|
 |
Wild Arms the Vth Vanguard Original Score Vol. 2 :: Review by Forum Review
 |
Album Title: | Wild Arms the Vth Vanguard Original Score Vol. 2 |
| Record Label: | King Records | |
| Catalog No.: | KICA-1428/30 | |
| Release Date: | February 7, 2007 | |
| Purchase: | Buy at CDJapan |
Overview
Written by Chris
The soundtracks to Wild Arms 5 were split into two largely continuous volumes to help listeners to digest them. Masato Kouda and Noriyasu Agematsu craft the score, marking the first time Michiko Naruke hasn't been directly involved in a Wild Arms game. Vol. 1 was reviewed here. Vol. 2 is the darker of the two and has a distinctly different tone overall. Let's see how it fares...
Track-by-Track Reviews
1) Your Unknown World (Written by Chris)
Ooh, controversy. "Your Unknown World" is anything but an epic opener to the second volume of the Wild Arms the Vth Vanguard's soundtrack. It doesn't establish any dramatic arch and just seems to continue on from "The Truth Behind the Desired Reality". It's a slow-developing composition from Masato Kouda more remarkable for its ambience than its melodies. The eerie instrumentation, complex rhythms, and jazzy undertones make it a real grower. I thoroughly enjoy this composition and find it one of the most remarkable on a timbral and atmospheric level. Nonetheless, it does affirm my opinion that splitting the soundtrack was a bad decision. (9/10)
2) The Fallen Idol (ver. Variety Show) (Written by Dave)
This track is nothing special, but it has such a funky sound that it's hard not to enjoy it. The bass and the melody just seem to fit so well together in this track that it all seems to flow wonderfully. Too many cheesy tracks get annoying after a while, but the intriguing instrumentation offered in this one suggests that it will be one of the few that I will be forever endeared to. (9/10)
3) Nightbane Auckland (Appearance) (Written by Don)
Nightbane Auckland, from his additional track on the soundtrack, makes his character stand out among the villains. His first occurrence is obviously his appearance theme. Kouda creates an interesting theme for this one. He creates a soft jazz feeling to this character. He uses acoustic guitar, soft vocals, some electric piano, and some percussion to create a unique character theme, but at the same time, it seems to lack significant development. The electric piano mirrors the vocals while the acoustic guitar provides a nice accompaniment, but overall, it comes out a bit weak in execution. (7/10)
4) Nightbane Auckland (Battle) (Written by Chris)
The battle version of the excellent Nightbane Auckland theme is no disappointment. A jazz trumpet solo loosely based on the appearance track is the main feature. Its rhythmically precise and features pronounced, sometimes aggressive, articulation, reflecting a sense of action in the battlefield. It's also carefree in terms of pitch, featuring plenty of pseudo-improvisatory bits, most obviously some crisp glissandi. The accompaniment adds to the colour of the theme and adds rhythmical drive in places; especially effective is a bass guitar rhythm that is reiterated throughout. Fun, firm, and busy, this is the first in a succession of great battle themes in Disc Two. (9/10)
5) The Pangs of Defeat (Written by Chris)
Simply beautiful. Masato Kouda uses an ensemble of acoustic guitar, trumpet, and accompanying strings in this sorrowful track. It opens with a diminished guitar chord progression against funereal strings; while the timbre itself is enticingly different, its the unconventional and heartfelt correspondence of the two forces that establishes the emotional bond with the listener. The second section of the theme features a warm trumpet melody that becomes echoed by the guitar while the trumpet plays a masterfully crafted countermelody. While the melody is the hook of the theme, its the deep string backing that makes it so emotionally rich. To sum up, a peculiar ensemble used in a sublime way. (10/10)
6) The Hermits Will Even Hide Their Hearts (Written by Toma)
This piece begins with an ethereal, metallic-sounding string instrument being plucked over an equally ethereal background of harp and layered synth pads. The main melody repeats twice, and then gives way to a glockenspiel, taking even more edge off of the piece and making you feel like you're floating down a peaceful, mysterious stream into oblivion. Or something like that. Although it is a repetitive piece without much development to it, it has a dreaminess to it that contrasts from much of the rest of the soundtrack. (7/10)
7) A Shallow Dream (Written by Don)
