryofFrog
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Album Title: | Shin Megami Tensei Persona 4 Soundtrack Side B (US) |
| Record Label: | Atlus | |
| Catalog No.: | Promotional | |
| Release Date: | December 9, 2008 | |
| Purchase: | Buy at eBay |
Overview
The Shin Megami Tensei Persona 4 Soundtrack Side B features the tracks from the Persona 4 Original Soundtrack that weren't present in Shin Megami Tensei Persona 4 Soundtrack Side A. If a person owns both Side A and Side B, they own the whole soundtrack for the game. Given that Side A was so good, can Side B hope to match or have all of the bad tracks filtered over to Side B. Let's have a closer look.
Track-by-Track Reviews
1) Reach Out To The Truth -First Battle-
Now here's one to get listeners moving. Meguro offers a peculiar blend of surfing guitar lines and upbeat J-Pop vocals. It sounds a little off for a battle theme, but it is creative and catchy enough to be enjoyable nonetheless. The organ provides excellent backup filling in some melody when the vocalist is absent. Very satisfying indeed. (8/10)
2) Strength of Heart (P4 ver.)
A more ambient effort from Kozuka. The chanting vocals provide a nice intro, but after that the track really falls apart. The drums hit every two seconds with almost zero melody. It's annoying and repetitive with little variation. (3/10)
3) Welcome to the Limousine
Ooo, something very important must happen when this is played in the game. It's a short track but pretty enjoyable. The eerie vibe of the soundtrack begins to show through here. (7/10)
4) Signs Of Love
This track is built upon strong beats with a great disco inflection pool. The foreground is mainly compromised of well-stylized female vocals and some jazzy organ section, though can sound bare when some of the instruments drop out leaving only vocals and drums. The song nevertheless keeps a certain grooviness the entire time, but it does become a bit monotonous after a minute. (6/10)
5) Midnight Channel
One of the most ambient tracks in the soundtrack, this track features high-pitched string crisis motifs being punctuated by some deep low-pitched strings. The high strings are relentless with their continuous rhythms and increasing dynamic level, giving a sense of being chased. However, it's rather anti-climactic how the track suddenly just ends. (5/10)
6) Like A Dream Come True
Finally some brass action! The trombone and trumpet work powerfully together here and really slam the high notes. They take a break before a jazz organ takes charge. The return of the brassy focus feels somewhat formulaic, but at least some piano chords colour the texture. It's very catchy regardless. (9/10)
7) SMILE
At first, this seems like another pretty piano-led piece, but the track eventually evolves. The piano bows out while a fascinating synth line comes out to provide the melody. I found myself smiling at this one, just enjoying the dynamics between the two instruments. (9/10)
8) I'll Face Myself
The same tune as the previous track is given an R 'n' B arrangement here. The piano replaces the guitar and produces a sweet tone. This is changed quite a bit when the trumpet takes on the melody. Overall, an inspired variation. (8/10)
9) It's Showtime!
This is a total switch from everything that has been played so far, created by Atsushi Kitajo rather than Shoji Meguro. It's a Latino piece with strong samba vibes. The melody isn't all that interesting but its solid nonetheless. However, the short track length doesn't really allow for any interesting development. (6/10)
10) Someone Else's Man
More Latino pieces from Kitajo! In contrast to the last piece, this track is more of a lovely tango. It is given a fair chance to develop and has a very interesting texture to it. The acoustic guitar is wonderful and the Japanese singing seems to complement the Spanish feel. Very pleasing. (9/10)
11) Quelorie Magic!
