Wild Arms the Vth Vanguard Original Soundtrack Vol. 1 :: Forum Review

	Album Title:	Wild Arms the Vth Vanguard Original Soundtrack Vol. 1
	Record Label:	King Records
	Catalog No.:	KICA-1425/7
	Release Date:	January 24, 2007
	Purchase:	Buy at CDJapan

Overview

Written by Chris

Wild Arms without Michiko Naruke? Yes, for the recently released fifth instalment of the series, Naruke indefinitely departs the series. She is replaced by Masato Kouda, former Capcom composer known for his work on Wild Arms 4, Monster Hunter, Devil May Cry 1 & 2, and The Star Onions, and Noriyasu Agematsu, anime composer of Elements Garden best known for his theme songs. They both introduce their own stylistic elements to the score while preserving the series' western sound. The soundtracks were split into two largely continuous volumes to help listeners to digest them (and make more profits). They might seem like the longest soundtracks ever with six discs, but there's not as many tracks per disc as other Wild Arms soundtracks. It's just a very exuberant, perhaps over-exuberant, release.

Track-by-Track Reviews

Disc One

1) The Vth Vanguard (Written by GoldfishX)

This is a pretty involved track to kick off the album that features multiple parts. For starters, there is the lead flute playing a somber melody and both some light acoustic guitar plucking and violin in the background. The track actually takes off about 30 seconds in, with the flute and the strings alternating for a fairly rousing heroic melody. Also around this time, drums and some light brass are thrown into the mix, adding to the excitement. It's a tad short, but it feels more effective this way and it doesn't "feel" too short. A great opener. (10/10)

2) We Need A Hero (Written by GoldfishX)

I'm almost certain this is name-entry music. It's a pretty tame and pretty piece, dominated by the peaceful melody on the strings which actually references some of Naruke's work (listen at about 0:12) and the acoustic guitar providing some decent background. Nothing special, nothing offensive... Just a fairly nice track overall. (8/10)

3) On the Day the Shovel was Named Invincible (Written by GoldfishX)

Mmm...Absolutely delicious. I loved this track the instant I first heard it. It's pure carefree quirk, featuring an acoustic guitar in the background and another guitar and a flute alternating on the melody Agematsu had penned out. The keyboard opening is a tad strange and unconventional, but in a good way. Off-hand, I'm *pretty* sure this is my favorite track on the album, but there's a lot of music on here for me to make that statement outright, so I'll just say it's the one that immediately jumps out at me as being destined for great things. Easy winner. (10/10)

4) The Place I'll Return to Someday (Written by Don)

This track has that real down-to-earth western feel to it. A lovely town theme I surmise. The guitar and harmonica really complement each other quite nicely. The melody is nice and simple and its rusticity makes it more pleasant to the ears. A definite listen; however a bit on the long side where a lot is repetition. Other than that, it's a pretty solid track. (8/10)

5) Even a Dog Wouldn't Eat This (Written by Chris)

This track brings back memories of The Legend of Zelda: Ocarina of Time's "Hyrule Castle Courtyard". It's definitely slower-paced and with a clearer acoustic sound, but with the same lyrical jazz phrasing to give the piece some mischievious character. Although the first fifty seconds aren't too memorable, whimsically alternating between a hazy syncopated riff and some more catchy phrases, the composition becomes more coherent in the second section. By the time it loops, the track makes sense and seems quite enjoyable. Very playful and fitting, though little more than average. (7/10)

6) A Vast Plain Under The Sky (Written by Chris)

A field theme crafted by Masato Kouda, "A Vast Plain Under The Sky" is a fine example of the classic Western Wild Arms sound. It's led by an upbeat trumpet primary melody and a calming harmonica secondary melody, both of which are fun to listen to. The accompaniment of off-kilter guitar and banjo helps the theme to bounce and a few other quirks here and there turn a superficially enjoyable composition into a refined and fitting musical creation. Great track! (9/10)

7) When the Heart Ignites (ver. Shovel) (Written by Don)

Talk about an upbeat track. The opening is very reminiscent of a wild west chase scene. The strings used in this piece create a very endearing and motivating melody which seem to compliment the acoustic guitar accompaniment quite well. While a bit on the long side, and a bit repetitive, I didn't find myself becoming bored easily with the track. That says something about its composition. (10/10)

