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Final Fantasy X Original Soundtrack :: Forum Review

Final Fantasy X Original Soundtrack Album Title: Final Fantasy X Original Soundtrack
Record Label: DigiCube (1st Edition); Square Enix (Reprint)
Catalog No.: SSCX-10054/7; SQEX-10013/6
Release Date: August 1, 2001; May 10, 2004
Purchase: Buy at CDJapan

Overview

Written by Peter

From stage one, this Original Soundtrack took a different direction from previous Final Fantasy soundtracks — two composers joined Nobuo Uematsu's side. These were Junya Nakano and Masashi Hamauzu. This soundtrack took on a more futuristic feel overall, with even a revamped "Prelude." While this change was originally anticipated to be innovative and brilliant for the series, I find it to be somewhat of a disappointment. The lack of memorable tracks on the Original Soundtrack and the large plethora of repetitive, underworked pieces give off the impression that many tracks were not given nearly enough thought or expression; they were uninspired.

Track-by-Track Reviews

Disc One

1) "I Want to Tell You Everything" (Written by Terraguy)

Umm. I do not know what to say here, except this is a 8-second track with Tidus speaking and absolutely no music at all. Horrible first "piece," if you count it as a piece. If not, then it's a good verbal introduction to the Original Soundtrack. (N/A)

2) At Zanarkand

Written by Terraguy - Ah yes. The first true track of the Original Soundtrack and one of the most loving tracks. A solo piano can evoke the heart-warming thoughts felt in this piece, and it's beautiful. The swells make the piece what it is. It does get a bit repetitive after a while and could use a bit more development, but, on the whole, it is a fabulous and touching piece that is able to evoke memories of times gone by. (9/10)

Written by Totz - I know a lot of people think this track is overrated, but I don't. Sure, it's not the best piece ever, but it does set the mood for the story Tidus is telling us: it portrays sadness above everything. While not as emotional as previous tracks, Uematsu manages to make this track enjoyable, truthful, and most of all, great. Oh, and I feel for you if you don't like this theme, because there are like a gazzilion variations of it throught the Original Soundtrack. (8/10)

3) The Prelude (Written by Totz)

Ah, "The Prelude." The classic theme that, when heard, is instantly connected to Final Fantasy. No, wait. What's this? This is not the Prelude we all know and like. This is some sort of weird pseudo-techno electronic music-wannabe. You know, I actually like it. It's catchy. A step forward in creativity and a step into the 21st century. (8/10)

4) Tidus' Theme (Written by Talaysen)

This track starts of slow with strings and then with a small fanfare before kicking into the main part. My favorite part of the track is how the steady eighths in the background interlace with the triplets on the foreground. The way they flow together is so beautiful. It only gets better towards the middle when a wind instrument takes over the melody while the strings take up a harmony in the background. I'd have to say this is the most gorgeous Final Fantasy character theme ever created. (10/10)

5) Otherworld (Written by Soapy)

What a great track for an exciting opening! Although not my style of music which I normally listen to, it definitely made the intro blitzball scene and Sin's appearance much more intense than most Final Fantasy openings. I still remember how amazed I was with that opening, so I watched it a lot. But, I guess this hasn't much to do with the track, right? The track itself was a good match. As for the lyrics, I couldn't hear half of them, but the electric guitar was a nice change. (8/10)

6) Run!! (Written by Totz)

Like most 'hurry' themes, "Run!!" doesn't develop itself much. It does it's job well, which is to represent a tense situation, but it could have been less repetitive. I kinda like the ascending violin motif, but it's way overused. The percussion gets really annoying, because it's so much louder than it should be. (7/10)

7) This Is Your Story (Written by Soapy)

A mystifying and airy piece that isn't very thrilling. It sets the mood for the rest of the story, which is depressing. I found it rather unexciting and repetitive. It must be a filler piece. It sounds like they're in a cavern, but, then again a lot of the tracks on this album sound like they're in a cavern. What's up with that? (7/10)

8) Ominous (Written by Z-Freak)

Here, we are introduced to Junya Nakano's ambient stylings. The theme mostly comprises of tribal drums, wind effects, and a choir. Unfortunately, most of these pieces don't have anything to offer from a stand-alone basis. It helped to emphasize the eerie feel of the starting ruins, but is a skippable track otherwise. I'll give it a pass for some effort in creating the right mood. Not bad, Nakano, but you could do better. (6/10)

9) Battle Theme (Written by Totz)

Being a really catchy battle theme from the get-go, you'll catch yourself humming it every now and then. The track is developed enough not to be repetitive, which is the last thing you want in a battle theme you'll be hearing for so many hours on end. The only flaw I see is that it doesn't give us a feeling of danger. Sure, it's as energetic as it gets, but there isn't tension or danger in there! Other than that, it's one of my favourite battle themes, with "Don't Be Afraid" slightly ahead. (9/10)

10) Victory Fanfare (Written by Talaysen)

The fanfare starts out as in earlier games and then. well, it's not the same after that. It's a bit more intense in the background, but has a catchy melody just like it's predecessors. Throw in some trumpets in there and you've got a full fanfare. Probably my favorite fanfare from the numbered series. (9/10)

11) Game Over (Written by Terraguy)

A short and sweet remixed version of "Suteki da ne" that plays when it's game over. Using a harpsichord certainly evokes the feeling of 'darn', but it is only 0:34 long and is too short to have much depth to be listened as a separate track. (6/10)

12) No Hopes, No Dreams (Written by Hanta)

You might think this would be quite a depressing track, but that's not the feeling I get. The violin melody is sad, but the percussion really dominates. Deep piano chords and a drum are heard constantly in the background, while bells pepper the track. It has this mysterious and eerie quality about it that really suits the purpose of the track. It's not bad to listen to on it's own either. (8/10)

13) Secret Manuevers (Written by Tetra)

Unfortunately, this track holds little interest throughout. Minimalism fans may worship this track, but, other than that, it is far from interesting. The track is extremely short, just barely breaking 37 seconds before it loops again. While the string "riff" adds a little flair, it isn't enough to make this track overly interesting. The droning percussion along with the held high suspended synth note creates the desired idea for the game, but this track is rather bland and undefined overall. (4/10)

14) Deep-Sea Ruins (Written by Totz)

This track is a hard one to review. On one hand, Nakano managed to represent being underwater flawlessly, which is awesome. On the other, the track goes nowhere. It just drones on and on until it loops again. What the heck, I'll give it a 7 because we only listen to it once in the game and not for a very long time. (7/10)

15) We Are Al Bhed (Written by Totz)

