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Valkyrie Profile 2 Silmeria OST Vol. 1 - Alicia Side :: Forum Review

Valkyrie Profile Silmeria Original Soundtrack Vol. 1 - Alicia Side Album Title: Valkyrie Profile Silmeria Original Soundtrack Vol. 1 - Alicia Side
Record Label: Team Entertainment
Catalog No.: KDSD-00102/3
Release Date: July 12, 2006
Purchase: Buy at CDJapan


Written by Chris

The soundtracks to tri-Ace's latest RPG, Valkyrie Profile 2 Silmeria, were split into two largely continuous volumes to help listeners to digest them. Like Valkyrie Profile Lenneth before it, Motoi Sakuraba crafts the score, but largely heads in a new direction. The soundtrack is emotional, serious, and epic, featuring mostly orchestral tracks. Fortunately, though, Sakuraba's rocking battle themes making a return in an often twisted format. Alicia's Side is the lighter of the two and includes the exposition of the main themes and several curious town themes. Let's see how it fares...

Track-by-Track Reviews

Disc One

1) Overture to the Destiny (Written by Chris)

A curious twist on the old RPG cliché of creating tracks near-enough entirely dedicated to tuned percussion. Instead of expressing sentimentality, "Overture to the Destiny" creates considerable eeriness within the game. Chimes resonate and echo through what is otherwise complete silence and obsessively revolve around the sinister main theme of Valkyrie Profile 2 Silmeria. Towards the end, vocals hauntingly emerge to reinforce the theme of fate, but jarringly and unncessarily, reinforcing a listener's uneasiness of what to expect from the album. Nevertheless, in the wider context, this track beautifully sets the scene for the drama that follows and provides a welcome straightforward exposition of the main thematic material. However, it is not representative of what to expect from other tracks in the album on a stylistic or timbral level and may evoke nothing in some. (8/10)

2) The Eternal Land (Written by Don)

This is quite a moving piece and a full composition to the melody introduced in the previous track. An almost ethereal melody created by the woodwinds and strings are subtly accompanied by percussion and what sounds like a music box. The music box instrumentation used in the beginning allows the listener to be drawn into the music and acts as a conduit to the main melody. The main melody itself is supported by some excellent orchestration and the haunting vocals towards the end also help reinforce the mystifying and ethereal melody played by the strings and woodwind. A small motif is noticed at both the 1:40 minute mark and 2:22 mark. Each is unique in that the first motif is mainly played by the music box, while the second reappearance utilizes the orchestration and is more woodwind focused. After the first track, it's quite a way to open. (9/10)

3) The Chosen Confusion (Written by Dave)

This track surprised me after the dramatic "To the Eternal Land," not only because it adopts a totally different style, but that the instrumentation is very unique too. The track opens with a bassoon and an authentic reed instrument which seems to be somewhere between a double bassoon or a subtly played tenor recorder. Instantly, through this airy combination of just these two instruments, the track creates a welcoming atmosphere. As the theme develops, Sakuraba adds strings and bagpipes which overlie the main motif played on the reed instrument. Through this, a sense of agitation fitting the title is created. Recapitulations of the main melody flow across each part, with a little twist added each time, and due to this, the piece becomes really quite enjoyable. Throughout the Germanic town, passing shops, churches, and villagers, the theme functions so well with such a strange combination of instruments. (8/10)

4) Alms for the Small One (Written by TheShroud13)

Though not one of my preferred town themes from the soundtrack, "Alms for the Small" is still an effective backdrop for the game's preeminent port town, Solde. The percussion, more active than the that of "The Chosen Confusion", is an effective echoing of the bustling environment. In addition the continued rustic instrumentation, saturated with nasaly, reedy instruments keeps the common character of the town. The only thing that puzzles me as far as placement goes is the occasional Spanish/middle eastern flare with the lowered second scale degree on some passages for a place that doesn't particularly resemble either locale. As far as personal commentary goes, I enjoy the rhythmic exuberance and the varying of the instrumentation over the track's duration. The overly circular nature of the melodies is somewhat tiresome, and I really can't count a phrase that's longer than two bars long. It gets tiresome after a while. Still, it's a well placed and generally interesting piece that is effective if not stellar. (7/10)

5) Divine View (Written by TheShroud13)