8) A Small Step Towards a Big Dream (Written by Chris)

A classically-oriented piece from Noriyasu Agematsu. The first forty seconds do seem a little parodic of a nationalistic anthem, given the stately phrasing and stiff string ostinato. While a tad repetitive, it's not pompous in texture or dynamic so rather easy on the ears. It gives way to a delicious woodwind-led development section where the track becomes more serene and western-oriented. By the time it comes round full circle, it is very emotionally satisfying. Sadly, the melodic development doesn't translate to development of the string ostinato, so the piece has a tendency to grate with several listens. A very good composition with a weakness that becomes increasingly prominent. (9/10)

9) Only Because It's Important Does It Easily Break (Written by Chris)

A soothing electric piano track that presents a gorgeous melody. Masato Kouda found himself suspectible to an ol' RPG cliché largely synonymous here. Fortunately, the technical and musical implementation of the track is so good that it becomes a clear highlight in an already excellent first disc. The melody is definitely one of Kouda's best. Not creative, but still emotional. (8/10)

10) The Ice Queen ~ I Loved Your Smile (Written by Kyon)

This piece is one of the many Avril's theme. It is played when you first met her, but is one of the lesser instalments of her themes. The soothing initial harp motif is the integral part of Avril's theme and it goes well until the vocals come in. The vocal is sung in English, but there is much mispronunciation there indeed. I tend to take a lot of time listening to what she is trying to sing and I finally give up, treating it as a "fictional language". Nevertheless, the fragile timbre created by the whispering vocals complements the fluid melody. The track is still decent. (7/10)

11) A Pursuing Crisis (Written by Kyon)

I personally thought this track is needlessly repeated. It's just one of those standard crisis tracks that has been existed in any RPGs since the beginning of the history of video game music. It retains some musicality thanks to a particularly nice techno beat, but is mostly repetition of a piano motif again and again. It is able to stand on its own, but I'd skip it when it loops. (6/10)

12) Terrible-Monster Attacking Crew! (Written by Inigmatic)

Being as complex as this piece is, my review may sound somewhat... amateur. Anyway, the piece starts with a loud orchestral hit, followed by an electric guitar, and quickly builds into a frenzy of piano and strings that sound like they are 'sliding'. Mixed in throughout is a chiptune-esque beeping noise; it sounds weird in theory, but works great in the piece. This section repeats once, with the next section having the same instruments, but the progressions are different this time. Around 1:55, we get a piano chord being constantly mashed, with the strings playing something a little more foreboding than the rest of the piece. Rinse and repeat. Overall this is one of the greatest tracks soundtrack, and is worth a listen if you have working ears. (10/10)

13) I Can't Turn Away Now (Written by Dave)

This piece is quite cute. Although it only lasts for a very short time, it conjures up all the right things for a victory fanfare. I love the emphatic start and the way that the piece transitions into a chirpy melody afterwards. Technically a filler track and quite repetitive, but definitely enjoyable. (6/10)

14) A Boy Meets A Girl and ARMs (Written by Toma)

Beginning with a rendition of the Ice Queen theme, it suddenly busts out into an exciting rock piece with the Wild Arms series trademark whistling. A string section comes in to carry the piece with one of the main themes of the game, kicking the energy level up even further with some excellent bass and percussion work. It is amazing how much excitement Agematsu is able to pack into a single track, and this is one of his better efforts from this soundtrack. (10/10)

15) The Path I Must Follow (Written by Toma)

At first, this seems like a cool-down track after the previous one, with a mellow acoustic guitar and laid back drums, but about halfway into the piece everything changes. The drums start pounding out an epic rock beat and the piece suddenly becomes, ah, much more dramatic, until a lovely acoustic guitar lick finishes it off. The melody of the piece has a bit of a jazzy sound to it, with some interesting chord changes. (8/10)

16) Justice to Believe (ver. Beginning) (Written by Chris)