This track is meant to evoke a tone of despair. The opening chorals add a hint of darkness, while the ukelele helps to create a creepy atmosphere. Surprisingly, there is quite a bit of development in this track. The ambient sounds in the background, the piano line carrying a melodic accompaniment, and the chanting all converge extremely well to create a piece of music that inspires fear and awe into the listener. While not Agematsu's best, it is a step up from his worst. (8/10)
8) Crossing Over the Sorrowful Land (Written by Don)
In this track, we see some skillful employment by Agematsu. What do I mean by that? I love how he takes To the End of the Wilderness" from the original Wild Arms and implements it into this track! It really ties together the series. In terms of composition, the canastas, acoustic guitar, strings, whistling, flutes, and percussion all come together to create a beautiful soundscape that really fits the name. Sorrowful in nature, a twinge of hope is seen throughout the piece and he really keeps the natural flow of this piece together. The strongest aspect of this track is the use of the whistling and flute melodic overlap. It really makes this track quite special. (10/10)
9) The Downpour is a Blessing from the Heavens (Written by Toma)
This is one of the tracks that makes me want to play this game just to hear it in context. Most of the piece is based around a simple chord progression played by a strummed acoustic guitar while a fiddle and flute trade off with the melody. The piece just has a certain laid back feel that I can't get enough of, and it gives the feeling of kicking back and relaxing after being saved from disaster (a drought, perhaps?). Toward the end of the loop the piece adds in some strings, piano, and synth, which all give the feeling of the downpour that the title suggests, before returning to the invigorating first part of the track. This is one of Kouda's best of this soundtrack, in my opinion. (10/10)
10) Seeking the Blue Sky (ver. Yakisoba) (Written by Don)
In this rendition of "Seeking the Blue Sky" (aka "The Day the Shovel was Named Invincible"), we see that a piccolo is used as opposed to a flute. This is quite nice since it attains the originality of the original, but giving it some sharp contrast. Not much more as can be said about it. The instrumentation used is fantastic and the melody, superb. My only peeve with this track is that it makes me hungry for more! After all, it is the "Fried Noodles" version! (9/10)
11) The Ice Queen ~Too Painful~ (Written by Chris)
Too painful is a very appropriate subtitle here. It's a solo violin rendition of "The Ice Queen" devoid of any accompaniment. The violin creates a rich sound throughout meaning it doesn't sound too bare, but it's implemented in such a way that it becomes ear-piercing. The track takes a beautiful melody and makes it extremely ugly, mostly due to poor use of technology rather than the fault of the soloist Takuya Mori. The production values of this track are weak, as is the inspiration behind it. (4/10)
12) Five Minutes with the Goblins (Written by Chris)
Another quirky track, another annoying addition to the score... It opens with a funky bass line on novelty synth accompanied whistling. Original, but very irritating, particularly when repeated twice with a prolonged and inappropriate pause between. The development partially redeems the piece, however. A jazzy saxophone comes in and gives it a sense of direction. While the instrument is used in a derivative way, it definitely enhances a track that otherwise feels barren but grating. (5/10)
13) You're So Close Yet So Far Away (Written by Inigmatic)
Agematsu outdid himself here. This is a beautiful piano solo with a peaceful melodies. I love the sharp 8th note at 25 second mark that gives the whole theme a somewhat "jazzy" feel. This is one of the best piano pieces I've heard in a long time. (9/10)
14) Fariedone RYGS_5013 (Appearance) (Written by Don)
Fariedone's appearance theme is very interesting. While the piece is mainly synth driven, the overall effect of the piece is not compromised. The melody created is brilliant — not too slow, not too fast — and the electronic sounds and the acoustic guitar that provide accompaniment are a very good pairing. (8/10)
15) Fariedone RYGS_5013 (Battle) (Written by Don)
My favorite thing about the transition to the battles with the various villains is how their appearance theme is adapted into a battle theme. Kouda manages to pull this track off quite well. The melody in the appearance theme increases in tempo and the instrumentation used is more suitable. Strings, brass, and percussion are added. There are also some times where there is some synth improvisation that occurs. The percussion helps to create a very strong tone for the piece while the strings create a bit of tension. One of my favorite battle tracks for the villains. (9/10)
16) The Mountain of No Return (Written by Chris)