To be honest, I see nothing special here until about 1:23. Before that, all we get is an intro, which isn't really that good (it's OK, at best, but it's kinda boring) and a poor rendition of "Rikku's Theme" (the 'good' "Rikku's Theme" is still far off on the Original Soundtrack). When it hits 1:23, the magic begins. I can't say what it is, but I just adore that section. There's something about it that makes me swoon. Anyway, not a bad track, but I usually just fast forward until the cool part. (7/10)

16) Enemy Attack (Written by Terraguy)

This is obviously battle music and it does well as battle music. With a bass drum, cymbals, and some string/wind instruments to get the flow going, it is a recognizable battle theme of Final Fantasy X. This piece, however, loops three times and is sure to get repetitive. If you think about how many times you hear it in game, I do not want to say. Yet, this track is actually not bad, as long as you do not keep listening to it. (7/10)

17) Men Staked on Blitz (Written by Tetra)

This track and theme is one of the first good additions to the Final Fantasy X Original Soundtrack. It has a wonderful harmony and, while the melody is not the most prominent thing, it makes for great atmospheric music. "Men Staked on Blitz" is not dry ambience, like much of the rest of the atmospheric music in the soundtrack. This theme is simply 'nice', and few other words describe it. (8/10)

18) Besaid (Written by Totz)

Hamauzu's first addition to the soundtrack is a stellar one. Not only does it perfectly paint the picture of a tropical island, it is also incredibly relaxing and melodically pleasing. I can't say I know what the heck is playing the bass notes, but by combining that with the piano melody and the drums, Hamauzu created a perfect representation of Besaid. (10/10)

19) Spiran Scenery (Written by Totz)

This is what you get when you combine a genius and two guitars. Hamauzu borrows the "Suteki da ne" melody and transforms it into an awesome guitar duet. What was before a (kind of) sad theme is now a lively piece, which represents Besaid Village's simplicity very well. (10/10)

20) Song of Prayer (Written by Totz)

This track introduces us to the "Song of Prayer"/Hymn of the Fayth, which is probably the most arranged theme ever appearing all over the soundtrack — from the a capella versions of each temple, to other tracks such as "Time of Judgment," "Summoned Beast Battle," and "The Sending." This is just like "The Place I'll Return To Someday" in the Final Fantasy IX Original Soundtrack: it is so overused it becomes annoying. Sure, this may sound all holy and mystical now, but it gets annoying when you have to hear it being sung by a boy, or by some d00ds, or by a woman, then by a different kind of woman, then all those people put together. And that's just scratching the surface. (7/10)

21) Illusion (Written by Hanta)

A nice piece of music with a very magical kind of feel to it. Wind chimes and bells and a whole assortment of other percussion instruments and synth sounds come together to make the track. There is a somewhat broken melody throughout the piece, but the key feature of this track is the melding of the different sounds and instruments into a magical and slightly mysterious piece. The end result is a very pleasing track that sometimes sounds a little mish-mashed. However, the choice of instruments, the way everything is combined, and the occasional melody in the background prevent it from descending into being considered a boring track. (8/10)

22) Place of Ordeals (Written by Terraguy)

Creepy track. Actually, this track gets the 'oh so mysterious' feeling very well. Using bells, pizzicato strings, and electric guitars with weird harmonics, the feeling gives you small shivers. It's well able to keep you on the edge of the seat. However, the first part is very repetitive and gets boring quickly. The nice part of the track, though, sets in at 1:13, using a string instrument and adding a light feeling to the depressing theme. A quaint touch. Yet, after a bit, the theme reverts to the first section, being highly repetitive. The best part of this piece is the alternate melody in the middle of the piece, while the rest is too repetitive to be worthy of a nice score. (7/10)

23) Song of Prayer - Valefor (Written by Totz)

Oh, would you look at that, the first "Song of Prayer" arrangement. It's so simple, you must think Hamauzu was joking. It's just a soprano singing the theme, representing Valefor's Fayth. Sure, it's nice to listen to and the woman has a beatiful voice, but just wait until we get to "Song of Prayer - Anima." You won't be able to stand the friggin' theme anymore. (7/10)

24) The Summoning (Written by Conqueso)

A brief flourish composed by Nanako. The arrangement is nice, and it has a fairly interesting harmonic progression, but like Nanako's other contributions, it's weak melodically and very short. Just pleasant filler. (7/10)

25) Daughter of the Great Summoner (Written by Conqueso)

Remember "Flowers Blooming in the Church," from Final Fantasy VII? Well, Uematsu obviously tried to imitate that track here using the same minimalist style and the result is horrific. Everything that was good about the earlier track — the touching countermelody in the accompaniment, the delicate wind instrumentation, and, of course, Aeris' beautiful theme — was scrapped, leaving only the dull, unimaginative bare bones: incongruous pizzicato strings over monotonous synth warbling. By far the worst arrangement of the "Suteki da Ne" melody on the whole Original Soundtrack. (4/10)

26) Good Night (Written by Terraguy)

Yawn. Like so many of the "good night" themes in Final Fantasy, this one is no different. Like the rest, it uses a beautiful and calming sound of an instrument. It's seconds long, short, sweet, to the point, and horribly underdeveloped as a track. (5/10)

Disc Two

1) Yuna's Theme (Written by Totz)

This theme opens with an overdriven electric piano and a synth flute. The melody, based on "Suteki da ne," is introduced with another synthesized instrument (it sounds a bit like a synthesized bandne´┐Żn or concertina). About 30 seconds into it, the melody is well-flourished and played on soft strings. The melody is then restated with the music box/glockenspiel patch. The theme is then restated throughout the looped piece in slightly different ways, but with the same instrumentation. The percussion of the piece entails just one triangle! Nonetheless, the entire piece is well-written, and it is classic Uematsu. It flows well and suits the personality of the character, Yuna. This character's traits of liberty, gentleness, etc., are very well expressed through this piece. (8/10)

2) Sprouting (Written by Totz)

This track is principally an arrangement of "At Zanarkand" with a bouncy beat in the background. The first half of the main melody is played by by an accordion and the last half is played by a clarinet. It does sound a little interesting with the accordion, but, other than that, it sounds like a pretty standard arrangement and doesn't really bring anything new to the table for me. (7/10)

3) The Sending (Written by Totz)

Yeah, that's right, another "Song of Prayer" arrangement. Hold on a minute! This one is actually GREAT. This is what made the FMV it played in awesome, not Yuna dancing. What's ao awesome about this track is that you can have an idea of what it is about even without playing the game: the tribal drums in the beginning symbolise some kind of ritual and you can tell it's something really sad when the male choir and the piano kick in. This is the kind of stuff you expect from Hamauzu: he gets the original theme and transforms it in a way that's entirely awesome. Too bad it's only used once in the whole game. Nevertheless, another brilliant addition to the Original Soundtrack that shouldn't be overlooked. (10/10)