The closer to Disc One is the first version of the upbeat vocal theme "Justice to Believe"; in this instance, it is used to accompany the exhilarating opening, but reappears at the end of the soundtrack in a more elaborate arrangement that constitutes the final battle theme. While the Nana Mizuki's voice is secondary to Noriyasu Agematsu's instrumentals with regards to providing a sense of action, they are the aesthetic highlight of the theme. Mizuki is impressively versatile with respect to range, mood, and style, largely managing to provide a youthful sound without verging on being annoying. Though not the full version of the theme, it's wholly satisfying on a stand-alone basis with a unique tone, plenty of development, and some excellent instrumentals. The Agematsu and Mizuki collaboration is very successful here. (9/10)

Disc Two

1) The Dry Wind Blows Over You (Written by Chris)

Disc Two opens with one of Agematsu's really Western tracks that is presumably another field theme. Opened by jagged and offbeat acoustic guitar riff, this line develops into a lyrical melody that excellently depicts wind blowing on one's face in the plains. Orchestral forces initially add a curious chordal accompaniment before becoming more subdued. A trumpet and finally a violin both take the melody from the guitar, but not at the loss of a sense of buoyancy. The final section of the composition features a flamenco guitar solo using a Spanish modal scale and some Rasgueado. This composition provides a pleasant variation on the 'melody with accompaniment' mode, with the guitar, trumpet, violin, and flamenco solos finely contrasting with brash chordal accompaniment. Recommended. (9/10)

2) The Me of Yesterday Has Been Surpassed (Written by Chris)

I suppose most would respond to the title of this fairly ordinary track with 'WTF?'. Hopefully, its long-winded and nonsensical name is reflective of translation problems. Anyway, this track is more Western action from Agematsu. Nothing too much new, but there remains sufficient novelty within the score for the track to work beautifully. While the orchestration is a bit bombastic, the trumpet and flute melodies glide with such lyricism. If the preceding track is wind blowing against oneself, this track represents an effortless journey through the plains. Another highlight of the Vth Vanguard. (9/10)

3) When the Heart Ignites (Written by Don)

Quite different from the shovel version I previously reviewed due to the addition of the whistling commonly associated with any Wild Arms soundtrack. The whistling in this track carries the main melody and does a superb job at that. I also love electric piano and flamenco guitar pairing and how they often mirror each other. In addition, the percussion bass line paired with the strings create a beautiful accompaniment to the melody. Definitely one of my favorites on the entire soundtrack, this track exudes excellence and could be listened pretty much on repeat without becoming bored. (10/10)

4) CONDITION GREEN (Written by Don)

What I can only assume is a victory theme, this track adds a little hint of "Vth Vanguard" in the mix and has an extremely western feel to it accentuated by the whistling and guitars. Quite a nice track, but not as strong as other victory themes. (8/10)

5) An Encounter in the Sunset (Written by Don)

This is quite a quirky composition. The main melody is played by a harmonica and accompanied by what sounds like a banjo. Truely Western in execution, the melody gives the feeling of an encounter through the often disconnected melody and banjo accompaniment. The percussion used helps to create a nice harmonizing atmosphere with the other instruments. I can imagine tumbleweeds drifting in the desert wind when I see this and this track, through its emphasis on atmosphere, succeeds on all accounts. While a bit too disconnected for my tastes, it is a nice addition to the soundtrack. (7/10)

6) From Anxiety to Impatience (Written by Chris)

Masato Kouda, who crafted Wild Arms the 4th Detonator's sublime equivalent, returns to create another of the series' piercing anxiety tracks. Its unrelated in melody to the similarly named themes of previous Wild Arms soundtracks. In fact, it doesn't have a melody at all. There are some deep piano chords and anything else is either percussion, beats, or noise. The supporting atmospheric elements are excellent elements, though the piano isn't as subtle as the other elements to the detriment of the experiment. Overall, I thought its predecessor was better, but this is still a very good attempt at a minimalist ambient track. (7/10)

7) A Dark World Looming Behind (Written by Chris)

Kouda's composition here is quite ambient like its predecessor, but is innovative for two reasons. One, it fuses atmospheric forces with those that establish more of a western sound. Two, it also quite a dynamic composition thanks to its vibrant beats, ideal for representing an action scene. It's tracks like these that demonstrate what an underrated composer Kouda is — he flawlessly interprets a complex scene while providing musical experimentation to be in awe of, melodic fragments to grasp on to, and a sense of Wild Arms as a whole. (10/10)

8) The Sweat of the Chase (Written by Chris)