Agematsu fuses the Spanish sound of the score established in "The Dry Wind Blows Over You" with lots of other elements here. The result is an impressive accompaniment to the mountain of trials. A moderate tempo, an assortment of percussion, and atmospheric piano use set the scene for a fabulous acoustic guitar solo to emerge from. After this, a sporadic jazz-infused piano line becomes the focal point supported by boundless strings. A very multifaceted theme with underlying simplicity. (9/10)
17) Nightbane Auckland (ver. Farewell) (Written by Chris)
The final version of Nightbane Auckland is very similar to the appearance version, but changes the instrumentation a little. The percussion is more resolute here and vocals are more prominent giving a sense of the villain's defeat. But wait? It goes on for six minutes when the original went on for just two. There are some subtle changes in the development and, at 4:25, some doo-wop style vocals lead into a more chorale-like section. Overall, though, it simply drags and doesn't demand its playtime. While I thought more than Don of the original version, I thought its reprise was unnecessary and the piece is mostly another example of Agematsu merely changing the palette of a piece to achieve a slightly different effect (ala "The Fallen Idol (ver. Variety Show)", "Seeking the Blue Sky (ver. YAKISOBA)", and the various "The Ice Queen" themes). (6/10)
18) One Day I'll Have to Let You Go (Written by Chris)
This track brings a pensive acoustic guitar melody and timbres akin to the instrumentals of Kill Bill's "Bang Bang". Given it sticks closely to Agematsu's strengths, it manages to be well done, if derivative and short. (6/10)
19) The Street Corner at Sunset (Written by Don)
This track is starts out with some harmonica and acoustic guitar creating a very solemn melody. The track then shifts into a jazz setting with the use of percussion, piano, and some strings. The melody created once the jazz is introduced is quite catchy and I like the switching back and forth of styles. Overall, this isn't a bad Kouda track, but I've also heard better. (8/10)
20) Kartikeya ASGX 7135 (Appearance) (Written by Chris)
I could have sworn this theme was from Masato Kouda... after all, it's so similar to the gritty enemy appearance cues used in Devil May Cry. But I'm wrong. This is all Agematsu's work and one of his freshest on the disc. He sound effects and electronic distortion much like he DMC's final battle themes to provide a sinister portrayal of a murderer. On a timbral level, it's inaccessible but delicious, though the main stimulus is the jazz rhythms from grisly bass guitar and piano harmonics. Very interesting and effective... (9/10)
21) Kartikeya ASGX 7135 (Battle) (Written by Chris)
The cumulation of the encounter with Agematsu is a daring rock-based battle theme. Expect hard distorted rock guitar lines, wild drum beats, and subdued distorted voices. I find it rhythmic bliss and love the driving but infectious cross-rhythms. The rest of the composition is very creative, though will be hard to stomach for some given there's a lot of distortion and little melody. I find it delicious but, then again, I have a high tolerance to dissonance. Keeping up with the analogy, this one reminds me a bit of Devil May Cry 3's battle themes, even if Agematsu and Kouda of course had nothing to do with that score. It's great Agematsu is still capable of creating fresh compositions. (9/10)
22) A Distant Elegy (Written by Chris)
Kouda demonstrates his versatility once more by offering an elegiac string quartet. While unlikely to win awards for superb quartet writing, given three of the four instruments are used in quite a functional way, I felt Kouda's use of the ensemble was wonderful for bringing out emotion. He made a wise choice by using the viola's dark resonant tones to lead the melody. Its murmurings in the development section are especially haunting. Overall, a beautiful evocative composition. (9/10)
Disc Two
1) The City Where We'll Meet Someday (Written by Don)
This track is quite a fitting opener for the first disc. While peaceful in nature, it still has a strong presence. The staccato piano accompaniment and the woodwind melody blend together quite nicely. The addition of some strings add some development to the piece as a whole. Overall, this track works quite nicely. It seems very befitting for a town theme. (9/10)
2) I Still Have Something to Tell You (Written by Chris)
A simple and laboured piano track. The left hand mostly focuses on an arpeggiac basso ostinato that is left unresolved on a jazz chord. The melody is sparse and mostly based on semi-improvised jazz licks. The tranquil emptiness is resolved in the development section of the track, where some sort of direction is attained and there is even reference to a familiar Wild Arms melody. Just as the track might be getting good, though, Kouda insists on making it repeat and it ends up drearing on for four minutes. Zzzzzz.... (5/10)