4) Silence before the Storm (Written by Conqueso)

Some people say Uematsu has been losing his touch for a while now, and that may be true. But he is still wholly capable of creating some truly unforgettable music, and this humble little track is a testament to that. This impressionistic forest/cave theme is at once mysterious and uplifting, with a beautiful melody that easily could have come from Final Fantasy VI, and a lush arrangement that could have come out of Chrono Cross, with flowing guitar and warm strings. The way it opens up into a nearly epic strain at 1:31 really makes the track something special. Not to be missed. (9/10)

5) Song of Prayer - Ifrit (Written by Totz)

Once again, the "Song of Prayer" theme. This time, it's sung by a solo male tenor, which, unfortunately, brings nothing new to the table. After the almighty "The Sending," one cannot help but feel this solo arrangement is incredibly sucky. And there are still like 10 of those sucky arrangements left to here. (5/10)

6) Luca (Written by Totz)

I was like "Whoa" when I found out this is Nakano's work. When you're used to purely ambient tracks, and then you suddenly hear this, you're bound to be surprised as well. One of this track's biggest qualities is its development: Nakano adds a new layer of intruments every 10-20 seconds, until it ends in the deliciously soft section that begins at 1:05. This is the kind of stuff I expect to hear from Nakano in the future. (9/10)

7) Reception for Great Sage Mika (Written by Totz)

Another great un-Nakano-ish track by Nakano. He represents such a welcoming by manipulating the power of brass instruments, while the percussion give it a very militaristic feel. But, by clearly using the "Song of Prayer" motif, Nakano portrays also religion, which is, of course, a major part of the game. So, it's like a grand parade for a religious figure, except there's no parade, only a couple of weirdos playing. It's great nonetheless, albeit way too short. Then again, we just heard "Luca," and it was awesome, so I'll let it slide this time. This time. (9/10)

8) Unwavering Determination (Written by Totz)

What the hell is this? After two masterpieces, Nakano gives us THIS? No. Sure, it's nice at the beginning, but after like three repetitions of the same thing, it gets annoying. It gives me unwavering determination alright. Unwavering determination to never listen to it and skip to the next track, which is actually listenable. (3/10)

9) The Splendid Performance (Written by Totz)

Ok, you can take the earplugs off now, Hamauzu has come to save the day. This time, we get a very uplifting theme, which is used to represent how Wakka just completely pwnzed the Al Bhed, which is impossible because their goalie has a CAT stat of like a thousand. Although simple in places, it's just great to listen to. It get bonus points for being incredibly easy on the ears, with a great use of piano (swoon Hamauzu's piano melodies) and strings. It could be a bit more developed, though. (8/10)

10) Confrontation (Written by Totz)

Wow, I would have never expected this kind of track coming from Hamauzu. Being the complete opposite of "The Splendid Performance", "Confrontation" is a track that's not easy on your ears. The distortion guitar used in the background has a love/hate affair with the listener: either you'll think it's awesome, or you'll loathe every second of it. Me, I'm in between. I don't mind it if I don't have to listen to it a trillion times. I can understand Hamauzu's motivation behind this track, but he could've done a better job. (6/10)

11) Blitz Off (Written by Conqueso)

Here we have another rock piece by Hamauzu, this time in a considerably lighter vein. It's more listenable, too, with a crisper arrangement , clearer harmonies, and greater overall coherency. Nonetheless, it does fairly little to build upon the string of uninspiring percussion/based tracks. It's constructed of several little vamps and melodic bits layered on top of one another, and while there's plenty of variation within it, it never really turns into anything more than background music. (6/10)

12) Auron's Theme (Written by Conqueso)

Yet another rock piece, this time by Uematsu, symbolizing the badass ronin Auron. To be honest, as far as Uematsu character themes go, this one's surprisingly weak. The main melody is extremely simple and rhythmically stagnant, and the secondary melody is filled with bizarre, random runs which don't really add anything to the track. It works well in the game, though, and the weak melody is made up for somewhat by an excellent arrangement, using piano, drums and synth voices to create an almost godly atmosphere. (7/10)

13) Mi'ihen Highroad (Written by Conqueso)

Now this is strange, and I'm talkin' "Honeybee Manor" strange here, folks. Over a bouncy accompaniment made up of "boings" and offbeat guitar chords, various obscure woodwind instruments shimmy up and down the scale, creating an unsettling melody which also manages to seem upbeat to a slightly manic degree. Then, in an even weirder move, the track suddenly takes a more serious turn, with dissonant, mysterious guitar arpeggios taking centerstage, free of boings and shimmys. Eventually the guitar stops in its tracks and, after a pause, the boings resume. I definitely have to give Uematsu a hand for originality on this one. Plus, it's pretty fun to listen to. (9/10)

14) Brass de Chocobo (Written by Totz)

Obviously, no Final Fantasy soundtrack (except Final Fantasy I's) would be complete without some chocobo arrangements, but unfortunately, this is the only one in the whole album. But it's not without its merits. This arrangements is quite fun to listen to, and the jazz saxophone (right? ;_; ) was a great choice; percussion-wise, it's quite funky. So I can't really complain. (8/10)

15) Travel Agency (Written by Totz)

After such a lively track, we are treated to a more relaxed, laid-back track. Combining the piano with drums, Hamauzu paints the picture of a place to cool down, to get some rest, which is exactly what these agencies are about. The greatest part about the track is that the piano and the drums complete each other, i.e., it wouldn't be possible to have one without the other, because that's what gives this track its charm! (9/10)

16) Permitted Passage (Written by Aevloss)

One of the pitfalls in this soundtrack is the excessive use of certain themes. "Permitted Passage" is a perfect example of a very bland, repetitive arrangement of the original Seymour theme, which wasn't very impressive in the first place. Uematsu has become rather well-known for his unimaginative filler tracks over the recent years and tunes like this one really hamper the overall sound of the album. Compared to Hamauzu's inventive work, this recycled melody sounds incredibly uninspiring. (3/10)

17) Seymour's Theme (Written by Terraguy)

Oooo. Creepy. Using strings, harp, deep bass, bells, drums, and a men's choir, it creates that spooky feeling, so common around villans. Grr. The track helps well with the mood, and clearly shows how evil Seymour is. The melody is strange to the ear, but pleasing to the mind. What I mean is that it sounds weird, but it conjures the right images of "evil. evil..." It does get a bit repetitive, and the melody could use a bit more work, but all in all, it fits the villian's theme. (8/10)

18) Twilight (Written by Totz)

I'm sorry, but what the hell is this supposed to be? It's just 4:40 of suspended strings. The only ambience this track gives is of a boring place, or something needlessly long. We could have gotten another "Luca" or "Summoned Beast Battle", but NOOOO. Nakano had to throw in some ambient crap. Thanks a lot. (3/10)

19) Djose Temple (Written by Totz)

Honestly, I don't get this track. Why is it trying to be comical? Is Ixion funny? Is Ixion some sort of clown that's there only to amuse you? IS IT? Well, obviously not, so the track makes no sense. Not only that, but it also sucks.It sounds all disjointed, with instruments popping in and out out of nowhere. It feels like it doesn't have a logical development. (4/10)

20) Song of Prayer - Ixion (Written by Totz)

I shall write this track's review in Hymn of the Fayth form:

This tly It get
ver like is annoying
sion the al This
is o ready is
e ther starting hard read right?
xac ones to to (6/10)

21) Ride the Shoopuf? (Written by Totz)

To be honest, this piece is so bad, it reminds me of the music to the early Crash Bandicoot games. When listening to Video Game Music, people are often respectful of the fact that the pieces were written to fit scenes in a game, not blow away music critics with their better-than-mozart composition.