Yeah. Now this is more like it. "Divine View" is the rare manner of understated piece which, in terms of a lack of tunefulness, is absolutely unforgettable. The soundscape here is impeccable. A fragile piano part reminiscent of the harp from Baten Kaitos's "Between the Winds" opens the piece. Unlike Baten Kaitos's warm, lush, and celestial musical setting for the sky, here Sakuraba's piano makes the heavens cold and distant. The piano is not particularly dynamic throughout the piece. Some of its chords are more connected than broken, but the sound is always chilled and under the perfect amount of reverb to feel ever so lonely. The strings are used to good effect. The harmonic which enters early in the piece on a G two octaves above treble G soars. In addition, the low instruments (often spaced quite a distance from the music in the higher register) offer the grounding which makes the sense of flying that the other parts create seem more atmospheric rather than outer spacey. When there is a little bit of a sense of a string melody, the instrument seems to be muted, which continues to contribute to the very cold sort of sense to the piece. There is only one use of percussion I noticed in the piece, which is a suspended cymbal being used mostly for very occasional rolls which further augment the musical scene. It's a rather beautiful piece. It's role in the game is not nearly important enough to merit a perfect score, but it's certainly the best track that could be used for it's purpose. Highly recommended. (9/10)

6) Sank Memories (Written by Chris)

"Sank Memories" retains the coldness of the preceding track while establishing the tension needed for the subsequent exposition of the main battle theme. Its basis is an aggressive and rhythmically agitated double bass riff played in spiccato. Legato upper string and woodwind melodies elegantly interweave above this, interpreting a beautiful but tragic descending melody and some countermelodies. Though the contrast of articulation is executed finely, rhythmical sterility is to the track's detriment. Furthermore, Sakuraba's insistence on repeating the principle section at 0:51 prior to a development section ensures the track drags somewhat. Fortunately, the tear jerking melodiousness of several passages enhances interest and the eventual addition of timpani, despite emphasising rhythmical rigidity, allows the track to exude with anger. "Sank Memories" is most interesting from 2:22, when upper spiccato strings introduce a temperamental new motif; it leads into an emotional viola solo against a subdued but ear-tingling high-pitched violin tremolo. Overall, this track is an inspired experiment with many charming sections, though drags too much to sustain interest during its 3:48 playing time. (8/10)

7) A Motion of Finishing Blow (Written by Kyon)

The main battle theme is by far the most unique one so far to be written by Sakuraba. Instead of Sakuraba in his standard progressive rock ensembles, he decided to use a string orchestra. He also changes his approach towards his melodies, opting for a longer phrases of melody in this track than usual. In most Sakuraba battle themes, he always uses a short, decisive, and powerful main melody, then the rest are improvisations. "A Motion of Finishing Blow", however, is a delightful exception.

The track begins with strings appregios and a horn accompaniment. And then the violins section then started of by performing the melody, with the cello section playing different notes to create chords. At 00:39, the horn joins in to play the melody, then the violins joins in to play the first phrase again at 00:54. When the violins reaching at climax, Sakuraba joins in together with the brass to follow up the melody with playing a synthesizer. At 1:40, the track reaches it loop point, nothing remarkable happens in this section though. However, it serves it point by either calming down the atmosphere or maintaining the tension before looping. After all, this is a battle theme. In this track, Sakuraba made a small mistake by using the horn; I don't think it's appropriate because it makes the track feels harsh. In addition to that, I think both Nakamura and Sakuraba did well as they do not overpower their string orchestra counterpart. A great battle theme indeed.(10/10)

8) Bore the Fatal Hour (Written by TheShroud13)

I honestly have no idea what "Bore the Fatal Hour" has to do with announcing the victory from battle. Worst title ever. It serves its purpose though. It's a little reserved for a victory fanfare, but it's not really worth getting hypercritical of a piece like this. (N/A)

9) Sank Memories, More Deep (Written by TheShroud13)

Remember "Sank Memories"? It's back, but this time, more deep. There's really not all that much to differentiate this track and its previous incarnation except for a little bit of reorchestration and the addition of a drum set. The drum set adds a little bit of extra rhythmic excitement, but otherwise there's not a lot new here. As Chris mentioned, "Sank Memories" is tiresome after 3:48. After almost seven minutes it's excruciating. Worse yet, that's still less time than is spent in the two halves of the dungeon which these tracks accompany. (6/10)

10) At Peace with Extinction (Written by TheShroud13)