One last anomaly from Kitajo, "Quelorie Magic!" is a very bubbly and bouncy track. The brass provides excellent accents while the xylophone beats a very fun melody. It's hyperactive and makes you feel like you ate a bowl of sugar. It is a bit repetitive, but thankfully it's short too. (7/10)
12) Awakening
In "Awakening", a sad piano strikes down and wavers in volume. The strings provide some backup and the piano begins to speed up. As the piano speeds up, the strings become more nefarious and lead to a metal fest for guitars. Unfortunately, the track doesn't last for long, so there is not much of an opportunity to hear the metal wail. (6/10)
13) Specialist
This track is filled with techno and breakbeats aside the occasional jazz organ part. The track has a chill feel, but could do with more development or at least more emphasis on the jazz organ solos in the background. (7/10)
14) Youthful Lunch
A reinterpretation of the previous track, the trumpet interestingly takes the commanding role here. It has more of a stifled beat, but lacks much variety during its playtime. The game show feeling adds a potentially endearing cheesy feel. (5/10)
15) Studio Backlot
Now this is a punchy tune. Once again, Meguro shows his flair for creating contemporary yet novel traack by blending J-Pop vocals with march-like accompaniment. The instrumentation is very effective and the vocals create the right mood with even a little rapping featured here and there. Although the timbre is very interesting, there isn't enough variation during the development. As a result, the track becomes a bit of a bore when it loops. (5/10)
16) Deduction
"Deduction" features a nice blend of acoustic piano work and abstract synth. Although the drumming is of standard coffee shop variety, the trumpet and trombone work are more extravagant. Overall, the track brings a lot of elements together to create a perfect jazz hit. (10/10)
17) Zone Time
The trance goes wild here. The electronic beats are exciting and the drums offer a fast-paced clicking sound in the background. Some strings are added to give some desperation to the already sinister theme. Despite this, the track is a bit stale and there is not enough variation to really write anything home about. (6/10)
18) The Fog
Strings finally get a chance to take control in this piece. They blister through the first part of the track, but it doesn't take long for guitars to join in. The guitar adds some playful melodies to this piece before the loop. All in all, it's quite a vibrant effort and ranks among the favourites of the score. (8/10)
19) Results
"Results" is a faster trumpet and organ version of "The Fog". When the trumpet disappears, all that is left is monotony. (4/10)
20) The Path is Open (P4 ver.)
This arrangement of "The Path is Open" emanates with brightness. The piano passages are played in a simple and peaceful manner while some underlying bells add a nice body to the piece. In addition, some angelic humming can be heard in the distance. The track doesn't overstay its welcome. (8/10)
21) How Much?
Once again, organ and piano tag team here to present the happy-go-lucky melody. The guitar sneaks its way into the background and adds some flair to the tune. This retro piece stays very safe with its melody. (7/10)
22) Alone
Alone is an appropriate name for this track because the lead piano has a very depressing sound to it. The intro starts with some happy chords, but after the masking is over, the piano reveals the character's true feelings and the track descends into some sadness. The piece battles with itself since the character isn't sure what they are feeling. This gives the track an interesting dichotomy. (6/10)
23) Omen
The mainstay here are some stray sounds and electrical echoes. There really isn't anything else here. It's creepy, but not nearly long enough. (6/10)
24) Corridor
Gentle minimalistic piano work serandes the ears here. The strings waver in and out to bring an air of creppiness, but later provide a serene support to the increasingly more romantic piano work. This is a beautiful miniature. (7/10)
25) The Genesis
The longest track on the album, the secret boss theme "The Genesis" assaults the ears with foreboding and bombastic low brass. Timpani blast out the beat and snares comes in to add a bit of a march inflection. The track is a bit on the repetitive side, but the build up can be interesting to listen to. If you can bring yourself to get to the five minute mark there is a reprisal of "I'll Face Myself" featuring especially compelling brass work. A great achievement, though perhaps overly long. (7/10)
26) I'll Face Myself -another version-
This version of "I'll Face Myself" is kind of neat. There is a simple hip-hop drumming in the background with the trumpet playing the main melody. The piano jumps in to take the melody for a little bit only to give it straight back to trumpet. They don't seem to want to share parts at the same time; it's either one or the other. (6/10)
27) Glimpse of a Memory
"Glimpse of a Memory" gives an epic mood throughout its duration. The piano is punctuated pretty hard and demonstrates a sense of determination. Drums roll nearly the entire time and give a militaristic feel. Strings pursue in the background long enough for the track to dissipate. (7/10)
28) Electronica of the Soul
So we have the now trademark re-imagining of "Aria of the Soul". How does this fare as an electronica song? Not very well I'm afraid. The main operatic section clashes so badly with the instrumentals that the Master of the Velvet room would throw the Belladonna out. The reinterpretation is appreciated but the song fails in so many aspects that I should go listen to the original to forget about this. Better luck next time Meguro. (3/10)
Summary
Overall, this is not quite as strong as the first side. Its almost as good, but it is left in the dust by a few stinkers. This disc was included in a special Persona 4 package that is very difficult to find these days, so if you must be without a side then Side B should be it. Alternatively you could buy the Persona 4 Original Soundtrack for cheaper.