But despite this, you have to draw the line somewhere, and to me this piece is so irritating and repetitive that it doesn't deserve to be in the game at all. The percussion sounds below average, the tune itself is underveloped and the overall track is, at best, infuriating to listen to. Whether Uematsu was drunk or half asleep when he composed this piece remains open for speculation, but views on Uematsu's talent as a whole has slowly begun to deteriorate due to these 'filler tracks'. (2/10)

22) Rikku's Theme (Written by Terraguy)

Well, you want the bouncy side of Rikku? Here's your track. With a blend of piano, a wind instrument, and guitar, along with marracas (sp?) and triangle, the bouncy, uptight feeling gives the track a sense of bouncyness. Whee! It very nicely shows the side of the carefree Rikku, and the melody has enough variations to keep it going. Sweet and light, this track is good for someone who wants a bit of "fun" relaxation. Just make sure you're not morbid, or you'll want to throw your music player across the room. (8/10)

23) Guadosalam (Written by Aevloss)

In "Guadosalam", Nakano has created one of the most unusual tracks in the entire series, let alone in the game. As has been the case with many of his previous tracks, this piece is designed to create a powerful atmosphere instead of a memorable tune and effectively makes a player feel very much within foreign territory. With its tribal beats, eerie choir chants and simple yet effective flute melody, this piece fits the area in the game like a glove and is an appropriate theme for the mysterious 'Guados'. Impressive work by Nakano, who manages to create a fresh, original piece whilst not making it too ambient. (9/10)

Disc Three

1)Thunder Plains (Written by Aevloss)

Instead of opting for the ambience route for the music to the Thunder Plains, Hamauzu once again manages to inject some much needed creativity into the soundtrack. The music style he has chosen is a bouncy and energetic piano piece and while it contradicts the musical associations you might originally think of when thunder comes to mind, it somehow manages to fit the area. The contrast between the area and the music makes a very interesting combination, which is un-predictable and imaginative. While rather light-hearted, this is a nice introduction to the third disc which leaves the listener wanting to hear more. (9/10)

2) Jecht's Theme (Written by Gilgamesh)

Another Uematsu character theme — similar to what Conqueso stated about Auron's Theme, this piece certainly lacks the intangible "catchy" quality that so many past NU themes had back in the day. Still, the rough and simple "western" style of the guitar arrangement and live performance make this a really cool piece. It captures the essence of Jecht rather well, a sort of cool tempered bum on a little adventure. (7/10)

3) Macalania Forest (Written by Terraguy)

Well, the choice of instruments is interesting. Using bells and strings to create a mystical quality, and then cutting everything off for a piano, perhaps, to start the melody is very nice. The only problem constitutes the repetitive bells and their "swinging" style of tone. You'll get sick of it very quickly. All in all, this is a nice, soothing, calming, and relaxing piece, especially with the strings playing little variations on a simple melody. Soaring, eh? The bells are the only thing that detract from this track, and it is unfortunate, because it is very repetitive. Maybe less bells, anyone? (7/10)

4) Sea of Mists (Written by Aevloss)

After a respectable beginning, disk 3 takes a turn for the worse with this Nakano track. The track is made up of quiet percussion and what sounds like a wind sound effect and was, in the game, probably used to accompany an insignificant cave. The piece is so minimalistic and uncreative that I don't think it is actually possible to like it - By producing tracks that even an amateur musician could better does no favours for opinions on Nakano as a Video Game Composer. It seems such a shame when tracks such as this are compared with others like 'Guadosalam', which is in contrast very creative and works incredibly well. Perhaps it would have been better to leave this off of the album entirely. (2/10)

5) Temple Band (Written by Terraguy)

Foreboding music, anyone? This music is great for the "calm before a storm" kind of theme. With a constant and darwn-out chord from strings, a bass drum "thuds" in the back, and what sounds like chain being hit against a wall, or at least metal, the mood is somber. It also sounds incredibly like a tribal tone, with the banging. The track, however, has way too much bad; overshadowing the good. It is way too long. There is no melody, the drums and the metal bangs have the exact same rhythm, and the note of ths strings doesn't change until about a half a minute later. In fact, the first change is at 0:33 minutes! If you like those foreboding pieces, then this just barely makes a nice piece. For the regular listener, this piece is exceptionally dull, and hardly worth hearing on the track unless for the soothing repetitiveness. (4/10)

6) Seymour's Ambition (Written by Terraguy)

The mood from Temple Band leads right into this track. The theme of the wicked has arrived! At first, using only a synthesized keyboard, and a piano to creat cadences, it might seem like the track will be very boring and dull. However, the men vocals with their haunting "ahhs" help dim the atmosphere. When the band set and guitar comes in, though, it'll start sounding like techno. And boy, is the mood correctly set! The techno, back to the "interlude", and then repeated, creates both the haunting mood and the foreboding atmosphere again. The only thing that might get you is the repetitive theme, but it shouldn't detract much from the atmosphere. A very nice track that's been created for Seymour, and it fits well with the antagonist. Spooky, haunting, and foreboding. (8/10)

7) Song of Prayer - Shiva (Written by Terraguy)

Die people! It's the Song of Prayer again! Back to the track though. Simple, like the other Tracks of Prayer, with only a solo woman singing. And once again, incredibly repetitive with the other Tracks of Prayer found throughout the Original Soundtrack. Do you really need to hear practically the same track again? (3/10)

8) The Advancers (Written by Conqueso)

Some very mysterious mood music, based mostly around percussion and synth noises. The track starts out with a very effective "swirling" pattern in the treble, which stays the focus of the track for a while, before it eventually dissipates into more or less pure percussion. Although it does an excellent job of portraying nervousness, it's not very interesting on its own. (5/10)

9) The Scorching Desert (Written by Gilgamesh)