After the subtlety of Kouda's preceding three tracks, it's not very pleasant to be greeted by Agematsu's dissonant but trite "The Sweat of the Chase". Perhaps the weakest track on the soundtrack, it is outwardly jarring and deeply unpleasant to listen to. It is also very uninspired on a deeper level. The track basically has four elements that try to achieve tension: 1) high-pitched rhythmically agitated piano discords that undergo an ascending chromatic progression; 2) a very predictable string crisis motif that adds the sole source of melodic and rhythmical contrast; 3) evenly placed orch hits that try to add to the fullness of a very thin piece; and 4) additional forces such as an subliminal reverb effect and some aggressive drums. While the track enters at contrasting section, it's still as transparent as ever at 0:48. This track may be a superficially effective accompaniment to a chase, but this is only because its unusually harsh sound sends one into a frenzy. The more one listens, the more boring, derivative, and utterly horrible this track seems. (3/10)

9) Defense Action Squad Heroes (Written by Dave)

I'm not too sure what to think of this piece, bearing in mind that it is just as dissonant and jarring as "The Sweat of the Chase." There is, however, some amount of character here and, when coupled with the agitating melody and pumping bass, this adds up to create a listenable theme. The track combines a traditional 'Arabian' style from the buoyant string section with a sense of industrialism produced by brash brass and powerful accentuations and dynamics; this seems somewhat out of place at first, but after a few listens, the bizarre image created becomes quite believable. (7/10)

10) Sprinkling Rain on the Funeral Day (Written by Dave)

Not a lot happens in this track, which lasts for just under a minute. Starting off with an eerie set of atmospheric noises, the track soon switches into an ambient section led by a repeated guitar line. The piece isn't particularly inventive, but it gets the job done. (6/10)

11) Elvis PALB_3106 (Appearance) (Written by Chris)

"Elvis PALB_3106" is the first of five pairs of themes that represent the encounters and battles with the minions of the evil Volsung. Both Elvis tracks are a very fun funk-jazz fusion with just the right mix of slapstick cheese and musicality to be a substantial contribution to the soundtrack stylistically. The 'appearance' begins with a funky double bass riff with a great rhythm and adds drum kit, timpani, and some electric guitar backing. The timpani use is the most unusual part of the track — it partly shadows the bass riff and sounds really clumsy but fun. The saxophone leads the track, however, playing a melodious jazz riff; though the material is clichéd, the performance is good and its sleazy nature complements the rest of the composition and Elvis' character. Overall, a fun preparation track that is an amusing twist on the standard funk format. Well worth revisiting. (9/10)

12) Elvis PALB_3106 (Battle) (Written by Chris)

The encounter with Elvis leads to a frenetic battle. This theme is a variation on the appearance, but with a faster pace, more timpani use, and thicker ensemble use. I don't find the theme as successful as the 'appearance' variety; it's quite cluttered and the saxophone line also sounds a bit empty amid all the frenetic harmonies. A listenable variation on the previous theme, but hardly as inspired. (7/10)

13) rebel assault (Written by Chris)

Progressive electronica mixed with standard hurry track here. I adore the beats employed; they're complex, briskly paced, and give an overriding sense of ascension. A brief series of orch hits signify the end to every four bars. However, they are an obnoxious and jarring addition to an otherwise stellar creation. Far more pleasant are the treble frills that the hits intersect and the dreamy synth chords in the brief secondary sections. Overall, good idea, unpleasant hybrid due to one foul element. (7/10)

14) The Stars Shine Like the Unwavering Flame (Written by Dave)

A lovely timbre is established here. The main instruments in the piece are soft, but the main melody is played on a warm yet cutting violin, an extra presence is given to the piece. Although the track is mostly a repeated motif, these violin interjections give it a timeless quality. In comparison to the majority of the themes on the soundtrack, this one isn't especially creative, but the overriding effect is rather good. (6/10)

15) Nothing is Better than the Usual Time (Written by Don)

The melody in this track is quite a thoughtful and soothing one. The combination of the soft acoustic guitar and the piano create a wonderful harmony together. The occasional woodwind entrance is a welcome addition because it adds another layer of harmony. While this track is quite repetitive, it is tolerable because the instrumentation meshes quite well with one another. If I were to meet someone at this "usual time," I would hope that it would be a peaceful tryst as this song implies. (8/10)