"At Peace with Extinction" is the accompaniment to one of Valkyrie Profile 2's cutscenes, and is one of the more subtle tracks of this nature in the score. The piece is not nearly as dramatic or as emotionally charged as "To the Eternal Land" from earlier on this disc but is still effective, if not a bit clichéd. I like the way that Sakuraba paints the contrast between Alicia as a princess and as a valkyrie with the accompaniment shifting between the elegant harpsichord and the celestial harp with occasional overlapping between the two. Both instruments possess the intimacy needed for a track like this, and aside from them only a flute plays any major role in this piece but there are many poignant moments where the plucked instruments have the spotlight alone. The main problem with the piece is that the melody is not distinctive enough to have much lasting meaning out of context, and the soundscape is a little clichéd on as a whole, but the piece is quite effective and a welcome addition to the soundtrack. (8/10)

11) The Rebellious Spirit of a Serene Mind (Written by Chris)

This track is regularly used to represent the protagonists in the face of adversity, notably on the appearance of several bosses. Despite Motoi Sakuraba's attempts to create a foreboding sound, I feel his efforts are weakened by his use of a clichéd crisis chord progression. The introduction to the track reminds me of Final Fantasy V's "The Evil Lord ExDeath" and sounds ridiculously overblown with its 'epic' pace and dark instrumentation. I can't take the threat seriously, no matter how nice the timbres are, and find myself shaking my head out of shame for Sakuraba the first section of the piece. Nonetheless, this track is compositionally decent. It is strengthened by its tribal percussion use, integration of some interesting beats, and development into an effectual organ section. Were it not for the chord progression, this would have been quite a good effort, though its bombastic nature is all too obvious in both the game and the soundtrack. (6/10)

12) Under the All-Powerful Divine Protection (Written by Don)

This is another moving track, but with a different effect than "To the Eternal Land." While that track used dramatic orchestration to move the listener, this one takes a more subtle approach. Through the use of the woodwinds and tuned percussion, a graceful and soothing melody is generated. The accompanying strings play softly to harmonize with the main melody and takes over the melody for a short period of time. In between loops, a lull period played mainly by the harp in plucked intervals, helps to create a calmer effect before the woodwind enters again to bring the listener back to bliss. (8/10)

13) The Light Which Shall Be Bestowed(Written by Don)

A ditty that serves as a rest tune. It serves its purpose but is too short to garner a score. (N/A)

14) The Shadow That Speaks to the Darkness (Written by Dave)

This track is made up of a number of creepy groans, whispers, wind noises, and practically anything else which would make you feel freaked out and self-conscious. The intensity and frequency of noises grows as the track progresses to a point where there is a mass of sound coming from all over the place. The one thing that spoils this piece are the pizzicato strings. The forceful nature of their plucking seems to spoil the overall atmospehere somewhat, though, in the end they blend in nicely, and add a lot to the eerie nature that was intended. This is a really creative track. (9/10)

15) Indescribable Grief (Written by Neo Locke)

Combine a techno-inspired bassline, a catchy percussive line, heavy use of strings, a simple but equally catchy brass melody, and a subtle baroque-ness to it all, and you have nothing short of a track that sounds ripped straight from a Castlevania soundtrack. In-game, this track is flawless; the action-heavy melody and dance-worthy bassline work well with the game's platforming nature. It all works out of context as well, although it becomes slightly repetitive and simple in structure. Still, you have to love that bassline and percussion! (8/10)

16) Public Peace and Soft Sunlight (Written by Toma)

One of the most relaxed pieces of game music I think I've ever heard, making me feel like I'm drifting off into a coma. The acoustic guitar and harp give it a lovely, peaceful vibe, but the melody, shared between flute and violin, lacks energy and really drags the piece down. The piece ends up sounding really nice in the background, but quite boring when really listened to. (6/10)

17) Purse the Awful Memory Written by TheShroud13)

I wish when Sakuraba wrote crisis music, it would sound more like and amplified version of a piece like this instead of what he often does with pieces like "The Rebellious Spirit of a Serene Mind". If I remember correctly this track plays in Dipan Castle and, while it's not at all one of the soundtrack's best, it's still quite solid. The blend of majestic horns and woodwinds with pulsing strings (along with some high strings to fill out the texture as well) works quite effectively to contrast the castle and the caverns below, and the juxtaposition of these elements such that the heroic takes center stage here and the rhythm takes precedence there is also lovely. This is one of the few cases I've seen Sakuraba use brass and really seem to know what he was doing with it. There's also a really neat chromatic section that really beautifully paints descent, but I can't quite get a timestamp on it. The real hit this one takes it that it isn't particularly endearing or memorable and is only passively atmospheric. It is still a very solid effort though. (7/10)