3) Persephone IPCC_3927 (Appearance)(Written by Dave)
A light-hearted classically-oriented dance piece introduces one of the highlight battle themes of the score. The strings play a continued motif as the accompaniment gradually builds up and grows in intensity and complexity. Industrial noises and synth sounds litter the background and add minor developments, creating a stylistic metamorphosis for what is about to come. Wonderful transition from classical to techno, but what's about to follow is even more remarkable... (8/10)
4) Persephone IPCC_3927 (Battle) (Written by Don)
Talk about transformation! The light-hearted lilt seen in the appearance theme is completely replaced by a heavy techno sound! The violin work in this track is breathtaking and the melody it produces is really pronounced. The electronica beat that plays in the background carries the main theme of Persephone the most. The violin is both endearing and hints of danger. Both mesh together quite well proving to me that Agematsu is truly a masterful battle theme composer! (10/10)
5) Golem Crash! (Written by Chris)
In my opinion, Masato Kouda's best action theme on the score. It fuses jazz, rock, and electronica together in the way Kouda has always done best. The rhythms are an instant hit; aggressive tribal percussion reminiscent of Final Fantasy XI's "Awakening" combine with intense overdriven guitar cross-rhythms and a catchy jazzy bass guitar rhythm. All sorts of electronic distortion and sound effects in, again, a Devil May Cry-esque way to add to the timbral grisliness. The development manages to mix repetition of familiar motifs with new ideas such that it maintains dynamism and interest. Wonderful stand-alone, fitting in context. (10/10)
6) Dangerous Eyes (Written by Don)
Agematsu creates quite the track here. Heavy metal! While it isn't his strongest track, the use of the electric guitar still makes this track quite strong. The melody is fantastic, and the distorted eletronic sounds make this quite a unique track. It's sure to please and doesn't bore at all! While a bit repetitive, this is definitely something to listen to! (8/10)
7) Exciting Trigger (Written by Chris)
A brief track that seems to draw heavily from the more pompous western scores out there. Decent melody, good orchestration, and some nice buildups, but very little development and some irritating pomp. (6/10)
8) Castle of the Heavenly Gods (Written by Dave)
"Castle of the Heavenly Gods" is a highly inspired version of "When the Heart Ignites." Unlike the previous arrangment of the theme, this is vastly developed and varied from the original. The track focuses on blending euphoric electronic beats with a more traditional western sound. Accordions, beautiful strings, and the captivating main melody interact with a heavy dance beat to create one of the more hard-hitting pieces on the second volume. As ever, the development is astounding. (9/10)
9) At the Frozen Depths of the Heart (Written by Dave)
This starts off as a really ambient track featuring chimes, a continuous xylophone melody, and a reverberating ethnic wind instrument. Nothing prepares the listener for what is to come. Around 1:40, the piece starts to raise in volume as the background becomes more distinctive and vocals are soon added. A natural harmony ensues as more and more parts are added to create a resounding atmosphere. However, here comes the great part: an unexpected transition into a dance atmosphere. The pace really picks up around this area, drawing in the listener for some synth goodness. This section is an invigorating mix of strings, vocals, and synth, and leads into a vivid melody, one which you'll recognise very well from earlier on in the soundtrack. It's up to you to find out what it is! (10/10)
10) Dark Clouds Loom Over Yonder (Written by Dave)
The difference between Kouda and Agematsu's five minute pieces are that Kouda seems to prefer to develop the actual melody, or do nothing at all, as opposed to developing the whole piece. "Dark Clouds Loom Over Yonder" is very much an ominous track set around an industrial set of instruments. I can't say that it compares too well to the previous tracks, but it gets the job done. Kouda creates a sense of environment with this noise music, and although there is no significant melody, it's quite an effective piece. (6/10)
11) Burning Spirit of the Iron Fist (Written by Don)