A rather unique track for a desert setting — the string whines in the beginning make it seem like a stereotypical "dry" piece but calm percussion and synthesized choir added to the sitar produces an interesting effect. The best way I can describe it is a combination of a "desert feeling" mixed with a tropical mood that is distinctly Final Fantasy X-ish. The piece bridges into a small piano solo that seem to convey a pure nature feeling before falling back into the dry motif again. The piece sets the mood well and it was a creative arrangement but I found the track overall to be a bit boring and repetitive. (5/10)

10) Crisis (Written by Talaysen)

If I had to make a list of the most intense tracks ever, "Crisis" would definitely be on there. With pounding percussion in the background, chaotic sounds all over the place, and dissonace along with it, this makes for one unique and intense track. The couple of parts in the middle of the track when almost everything disappears leaving only a quiet (by comparison) background can be a bit unnerving. Together, the intensity and quiet parts keep you on your toes. I will say that the track tends to repeat itself and can get a bit repititious, but I find it to still be a good listen. Just don't put it on repeat, or you may go insane. (10/10)

11) Revealed Truth (Written by Soapyz)

I thought this was one of the most poignant scenes in the game, and maybe it was the awful voice acting and the cheesy music combined, but my heart really went out for Tidus at this point. String instruments (or at least the fake string instrument sound I can do on my keyboard) definitely give a more emotional feel, you could almost feel someone's (maybe my) heart breaking at this point. I liked it, it was corny. One of those feel good moments of the year. *sniffsniff* (9/10)

12) Takeoff (Written by Peter)

An exciting track that significes challenge and danger throughout. It has occasional builds of percussion that play up and make the piece sound incredible, although you will hear the melody many times throughout one playthrough, and the backing of the piece is extremely repetitive and eventually, dry. To finish, this is a mediocre track that has it's occasional interesting sections but for the most part, remains rather boring. (6/10)

13) Wedding (Written by Djinova)

Why didn't they use some standard wedding music like the wedding march here? Isn't it supposed to be a glorious, joyful moment? Apparently something is wrong with this supposedly eternal bond, as the strings drag this track along a painful way to the wedding priest (=. It gets louder and more dramatic towards the end, suggesting that it could be too late to stop this ill-fated event, but. I find the track quite dull, although I see its purpose. Basically a string track with a peak towards the end. (6/10)

14) Assault (Written by Totz)

Yet another example of Hamauzu's creativity, "Assault" is an action filled track that ever ceases to amaze me. Even though the bass line is way too repetitive, pretty much everything else more than makes up for it. You can easily tell this is a Hamauzu track: the piano in the background is always completing the melody, never taking over. This is exactly the kind of track that makes you forget about bad stuff like "Djose Temple" and "Confrontation". (9/10)

15) Tragedy (Written by SkyEyes)

The beginning of this track is almost startling, with a single violin and a noise like someone is banging on metal. After about 45 seconds, a few bells are added for a depressing effect. After another 15 seconds, they lose the bells and the freaky metal sound, and add in more strings for a not so much tense, but a depressing effect as well. For a breif time after this, they add in a single wind instrument, but I wish it lasted longer. Then they add in that metal sound and the bells once more. Throughout the rest of the track, they add in and take out instruments, but the ones that I think sound the best only last for a few seconds. While this track serves its purpose as being a slow, sad track, it is not one of my favorites to listen to. (6/10)

16) I Can Fly (Written by SkyEyes)

This track starts out very soft, quiet, yet still filled with a deep sadness. When I first listened to it, I turned up my CD player really loud, and was surprised when it reached the end of the track. While it starts out with a single string instrument, gradually, more join in and give the track a tense air, until you reach the end, where a few drums join in and the track quickly becomes a melody of hope, and the short track ends with a few beats from the strings again. While this track goes well with the FMV it is played in, I don't find it as enjoyable on the Original Soundtrack. (8/10)

17) Via Purifico

Written by Peter - This is a rather simple but elegant piano piece that shows Uematsu's talent in making even the most simple types of piece sound incredible. It has no 32nd runs or large chords, or even a fast tempo, but it simply sounds brilliant. It has a melody accented while triplets (My listening skills are not brilliant, please somebody clarify/correct this)are being played in a rather short keyspan. It is hard to touch on what makes this piece so beautiful, although the performance has been recorded superbly and while only 2:29, this track will leave you speechless. (9/10)

Written by Totz - Uematsu crafts again another wonderful piano solo track. In Final Fantasy X, this track is used to represent Via Purifico, a prison of sorts. What makes this track so wonderful is the atmosphere it creates. It's like Nakano's tracks, but instead of being, well, crap, this one's awesome. Nakano's ambience is what I like to call "background ambience", because even though you can't sometimes hear it very well, it still manages to create some atmosphere; Uematsu's atmospheric tracks differ greatly, because they don't stay put as background music only. You can feel a certain feeling of sadness in the track. That has never happened to a Nakano track with me. (9/10)

18) Song of Prayer - Bahamut (Written by FinalFantasyMan)

Eh...the fabled 'Song of Prayer' returns, this time in the form of what I believe to be a young pre-pubescent boy (sounds kind of like me at about age 11-13). I assume that each of the respective hymns is meant to be a vocal reflection of the Fayth entombed in the particular temple...for which I guess it's safe to assume that the Fayth who resides in Bevelle is the young boy who pretty much speaks for the Fayth throughout the duration of the game...yes, no?!?!? Anyway, what else is there to say...I guess at this point the "hymn" is getting just a tad repititive. (5/10)

19) Time of Judgment (Written by Talaysen)

This track starts out with a semi-militaristic feel with a snare drum and some background chords. Then when a trumpet comes in it starts to feel ominous. It also proves that it's a Hamauzu track. Then as the track progresses it gets more intense until the bottom drops out and the whole evolution repeats. The development of this track is simply amazing and the use of the "Suteki da ne" theme is subtle but well done. The major drawback to the track is it is really only about a minute and a half long since it basically repeats. (9/10)

20) My Father's Murderer (Written by FinalFantasyMan)

Well...here we have another-not-so-subtle arrangement of the Seymour theme and this time the track is...not so great. Sure, it sounds evil and brooding and all, but like I said, it's not so great. It also has that Final Fantasy VIII Succession of Witches feel to it. Anyone who is familiar with the FFVIII OST will probably know what I mean. I'm not exactly sure what instrument is used to make that "witch" like sound, but that seems to be the prevailing source for this particular track. (6/10)

21) Suteki da ne (Isn't it Beautiful?) (Written by Talaysen)