18) Never Surrender (Written by TheShroud13)

Sakurock very rarely fails to at least be enjoyable to me. "Never Surrender" is a pretty straightforward representation of the previously mentioned piece, but a few rhythmic curves appear here and there and the blending of traditional orchestral instrumentation with the drum set, bass, and (of course) synth works very well. Best of all, the piece gets better as it goes on. In actuality first couple statements of the piece's A section is a bit of a snore — typical minor pentatonic hammering that really sounds an awful lot like the Mighty Morphin' Power Rangers theme tune and would be absolutely annoying were it not for its rhythmic vitality. Fortunately, every time Sakuraba brings that theme back later on in the piece it is fragmented and developed very satisfactorally. I really enjoy the drumming throughout the track, and I feel this is one of the best examples of Sakuraba making a theme grow over the course of the track. I mark some points off for a somewhat ho-hum beginning, but this one goes places. This is one of the most overlooked tracks on the soundtrack, and there's a reason for it, there are better battle themes on the album, but this is still a good one. Heck even I didn't realize it existed until I played the game, and then it still took me a while to appreciate it. (8/10)

19) Blossom Out for You (Written by Chris)

"Blossom Out for You" is a Germanic town theme to represent Villnore. Its reedy bass line is reminiscent of "The Chosen Confusion" and helps to characterise the setting. More impressive is the fluid interplay of the oboe and flute melodies; these playful melodies are among Sakuraba's best and excellently present an image of a lively but calming town. The close harmonisation and counterpoint by other wind forces is also impeccably done. A superb work on a melodic, technical, and functional level, it seems that Sakuraba can do 'light' after all. (10/10)

20) The Meditation of Many Years (Written by TheShroud13)

Another dungeon theme, this time for the frozen Audola Temple on the Lake (here's hoping I got this dungeon correct). The piece is quite stoic, and is the perfect atmospheric piece of music. An appropriate musical image, yet melodically strong enough to command interest out of context. There are a number of great timbral shifts to add interest while a generally frozen aura constantly resonates in the sound. Throughout the piece tribal drums provide a rhythmic pulse to what would otherwise be a rather slow piece. There's a good balance between relaxation and activity, and the music is quite beautiful. Right up there with "Divine View" for appropriate chilliness. (9/10)

Disc Two

1) A Huge Eliminator (Written by TheShroud13)

*sigh* It's "The Rebellious Spirit of a Serene Mind" all over again, only worse. The sample quality here is pretty darned abysmal, and the attempt to fuse orchestral brass with a rock rhythm section falls really short thanks to predictable harmonies and even rhythms. Worse yet, this time the track is a battle theme rather than event music, and the piece isn't nearly long enough to sustain battles effectively. This is a track that gets old quickly. Not recommended. (4/10)

2) Vagrancy (Written by Chris)

Sakuraba explores the music of the Middle East in this desert outpost theme. Unlike some ethnic tracks I've heard, e.g. in the Culdcept Saga soundtrack, this isn't offensively derivative since Sakuraba isn't hesistant to express individuality. The instrumentation is just spectacular here, particularly the guitar and percussion use that create a sense of rhythmical relentlessness. The piece remains unpredictable and emotional throughout thanks to various nuances, most obviously creating by some sporadic soprano voices. Overall, this piece fully satisfies creatively, technically, emotionally, and functionally. (10/10)

3) Raid the Mighty Force (Written by Neo Locke)

Holy crap, a wierd Sakuraba track title that actually makes sense? What is it about RPGs and sending poor adventurers into the depths of volcanoes, anyway? Oh well, this track is very fitting for the lava caves in which it plays. The piece opens with some very earthly brass and lower string harmonies, this is followed by a short woodwind section containing parts of "Vagrancy" plus some additional harmony. The piece starts to "heat up" as I like to describe it when a series of string chord progressions start and gradually build up intensity, accidentally or purposefully portraying a descent into very dangerous terrain. The piece climaxes as an eerie choir starts to pick up the harmony and the brass takes over the melody, followed again by the string progression. This again adds to the heat and danger portrayed in the piece. Like the previous track, this one isn't very melodic. Yet it allows itself to be creative while extremely atmospheric. (9/10)