"Burning Spirit of the Iron Fist" starts off just like its title suggests, with a burning spirit! Percussion and trumpet are meshed together to create quite a motivating start to this piece. Throughout the entire track, the pace is steady using a dance-like beat while brass carry the main melody and strings provide some melodic overlap. While the track is quite repetitive, I can't help but be mesmerized by the atmosphere of the track. I inspires a burning spirit deep inside of me. Quite the awesome track after the not-so-good last track. (9/10)
12) Bitter Tears of Purification (Written by Dave)
"Bitter Tears of Purification" is quite a bizarre track played only on organ. At first, the melody seems barely likeable, but as Kouda ups the empty he delivers some emphatic counterpoint across the organ. Despite being short in life, it's surprisingly effective. (6/10)
13) A Muzzle Dancing in Hatred (Written by Don)
Agematsu proves once again that he is a master of his craft in this track. It starts off with a very emotionally gripping violin melody, with hints of flamenco guitar in the background. Castanets and a sexy flamenco beat soon come into play ramping up the replay value for this track. Violin and flute carry the main melody and alternate between which one is in the lime light. Sporadic electronic sounds also add some development to this track. Towards the middle, a flamenco guitar gets a bit of a solo. It's quite slow, but it's also captivatingly mystical. The track then loops to the fast paced portion again. This is truly a spectacle to behold. (10/10)
14) If We Act Like Scholars (Written by Dave)
I'm pretty fond of this track despite its strangeness. The main melody is played on a Ghana xylophone, while the accompaniment is just a synth drum beat. The piece seems to blend ancient music with a modern techno beat. Unfortunately, it doesn't receive a lot of interesting development, and once more just becomes a needlessly prolonged Kouda theme. At least it had potential! (6/10)
15) The Resurrected Left Arm That Brings Death (Written by Don)
This track starts off quite interesting. A bit of acoustic guitar, some percussion, some melodic whistling and humming open the track before shifting into a more fast paced version of the initial melody. The melody is quite strong but overall, this track isn't as strong as it could be. The middle section relies more on the bass line and percussion rather than the melody and I think it hurts the track, but once the whistling is introduced again, it gets better once again. The dance beat used is quite effective in creating some constrast but I think this piece could have done without it for different instrumental development. (8/10)
16) With Faith and the Way of Justice (Written by Dave)
This is a nice ethnic and modern blend that relies on a mixture of electronic beats and percussion beats. Much like with his "If We Act Like Scholars" track, the piece doesn't really develop to any thrilling extent, but there is still quite a bit of variety gained throughout the accompaniment. The sitars which feature in the track are pretty much the defining feature, while the violin interludes are also beautiful. (8/10)
17) Words of Memories Riding on the Wind (Written by Don)
Kouda creates quite a soft track here. I'm not sure if this is a rearrangement or not, but it's quite a touching piece. Prominent whistling is employed once again to help produce the melody, but acoustic guitar and some woodwind instruments help to produce a fitting accompaniment and counter melody, respectively. It definitely gives off the aura of wind blowing through the valley. Kouda's slower tracks tend to be more enjoyable to me, and this one is as well. (8/10)
18) The King That Surpasses 100 Demons (Written by Dave)
Kouda ends the disc with another ambient theme which is totally industrial- and synth-based. The melody is creative and the accompaniment is pretty otherworldly, but it's only really until the track sees some development around the one minute mark that it really gains any character. Unlike the title suggests, I was disappointed to see that the theme wasn't really that impacting or grand; being mostly a mix of noises, it heightens the atmosphere, but fails to really create anything else. I guess it adds something different to this otherwise melodic soundtrack. (6/10)
Disc Three
1) The Outpost is Our Trump Card (Written by Andy the Drew)
Big, bold, and epic are terms that apply to this piece. The piece also contains a bigger and bolder version of one of the core themes from an earlier track ("A Small Step Towards a Big Dream", which in itself is a slight variation of the main theme "the Vth Vanguard"). I suppose that since this track is found on the last disc of the soundtrack that it is meant to be a signal that the story is nearing completion. Much like Agematsu's other tracks he likes to mix strings with synthesizer sounds. This coalition of sounds has worked well in the past and works well here as well.