To put it simply, "Suteki da ne" is one of the most beautiful tracks I've ever heard. The most prominent part, of course, is the vocals, sung by Rikki. Whoever decided to give her the job made the right decision, because she sings it beautifully. In addition to beautiful vocals, this track has some of the most beautiful violin instrumentation that I've ever heard. It especially stands out during the solo session about halfway through the track. Going even further into the background, the harmony itself is also well done. It fits the melody and vocals perfectly, with just the right dynamics and style. Together, everything blends to make what is probably the most beautiful track that Uematsu composed. (10/10)

Disc Four

1) Yuna's Decision (Written by SkyEyes)

While this track is merely 1:47 seconds, it is a hidden gem. It is not the individual instruments that matter in this particular track, but the way they work together to play this heartfelt melody is what makes it worth listening to. It is a completley original melody that is not just performed by one instrument, but many (particularly percussion) that work together to create a very heartfelt, joyous track. It is truly great after listening to the sad excuse they call "Disc Three". The melody flows along in this gentle piece, and it is truly a great addition to the Original Soundtrack. (9/10)

2) Lulu's Theme (Written by Totz)

This is possibly the most underused track in the game, and that's quite a shame. Uematsu's choice of instrumentation is fantastic: the harp represents Lulu's softer side, the side we hardly see, and the flute gives the track a rather mysterious feel. Not only that, but the track is well developed, so that's a home run if you ask me. Uematsu was just filled with inspiration. You know, I could listen to this forever. (10/10)

3) Brave Advancement (Written by FinalFantasyMan)

This is the track that is used primairly at the Monster Arena, if I remember correctly...it's been a while since I've played through Final Fantasy X. It starts off with a boisterous introduction consisting of what I believe to be some kind of horn. Anyway, it kind of has a "knight slays dragon" era feel to it and then it begins to develop. The first time I heard it, I thought of "Amarant's Theme" from Final Fantasy IX because of the grungy feel of the bass line. But then the track just kind of develops into what you would expect for this particular area of the game. It doesn't really have the somber feel that the majority of the tracks have, but it's also not as optimistic as "Yuna's Determination" or "Rikku's theme". All in all, it has good balance and I think that this particular track is used very effectively for this portion of the game. (8/10)

4) Song of Prayer - Bodyguard (Written by Aevloss)

Nothing new here. This is another rendition of the same overused melody, which on this occasion is intended to accompany the fayth of the aeon 'Yojimbo'. While successful in its intent, it seems a very hollow piece without the scene it is supposed to accompany. The male who sings this time brings back memories of the spectacular track all of the track of prayer tracks spawned from - 'The Sending'. Other than that, 'Song of Prayer - Bodyguard' is another waste of 50 seconds. (4/10)

5) People of the Far North (Written by FinalFantasyMan)

What else is there to say about this track that hasn't been said already. To sum it all up...genius, greatness, epic. Anything good you can say about any single piece of Final Fantasy music applies to this one as well. In my humble opinion, one of the all-time Final Fantasy greats, no question about it. The track opens with a very distinct drumbeatthat feels tribal accompanied by the melody. As the track develops we begin to realize the full scope of it. As big and sacred as Mt. Gagazet itself, the track begins to take shape and now there is definitely a feeling of something sacred about it. It sounds foreboding and almost dark, but as soon as we reach the chorus it's almost as if the hope and optimism return and then back again. Obviously, my words cannot truly express how great I believe this track to be. I think it'd be great if someone could give a review based on the technical merits of this track, because I sure can't. (10/10)

6) Song of Prayer - Ronzo Tribe (Written by Terraguy)

This time, with a few deep bass singers, it conveys that solemn feeling. It's shockingly filling in bass, and is one of the better Tracks of Prayer. Unfortunately, it's another Song of Prayer, perhaps starting to become too redundant. (5/10)

7) Wandering Flame (Written by FinalFantasyMan)

This is probably one of the more frequently used tracks in the game, but I think for good reason. It's a really mellow and somber piece that conveys plenty of emotion, especially for Tidus. I like to think of this track as a Tidus-Sin-Jecht exclusive because I believe that it's the fitting theme for their situations. Melodically, it's not really much, but I think that the vision for this track is to give off a somewhat diluted feel. And I'm going to use another one of my Final Fantasy VIII comparisons, but this track reminds me alot of "Drifting" from Final Fantasy VIII, in both composition and in-game effectiveness. Not a bad track at all, but not really anything extraordinary. (8/10)

8) Someday the Dream Will End (Written by Jared)

What to say about this track; its absolutely amazing. This arrangement of "At Zanarkand" is simply awesome in every form of the word. Very somber and sad, yet hopeful and beautiful at the same time. The simple melody here is so beautiful and fits the mood perfectly. The choice of instrumentation was really good also; the beginning flute and oboe melodies are a great way to start the track. The piano and strings provide a nice full, warm background for the melody to play against. Overall, a totally awesome track written and executed beautifully. (10/10)

9) Song of Prayer - Yunalesca (Written by Totz)

Out of all the Hymns before (the a-cappela ones, not "Farplane Sending"), I feel this is the most emotional and creative one. Instead of using a solo woman for Yunaleska, like it was used for Shiva, Valefor (which I didn't get why it's not a man) and Anima, it used a male choir (tenor, bass, I don't know). I was actually surprised by this. Not only that, but if you played the game up to this point, you know that this choice couldn't be better to represent the sadness that haunts that place. Quite creative indeed. Well, 1 out of 500 had to be good, right? (8/10)

10) Challenge (Written by Talaysen)

I could describe this track in two words: Good Ambience. There's a large emphasis on background noise with little in the way of actual melody. Nonetheless, it still sounds quite unique and interesting. The staticy guitar sets up the main mood in the background, while everything else just piles on top of that. Other than that, nothing special here. As I said before, it works great for ambience, but for listening purposes, it doesn't do much in the way of melody or anything. (10/10)

11) To the End of the Abyss (Written by Jared)

Yet another theme that doesn't match what you would normally associate it being partnered with. In the spirit of "Thunder Plateau," this theme is a fairly lighthearted piano piece with some light string and brass background sounds. While not what you would expect for the most dangerous dungeon and locale from the game, it somehow fits with it. (9/10)

12) Darkness

(Written by Peter) - As a number of other tracks in the Final Fantasy X Original Soundtrack, this is rather repetitive. It is built largely by a percussion-like background with a slow string sound that builds up on a note with a crescendo before dimming down again. While dark and mysterious, this piece is very tiresome, and you cannot expect to listen intently for very long before you notice how bored you are. (4/10)

(Written by Terraguy) - Hmmm. Bland. Usage of both strings, xylophones, and tambourines form a small, foreboding piece, but they're all pretty much suspended. No melody, no variation, just a basic rhythm which gets boring quickly. Utterly mind-boggling on what kind of music this is. Foreboding, maybe, but as to a track, it fails. (4/10)