4) A World Supported by Emotion (Written by Kyon)

Another Sakuraba track that really make sense. Scored with a harp, oboe, flute, accordion and a piano, this track is really supported by emotion. It also boast a good melody, and a well thought arrangement with its appropriate instrumentation, knowing which instrument to use and when to use it, thus giving it a variation of a message spoken. A recommended track. (10/10)

5) Indivisible History (Written by Kyon)

This track is a dungeon theme, and the approach of this track is loosely similar to some of the dungeon themes in this soundtrack. The only distinguishable feature is the beginning when Sakuraba ditches his well known and brutally overused soprano sample. The string section also takes a backseat for this track, with the exception of a solo violin, to be an accompaniment. The main role is the sample, the drum, the bass, and the woodwinds. Nevertheless, Sakuraba did a good job by developing the track well, despite his scary workload. Largely no improvisation involved. (8/10)

6) Disturb the Doubtful Sleep (Written by Kyon)

This is one of the most interesting dungeon themes in this track, due to the prog-rock nature of this track. What do you expect from a Sakuraba prog-rock track? Well, expect more improvisations, and flashing keyboard solos. A standard Sakuraba assemble, they perform the track really well, especially coming from Sakuraba. (9/10)

7) Invading Suspicion (Written by Chris)

There are a fair few ambient themes on the soundtrack that take a fairly minimalistic approach. In my opinion, this is one of the deepest, given it doesn't rely much on novel features like pizzicato strings as in "The Shadow That Speaks...". It is based on a slow-developing progression on a keyboard instrument with qualities similar to a harpsichord. Deep strings, piano harmonics, and sensitively treated pizzicato strings build the soundscape from there creating an eerie stillness. It develops thoroughly with some beautiful nuances as a solo violin and, eventually, strings take a more central role in the track resulting in an evocative peak around 2:50. This superbly executed piece touched me while sending shivers down my spine. (9/10)

8) The Sorrow of Fleeting Wisdom (Written by Kyon)

This track plays at the Dipan castle. The timpani, long-held bell notes, male vocal sample, and harpsichord seems to tell us that something bad is going to happen. I must say, this track is pretty good and serves it intention well, even I don't understand what does "Fleeting Wisdom" means. (7/10)

9) The Death of An Idea (Written by Chris)

Another chiefly atmospheric track presented chiefly on piano. From deep suspended chords comes a treble crisis motif that, in classic tension-building style, is augmented in length by one note in each uttering before concluding in interrupted manner. The chord occasionally changes, but the piano line mostly remains very simple and one-dimensional. At 1:25, a suspended 'cello note gradually enters reinforcing the dark tones of the piano chords, but only recedes at the 2:02 mark. It sounds resonant and has a bit of dynamic variety, but was ultimately a musically unfulfilling functional addition. Still, the overall timbre is refreshing here even if the piano and string work lacks elaboration. (6/10)

10) Junk Modulation (Written by Kyon)

Now we come into a battle theme. This is a heave metal piece by Sakuraba, and a pretty unusual one at that. Featuring Hasegawa's bass, Iwao's electric guitar, and Nakamura's drums, it's interesting when Sakuraba suddenly barges in on keyboards. He, Nakamura, and co. began rampaging, resulting in some very complex improvisation. A definite recommendation. (9/10)

11) One Error Begets Another (Written by Chris)

"One Error Begets Another" is strong evidence to counteract the theory that Sakuraba is, in fact, a robot. It's the most tear jerking piece I've heard from him. The melancholy cello line and passionate violin line makes the biggest impression while the other forces in this exquisitely orchestrated gem contribute to a wandering or static feeling. Highly recommended. (10/10)

12) The Wavering of Another Age (Written by TheShroud13)

"The Wavering of Another Age" is an understated and rather pretty atmospheric backing for the game's Forest of Spirits. It takes a little bit of time for the piece to get into the core melodic material, and there is also a lot of time inbetween melodic sections where the music doesn't really do an awful lot. While the textural changes are welcome, it would have been nice if Sakuraba would not have essentially halted the music's progression to achieve such a change. That said, the melodic sections are quite nice, and there's a nice variation between different statements of the same material that makes the piece much more organic and interesting than the average theme of this nature. As the piece goes on, the transitory material begins to take on personality as well, which helps a great deal. In all this is quite a nice track, but with some moments that take away from the interest when taken out of context. (8/10)