16) Pilgrim's Progress (Written by Don)

This track is quite different from the previous track. Its use of snare drums as an accompaniment showcase the progress hinted at in the title. The strings that carry the main melody with a woodwind counterpart at first. Soon after, the woodwind takes the role of melody maker and the strings add a fantastic contrast. Overall, the feeling of imminent marching is seen, but it's too repetitive and a bit undeveloped to garner a higher score. (7/10)

17) Falling into the Shadow of Locus Solus (Written by Don)

This track creates quite an ominous tone. The mysterious piano and percussion opening help to increase this effect. Once the main melody gets started, it incorporates "Volsung XERD_3113" quite well. The violin that plays the main melody of Volsung's theme acts as a haunting impetus while the organ accompaniment creates the evil aura. Perhaps one of the better tracks on Disc 2, despite its repetitiveness, "Falling into the Shadow..." is a fantastic way to close this disc, while at the same time, introduce the main villain, or his intentions at the least. (9/10)

Disc Three

1) The Road to Tomorrow Follows Behind You (Written by Dave)

Starting off with a pumping guitar melody, "The Road to Tomorrow Follows Behind You" is one of those tracks that you know you're going to love from the moment you first hear it. The accompaniment is exquisite throughout the whole piece, especially around the 0:30 mark, where the piece turns into a real fiery wonder. It's quite mesmeric to hear the main melody played on a jazz flute at first, but what's better is the way it flows so nicely onto the acoustic guitar which follows. I think this is one of my favourite tracks on the whole album, simply due to melodic, harmonic, and instrumental variety. (10/10)

2) "Goodbye" and "Hello" (Written by Don)

This is quite a surprising track. I've been pretty unimpressed with Kouda's contributions thus far, but this one definitely changed my mind, if only briefly. Acoustic guitar provides a soft accompaniment to a muted trumpet, which plays a beautiful melody. Once the track picks up a slight pace, vocals briefly appear while the harmonica takes the center stage playing the melody. This reminds me of the "Goodbye" portion of the track, while the trumpet heralds in the "Hello." While simplistic in composition, many successful tracks are based off this principle. Definitely a winner in my book! (10/10)

3) Seeking the Blue Sky (Written by Dave)

This is essentially the same as "On the Day the Shovel was Named Invincible," but this time the whistle is taken out and replaced with a flute. The flute gives the track a much more airy feel, but I feel that the sharpness of the original melody is lost a little through this. Nonetheless, this is a great track, and though it doesn't really suffice as a full arrangement, it's nice to see one of the best melodies from the first disc return. (7/10)

4) Understanding the Vastness of the World and Still... (Written by Don)

Once again, I'm surprised with Kouda. He crafts yet another track in which I find myself enjoying rather than yawning. The track starts out with a pretty nifty percussion line that is overshadowed by a strong, yet simple, string chord progression. Brass soon enters, carrying with it, the main melody. The melody itself accompanies the percussion and string combination quite nicely. Despite all this fantastic development, Kouda takes it a step further. He replaces the brass with soft woodwind, generating a separate effect. He successfully changes the tone of the track from determination to a lighthearted, carefree romp in the sun. Before the track loops, a trumpet solo plays a variation on the melody and finishes off the composition quite nicely. (9/10)

5) Even If I Can See the Reflection of Peace In Your Eyes (Written by Chris)

A light-hearted classical pastiche courtesy of Masato Kouda. The first section establishes a simple harmonic structure for a harpsichord to play a playful melody and a flute to echo. It feels derivative and simplistic, but a child-like quality was nevertheless intended, so it's forgivable. Like Agematsu's "A Small Step Towards a Big Dream" before it, the superficial first section leads into a much richer development. This relieves the track's rhythmical sterility is relieved and emotional capacity increased. Even then, however, I find it quite transparent and not one of Kouda's more tasteful creations. (6/10)

6) A Rusted Scar (Written by Don)