13) Song of Prayer - Spira

(Written by Terraguy) - This rendition of the Song of Prayer takes place as you are about to go fight Sin. This is, maybe for good, the second to last Song of Prayer you will hear. This time, however, you got a full SATB singing this short and simple piece. The melody this track contains might be a bit grinding against each other. That is to say, it doesn't sound as fluid or as melodic as the other Song of Prayers, but fortunately, it's in a new different direction. A few hearings might make you warm a tad to this new rendition, especially due to the nice harmony that they combine. A new rendition to a heavily-used piece. You'll either somewhat enjoy it, or be put out by ANOTHER rendition. (7/10)

(Written by Peter) - The Hymn of the Fayth seems to be improving with each new entry. This vocal piece is composed of both male and female alto and tenor voices (Please correct me if I'm wrong there, and delete this from the actual review :P) and whilst one group takes charge of the hymn the other alternates to sing backing chords. To sum this up, the hymn has taken a change of pace. This new pace really brings it out the worn down hymn to it's upmost potential. (8/10)

14) The Deceased Laugh (Written by Aevloss)

Seymour is back, again. This time the piece of music that accompanies his presence has been destroyed some more and sounds worse than ever. If it was Uematsu's intention to make Seymour's last moments before the big battle anti-climatic then he succeeded. Instead of building up tension and preparing you for the great fight, the piece somehow manages to convey Seymour's twisted and broken personality. In a way, this was a good thing, because by this point in the game, Seymour is merely an obstacle and Yu Yevon is the main threat, so the blue-haired villain is no longer as intimidating. Luckily, the superb battle theme that follows this piece makes up for the overused melody displayed here. (3/10)

15) Seymour Battle (Written by FinalFantasyMan)

Finally (and depending on your opinions) this is the final incarnation of anything Seymour on this Original Soundtrack. The good thing is that at least it goes out with a bang. Much like the revamped "Prelude" theme heard waaaaaaay back on disc 1, this theme is kind of along those lines. It's experimental by Final Fantasy standards and it is also representative of the changing of the times. This, of course, does not mean that this is a bad track. On the contrary, I found this track to be very enjoyable. It is driven by a frenetic bass line and the techno-influenced melodies represent a very "insane" feeling. The small hints of Seymour's character theme can also be heard, but it took me a while to really notice it. All in all, for a battle theme, it isn't on par with "Dancing Mad" or "One Winged Angel" but is strong enough on its own. Besides, this is only a preview of the things to come anyway. (9/10)

16) Song of Prayer - Anima (Written by Aevloss)

After Song of Prayers - Yunalesca and Spira, it seemed as though Hamauzu's piece had earned a little more respect as the aeon track of prayer monotony had ended. However, its back one last time to represent Anima. While the piece sounds as appropriate as ever in-game, there is nothing here that makes this track worth listening to on the original sound track. (3/10)

17) Summoned Beast Battle (Written by Terraguy)

What starts as a fine swelling goes well with the overall battle/boss theme. The usage of cymbals is very well defined, and with the fast paced short notes and sweeping suspended strings in the background and foreground, it's enough to get that adrenaline flowing. Of course, there are vocals, but they are horribly synthesized. The better part of the track is the instrumentals and the repeated background "twirls" and theme. It's a jumpy, catchy piece, with enough variations to keep a battle theme from becoming too ong. In addition, in the middle, you can hear an organ playing the Song of Prayer, a unique addition. The track is about 6 minutes long, and could start to get repetitive after multiple hearings, especially in the game, but music wise, the track is a nice one for fast paced moods out there. (8/10)

18) Decisive Battle (Written by Totz)

Ah, the final battle theme. The track everyone's eager to listen to. And I've got to say, it was well worth the wait. A dark, brooding beginning quickly gives way to an almost virtuosic piano passage. The piano takes a center role in this track, with everything else serving as support, which is the exact opposite of what happened in "Assault". It might not be as threatening as other final battle themes, but the piano is just plain out aggressive. That's the beauty of this track: it's not threatening as, let's say, "The Extreme", but it works incredibly well both in and out of the game. This is easily one of the best battle themes the Final Fantasy series has ever seen, and it will be hard for future final battle themes to be more creative than this one. Also, if you notice at around 2:20, you can hear the Hymn of the Fayth in the string(?) section. Hamauzu, you back-stabbing GENIUS! (10/10)

19) Ending Theme (Written by Talaysen)

The ending starts really quiet while building up towards a louder ominous tone. After that, it grows quiet again and moves into an arrangement of the "Song of Prayer". Then a piano starts playing soon joined by some strings and mallet percussion before going into "To Zanarkand" (accompanied by plucked strings). Eventually the piano is also joined by more strings. Then a trumpet takes over for a bit and passes the melody off to the strings all the while gradually crescendoing into the climax of the piece, signalled by a trumpet fanfare and a suspended cymbal. The strings and trumpets continue to carry the melody until, well, the bottom drops out midphrase. followed by gentle flutes finishing the phrase. The next section contains a quiet trumpet accompanied by plucked strings again, followed by a slightly more prominent trumpet and an oboe. After the trumpet grabs the melody again, it passes to the strings who finish off the track beautifully.

As you can see (or hear) here, there's a LOT going on. The melody tends to be tossed around a lot to different instruments, which makes things a lot more interesting to listen to, and in the end much more beautiful. The dynamics used in the track are really nice and suit the style of the piece well. In fact, they fit the flow of the piece perfectly. The use of all the different instruments is amazing, the trumpet, plucked strings, bowing strings, and oboe all fit their places perfectly. The orchestration is absolutely beautiful. The use of the "Song of Prayer" and "To Zanarkand" also fit in well. The whole piece is magnificent. In fact, after REALLY listening to the track, I'd consider it the best Final Fantasy ending theme to date. Whoever said Uematsu dried up, this track proves you dead wrong. (10/10)

20) Please Remember Them (Written by Terraguy)

Remember "I Would Like to Say Everything"? Well, you have another track just like it, this time with Yuna speaking Japanese in a 15 second long track. Probably important for the words, but pointless wise for the music. (N/A)

21) Suteki da ne (Orchestrated) (Written by Terraguy)