13) Life Which Desires Death and Death Which Desires Life (Written by TheShroud13)

A track like this is one that I wish for Sakuraba's crisis themes to aspire. This essentially is a crisis theme as it accompanies a timed dungeon, but I do wish more of Sakuraba's crisis music would head in this direction. I still think the piece is a bit melodramatic, and the long stretches of tutti orchestration tires quickly. I do find this track far more adrenaline pumping than cheesy though, which is an improvement. The track has two basic sections, a quiet rhythmic section, and a lound pumping rhythmic section. The previous occurs a few times throughout the piece, and always features some interesting idea, such as the ascending string and piano run in the first instance, and some aggressive and dissonant piano rumbling in the second which I find extremely effective. The second fuller section is effective, but remains loud for too long to truly be effective. After five seconds or so in this full texture, the effect is lost, and since the texture is already maxed out, there's really nowhere to go. Sakuraba shifts the orchestration subtly as the section repeats, but it's not enough to make it truly interesting. A good track, but aggressive orchestral Sakuraba still has a little while to go. (6/10)

14) Celestial Troupe (Written by TheShroud13)

Next only to "Disturb the Doubtful Sleep", this is Valkyrie Profile 2 Silmeria's greatest use of Sakuraba's traditional prog-rock ensemble. While other rock tracks on the album show Sakuraba exploring other rock possibilities, and they show promise, they generally descend either into impersonal cliché or show a lack of familiarity with the genre. "Celestial Troupe" though is Sakuraba on his home turf and though the formula is familiar, the execution is fresh. The Baroque influence is more explicit than in other Sakuraba rock tracks as the opening guitar riff, which so much of the later soloing is based around, simply bleeds with Baroque influence. Perpetual motion sixteenth notes complete with frequent cadences and compound melody figures exploding into a flowing melody in traditional Sakuraba style which sums up the piece's A section. This is contrasted with a far less interesting B section in which the guitar basically repeats the same figure two or three times.

From this point on the piece moves into an improvisational episode that I was initially unimpressed with. The whole of this section continues to underwhelm me, but I can't criticize the soloing, which is excellent. The problem with this section is that every virtuosic outburst is punctuated with a section that really has no melodic merit, and is only mildly harmonically and rhythmically interesting. These sections really pull down the momentum of what is otherwise a really exciting and engaging track. (9/10)

15) The Chance That Becomes an Inevitability (Written by Kyon)

This is an event piece and a pretty impressive one by Sakuraba. Not only it was a detailed piece of music with appropriate instrumentation, the color that is produced by this track is also well thought by Sakuraba. By using the piano as lead instrument, with woodwinds and harp serving as accompaniment, Sakuraba sets the mood perfectly. Particularly when the flute enters to play a sentence of melody with the piano playing a counterpoint. The melody the flute play was full of emotion, full of color. The flutist, Hideyo Takakuwa, gets full marks for giving a sensational performance. For Sakuraba, he also did a marvelous job on the piano too, even I'm not satisfied with the way he use the harp, which can really ruin the tone color of this track if Sakuraba makes a mistake. (9/10)

16) The Infinite Abyss (Written by Chris)

A brief piano-led track that uses a variety of Sakurabisms to portray neverending darkness. Expect a fragile piano line that develops slowly in a fragmented manner over some fairly obvious chord progressions. Low suspended strings occasionally accompany as in "Invading Suspicion" and, in the higher pitches, there is some occasional ethereal vocal use. Beautifully implemented in a technological sense to give an impressive timbre, but too dull musically to be of merit. It ultimately acts as a short prelude to the darker Vol. 2. (4/10)

17) Endless High-Speed Running (Written by Kyon)

This piece does not have anything to do with the soundtrack, but you can take it as a "We'll meet again" track. With Sakuraba on keyboards, Iwao on his guitar, Hasegawa on bass, and Nakamura on drums, you bet they are going to give you a nice treat of rockin' and wacky improvisations, eh? Well, I can't be the judge. So you must decide whether you like it or not. Also, this track is also featured in the Arrange Album, so you might give it a listen. (10/10)

Note: This review continues with the Valkyrie Profile Silmeria Original Soundtrack Vol. 2 - Silmeria Side