This is one of the more subtle tracks on the third disc. Acoustic guitar and what sounds like a lute work together on this track. The acoustic guitar provides an interesting accompaniment to the lute's poignant melody. While the track definitely portrays the picture of a scarred individual, it suffers from repetition and in doing so; a lack of development is also seen. I wish Agematsu would take a page from Kouda's "An Encounter in the Sunset," (Wow, I can't believe I just said that) if only to show how to harmonize two instruments into a successful slow track. (6/10)

7) The Place Once Called A Temple (Written by Chris)

Hearing the track for the first time, I thought 'there's something about this track, but there's also a lot lacking here...'. And my feelings unchanged, I'm expected to elaborate. As with many of Agematsu's other tracks, I felt it just lacked musical depth. The harmonies are very static and this becomes cumbersome at the slow pace presented. This is true for the track's other features too; even the cool glissandi-dominated secondary section repeats a novel feature too many times. The 'something' is the interesting blend of styles to create a sense of action, divinity, serenity, eeriness, and primitiveness. Although the individual parts are unremarkable, the collective whole is impressive on an artistic level at least. On a musical level, I still find this piece unenjoyable. (6/10)

8) The Ice Queen ~ Playing the Harp of Eternity ~ (Written by Don)

To be honest, the whole Ice Queen theme never really tickled my fancy. I find it quite boring and seemingly shallow. Despite all this, there is still something about this particular rendition that allows me to think, perhaps I could be overlooking something. This version sees the harp playing the entire melody. In doing so, an almost celestial tone is conveyed, and in the process, creating a sound of innocence. Also, I feel that the melody is much more distinct, yet subtle, in this version. If only this was the definitive version, I would love Agematsu even more! (9/10)

9) Emergency Sign (Written by Chris)

Absolutely horrendous. This track only rivals Star Ocean The Second Story's "Desert Island" as the worst hurry track I've heard. It's a jarring bunch of forces that play an overriding and extremely blatant ascending chromatic chord progression. The supporting synth glissando sounds like an error signal at a malfunctioning nuclear power plant while the sole percussion element sounds like a train running over something nasty. The pleasant elements discussed, I'll leave it to your imagination to consider just how awful the repetitive Psycho-esque strings and especially obnoxious overriding synth ostinato is. So so detestable... (1/10)

10) Ready, With Clever Words (Written by Don)

After hearing Kouda that actually entertained me, I'm up against a disappointed creation from him once again. This track goes nowhere fast... stratch that, at all. While the bass line is quite funky, the melody is far and few between. Unfortunately, the melody is so lackluster, it makes me want to it push the skip button immediately. This track simply can't survive on the merits of its funky bassline along. Maybe Kouda was thinking this in his head as he composed this: "I got an idea, an idea so smart my head would explode if I even began to know what I was talking about." After listening to this track, I see he still has his head attached. (4/10)

11) The Fallen Idol (ver. CM Song) (Written by Dave)

Though this track is nothing in comparison to its "The Fallen Idol (ver. Variety Show)" form on the second volume, I have to say that this is the greatest of all cheese music. With a funky melody, a catchy beat, and some cool vocals, this is the gorgonzola of all tracks. Unlike its swiss cheese counterparts which we often hear on other albums, this track has no holes and is utterly delicious. There is, however, a bit of mold forming due to a steaming lack of development. A metaphor taken too far? It was worth it. Mouse heaven. (8/10)

12) Twilight of the Rulers (Written by Don)

Given the cheese factor of the last track, Kouda is able to prove that he, too, is capable of producing good dairy products. His approach, however, is much different than Agematsu. Kouda uses an interesting blend of instruments here. He opts for an overall electronica approach. Dispersed intermittently between the melody, melodic piano fragments are introduced as well as some vocals to accentuate the funk. I was surprised by this track. After the abomination that was "Ready, with Clever Words," Kouda redeems himself by creating a bouncy melody. In terms of "Twilight of the Rulers", though, I don't see any correlation, unless of course, the Rulers are dance club owners. (8/10)

13) Showing a Smile (Written by Dave)

Kouda continues the cheese factor with one of those sentimental tracks you'd expect to hear in a dating sim. Starting off with a rhodes organ, a casual aura is soon created by an acoustic guitar; with the addition of some singing violins, the whole scene just seems to be complete. Sickeningly perfect. (7/10)

14) I'll Never Lose Because I Don't Want To (Written by Don)