Ah yes. The finale, the consumation, the crowning glory, the summation, the epilogue. What a beautiful summation it is, too. Playing one of the most popular tracks in Final Fantasy X, Suteki da ne, it's been arranged into a full orchestral version, starting with a beautiful piano solo and the lead into strings. A complete 6:19 of pure bliss, the orchestra complements the vocals well. Just like the original Suteki da ne, a female singer sings the track in Japanese. This time, the vocals are a tad bit more flowing, and the overall orchestra creates a more peaceful feeling than the original track. Not to say that the original was harsh, but the orchestral version is smoother, and with strings playing the background, along with the piano and occasional winds to create a sub-melody. Then, with the combination of quiet brass, it rounds the track out nicely. You want a well created combination track? It's all right here. From sweeping string sections to calm brass and winds, from melodic vocals to nice harmonics and ascending melody lines, from simple beginnings to an overused, but fitting ending, it's here for your listening pleasure. Peaceful, calm, surreal, and tranquil, this is one of the best pieces in Final Fantasy X. Enjoy this gem in its true light. (10/10)

Summaries

Written by Calaver

With the skills and creativity of three composers, this album speaks more dynamically and more diversely than previous Final Fantasy soundtracks before it. To some it seems like a pretty broad spectrum, but really it only covers two basic sides: rock and experimental. Granted, there are few "rock" tracks in there. The experimental platforms go beyond anything Uematsu has done by himself in the past, and I'm surpised to hear this is the first soundtrack that doesn't have any "signatures" that go along with any other Final Fantasy Original Soundversion's. Well, there is the chocobo theme, and the classic Victory Fanfare, which I'm sad to say dies with this album. However, what's missing are the two most recognizable Final Fantasy staples--the harp arpeggio and the signature theme. Technically, though, this soundtrack sounds above and beyond anything done in the past, with the synthesized tracks being virtually indistinguishable from the live orchestrated ones. That's thanks in part to the PS2's massive data throughput and the advantages of using 4- and 9GB DVDs as opposed to three or four standard CDs. The vocals are also beautifully mastered, at least for the chorale and solos ("Otherworld" excluded). But as far as comparing this soundtrack to his previous works, it lacks in creativity and insipiration which it makes up in repetitiveness (i.e., the Hymn of Fayth times 9). (6/10)

Written by Aevloss

The Final Fantasy X Original Soundtrack supports a great modern score, which clearly takes advantage of the PS2 sound chip making the music quality better than in previous installments of the series. Nobuo Uematsu's two accomplices, Nakano and Hamauzu, inject some creativity into the 'stale' formula that the series has come to adopt. Uematsu's overall performance on the composition front is, unfortunately, mediocre. While 'Auron's Theme', 'Ending Theme', 'Suteki da ne' and even some less appreciated tracks like 'Silence before the storm' are all good, anyone would think that the man is out of ideas after hearing the monstrocity that is 'Ride the Shoopuf'. 'Yuna's Theme' and the various renditions of Seymour's theme all seem rather cliched and for a generation game, you expect a little more.

Luckily, Junya Nakano and Masashi Hamauzu save the score with their less predictable tracks. Nakano's ambient pieces may annoy some, but I personally feel that tracks like 'Guadosalam' and 'Summoned Beast Battle' show off just how well he can set the mood for a scene. Hamauzu is the star of the show though, and has definately shown that Uematsu doesn't create all the best tunes. The amazingly original 'Final Battle' easily rivals some of Uematsu's well known battle tracks, and tunes like 'People of the North Pole' are simply unmissable.

Overall, the Final Fantasy X Original Soundtrack is worthy of the series name and clearly brings the series into the new generation of gaming. While it may not be as memorable as Final Fantasy VI and Final Fantasy VII's music, or as epic as Final Fantasy VIII and Final Fantasy IX's, the soundtrack is by no means dissapointing. Now, roll on Sakimoto and Final Fantasy XII! (8/10)

Written by Peter

From stage one, this Original Soundtrack took a different direction from previous Final Fantasy soundtracks - two composers joined Nobuo Uematsu's side. These were Junya Nakano and Masashi Hamauzu. This soundtrack took on a more techno feel overall, with even a revamped "Prelude". While this change was originally anticipated to be innovative and brilliant for the series, I find it to be a somewhat dissapointment. The lack of memorable tracks on the OST and the large plethora of repetitive, underworked pieces give off the impression that many tracks were not given nearly enough thought or expression; they were uninspired.

That being said, the few nice tracks in the Original Soundtrack are simply outstanding, and make up for all the bad within the Original Soundtrack. A few tracks that come to mind now are "To Zanarkand", "Auron's Theme", "Path of Repentance", "Suteki da ne", and "Someday the Dream Will End". It would also be of use to note that the majority of these tracks were composed by the veteran of the series, Nobuo Uematsu.

To conclude, I felt that the majority of the works presented were stale and lacked inspiration, although the few tracks that did not apply to this formula made up for the general poorness of the Original Soundtrack. After the successful Orginal Soundtrack that was composed for "Final Fantasy IX" you would think Nobuo would have been able to handle the next Original Soundtrack by himself. While the music has taken an interesting turn with two composers by his side, it wholly appears to be a turn for the worst. How three composers working on a single game can create a certain mood present all through the game is beyond me, and this OST does little to give off answers to this conundrum.

If you are one to enjoy every track of an album, then you may wish to stay away from here, however if you enjoy buying a music set for the brilliant quality of a few sparse tracks, and are not worried about the number of brilliant tracks, then this Original Soundtrack will surely end up in your lifelong collection. (8/10)

Written by Terraguy

I say, new faces! Instead of having the composer that's identifed to all the Final Fantasy music do it himself, like he's usually done, we have two new people. Nobuo Uematsu is joined by Junya Nakano and Masashi Hamauzu. Together, they inserted a fresh outlook in what is already an old series.

Many of the tracks in here are bland, and would otherwise dampen the positive effect that the composers tried to broadcast. Tracks like "Permitted Passage", tracks from the temples, and all those repetitive "Song of Prayers"! The second and thrid disc especially are the bane of this OST, creating a horrible listening atmosphere. You'll wonder what happened to the inspiration.

Yet it's the two new composers to Final Fantasy that help the Original Soundtrack out of the pit. Tracks like "Guadosalam" by Nakano and "Besaid Island" with Hamauzu. Together, they put a fresh outlook onto a series that's been epitomized by Uematsu. It's ironically, Uematsu that brought a bit of this Original Soundtrack down. He was not performing up to his usual standard of VGM composing, and as thus, we have two of the worst discs to listen to. Yet, he also contributed much to this track. It was by Uematsu's hand that some of the best pieces were on this track. Tracks like "At Zanarkand", "Prelude", "Farplane Sending" (the only "Song of Prayer" that had spirit), "Suteki da ne", and the "Ending Theme" were all composed by Uemtasu, and together helped keep this track alive.

With the modern, techno feel to this soundtrack, along with the classics, this Original Soundtrack should be heard. However, many will shy away from the abhorrence of the second and third disc. Therefore, diehard fans will gobble this track up. People new to the series' music should be careful, but not miss this Original Soundtrack. (8/10)

Average of Summary Scores: 8/10