There's bad crisis, and then there's BAD crisis music. Fortunately, this piece lies in the former category. It starts off with what wants to be a determined sense of duty, yet ultimately fails in execution. The strings had a decent bit of melody in the form of fragments and the brass countermelodies add an interesting contrast. While the bass line is interesting, the use of the percussion is a bit too static. This track repeats the same idea over again, and there is very little development. (5/10)

15) One Day You'll Forget the Hopes and Dreams (Written by Don)

Taking into consideration the last track, I can say that I did forget the hopes and dreams of this coming track, but, lo and behold, what do my ears hear? Am I being deceived? My favorite Kouda track, being arranged by Agematsu. Surely there must be a mistake. I assure you, there is none. Agematsu starts this despair-ridden track with a beautiful rendition of "Volsung XERD_3113" on violin with the harp providing a countermelody that matches perfectly to the sinister feeling generated by Volsung's theme. Once the initial Volsung motif has exited the piece, Agematsu is able to sustain the dismal atmosphere by creating a beautiful violin line of his own. The harp is also retained in order to emulate the hopes and dreams. It adds contrast to the sad violin line while at the same time carrying a beautiful melody of its own. I must say "Bravo!" good sir. (9/10)

16) The Crimson Flower Blooms in the Cold (Written by Dave)

Starting off with a Spanish guitar and wind effects, "The Crimson Flower Blooms in the Cold" surprises by developing out of nowhere. The melody that is yielded isn't one of Agematsu's greatest, but it really seems to hit the nail on the head. In the end, this turns out to be a brief but appetising FMV piece. (8/10)

17) Only Within My Heart (Written by Chris)

This is a pleasant guitar duet from Masato Kouda. The lead guitar plays a reflective and calming melody reminiscent of Yasunori Mitsuda's Chrono Cross compositions. The second guitar plays a series of chord progressions and is semi-arpeggiated, though still quite original. It's quite consistent through its 3:59 play time, sometimes to the point of dragging, though wanders and elaborates just enough to maintain interest. A simple composition with a lot of meaning put into it. (8/10)

18) The Truth Behind the Desired Reality (Written by Chris)

Jazzy, sleazy, and goofy, "The Truth Behind the Desired Reality" is, of course, another of Masato Kouda's efforts. The piano, bass, and drum kit accompaniment creates the basic loungy atmosphere and wacky rhythms of the theme. It's the synth pads that really set the scene, though, and add a touch of originality. The melody is on tuned percussion in a similar way to some of Breath of Fire III's track; though it's not memorable, it adds to the fabulous timbre and atmosphere created. Ultimately, another fine scene-setter that leads nicely into Vol. 2. (8/10)

19) Ex. File (Written by Chris)

Oh wow. The last three tracks of Vol. 1 are bonuses intended for novelty's sake. "Ex. File" is a chip tune remix of "When the Heart Ignites" by Kazuya Taniguchi. In my opinion, the Western-flavoured melody sounds better in this track than even the original version due to the distinctive, strong, and endearing chip employed. It's feels surprisingly harmonically sumptuous despite only a few chips being use. It's also very creative; expect some fun novelty sounds and quite a lot of elaboration. It's very very cute and the transition is effortless. A very nice tribute to a great original composition and chip tune music in general. (10/10)

20) How Long Will This Puzzle Box Continue? (Written by Toma)

The last full piece from this volume of the soundtrack is a hoedown-ish track by Kouda that turns out to be quite a bit of fun. This isn't a style that you tend to hear a lot in game music, so it comes as a nice twist, even if it is a bit of an underwhelming way to end the album. The track is bouncy and lighthearted all the way through, but there's not much in the way of melody except for some trading between harmonica and fiddle and a short interlude. Strangely, the tune cuts off abruptly and ends with a fanfare. You'd think they would split it into two different tracks, but I guess they were running short on space or something? Wait, that doesn't make sense. OK, I have no clue why they did that. Anyway, decent tune. (7/10)

21) Did I Get a Message? (Written by Toma)

Hey, it's Michiko Naruke! Well, it's a monphonic ringtone based on a song by Michiko Naruke. It's not really enough to give any kind of rating to, but it's a neat little reference. (N/A)

Note: This review continues with the Wild Arms the Vth Vanguard Original Soundtrack Vol. 2