The sinister opening creates a feeling of suspense, but it seems that the suspense is quickly pushed away as the theme from the previous track emerges and carries on in some ways for the rest of the track. I like the energy and the general feel of the track overall. (9/10)
2) deep-seated grudge (Written by Queen Garnet)
This is a dark and deep track. The title sure fits the feeling it gives to whoever hears it. It feels like thriller music at the beginning, but transforms after one minute into a a different base into a gentle yet dark aura. This track is a good one, but the ending of the track was a little off as it hybridised the elements together and wasn't pleasant to hear. (7/10)
3) Volsung XERD_3113 (Written by Don)
"Volsung XERD_3113" is probably my favorite Kouda track on the entire Vth Vanguard soundtrack. It starts off with some heavy percussion and some wicked organ playing. Add some xylophone and you get a nice little rhythm building up before the violin kicks in to play the main melody. The violin melody is very nice, both melodic and sinister at the same time. Shortly thereafter, some haunting vocals are added in addition to organ to cause a tension builder. Hints of bells can be heard in the background. Industrial sounds can be heard every once in a while. So why is this my favorite track from Kouda? It's because he can blend so many things together into a very cohesive track without losing the integrity of the entire track. If only the rest of the album had this much thought put into it, it would make his contributions on par with Agematsu! A perfect villain theme! (10/10)
4) A Castle Entangled in Thorns (Written by Dave)
When I first heard the opening to this track, I had no idea that it could possibly turn into a thrilling piece such as this. It starts off in an ambient and industrial manner, but soon enough, an organ line is added. This organ really adds a lot of character to the piece. Though the accompaniment remains pretty much the same throughout, development in the melodic line makes sure that this piece remains gripping. (8/10)
5) A Spring Breeze Gone Mad Like a Tiger (Written by Kyon)
This is a standard orchestral track in which a certain motif appears very mysteriously and barely recognizable. I thought this piece was going to flunk. Suddenly, at 1:33, the track begins to build up, steered clear from its uninspiring introduction, and the percussion begins to run wild, signifying Dean's gunfight scene with Volsung. Pretty tense indeed. You should see the scene — it's outright nuts. This track may pick itself up pretty late, but it did its job very well. (8/10)
6) Shining Eternity (Written by Chris)
An FMV track describing events leading to the final confrontation with Volsung. There's little special in the ambient string-led body of the track, but the eventual sudden choir-led build-up creates an impressively rich sound. The end, however, is sadly anticlimactic. (6/10)
7) The Wings of Fallen God (Written by Kyon)
This battle theme is usually played at special Golem battles. But if I'm not mistaken, this track also plays at your first bout with Volsung. I must say this is a very subtle piece of battle music by Kouda; it's more of a "Do Your Best" piece like most of Iwadare battle themes. With "The Wings of Fallen Gods", Kouda uses one of the main motifs as a leitmotif to form this piece and arranges it for a rock ensemble. The rhythm is deliberately slow, trying to tell you to go slow, as the boss is pretty powerful. Overall, this track is close to being flawless, but the style of this track is pretty deceiving. An attentive ear is needed in order not to be misled; a listener needs to understand the intention of this track. (9/10)
8) Justice to Believe (ver. Ground Zero) (Written by Kyon)
Time to lay the finishing blow, folks. This is the final battle theme and one of the most unusual ones to ever appear in a video game. Instead of using an original piece, Agematsu opted to use an arrangement of "Justice to Believe" to accompany the final battle theme. Some people might be turned off by this decision.
I must say those nay-sayers are totally wrong in regards to this piece, as "Justice to Believe" happens to be one of the representations of the themes which presents in this game: adventure, heroism, never say die, never give up, all those inspiring messages, you name it. So, "Justice to Believe" is a very appropriate track for the decisive battle in that sense. Plus, Agematsu did not just use the track without change. Instead, he arranged it make it look like a battle theme. The extended length of this track is the testament of this.
I must confess I'm a Nana Mizuki fan. She is one of the versatile idol-seiyuu in the anime industry, her vocal ability is also top-notch having coming from a family of performers. So, expect wonderful singing by her.
This piece basically stays true to the structure of the original, with the exception of the mid-section, where the real arrangement takes place at around 3:10. It may look like a pointless extension, but I say it's a well thought arrangement by Agematsu; the choir part is well done and you can hear Nana singing at the background.
To add up my argument on why "Justice to Believe" can be used as a final battle theme, you may look at the lyrics. Written by Mizuki herself, the lyrics resemble the themes of the game. I assume Agematsu was intrigued by her lyrics and made a decision to feature this track.
This may be the best final battle theme in the Wild Arms series. I can't see why not. Over the years I don't see any other battle tracks of this kind, although in anime this is rather common. I'm impressed. I'm VERY impressed. (10/10)
9) March Winds (Written by Kyon)
The track that follows such a stellar track is, in my opinion, a notorious disappointment. I mean, you just beat the final boss and you saved the world, yet you wrote a track that sounds more like a eulogy than a celebration? Jesus Christ!! I just can't believe it. Oh, Kouda, how thee dissapoint. (4/10)
10) April Showers (Written by Chris)
The Ice Queens' theme makes its penultimate appearance with this piano arrangement. It's initially quite a functional arrangement with mostly arpeggio-based accompaniment, though the melody makes up for it. In the second half, an empassioned solo violin enters and, unlike the 'Too Painful' rendition, sounds full due to the dynamic piano accompaniment and far more tastefully implemented. The context helps here, but "April Showers" is emotional even without it. (8/10)
11) May Flowers (Written by Chris)
Kouda shows a flair for dramatic underscoring with his final solo composition for the track. I particularly enjoyed how "Your Unknown World" motif returned but was altogether richer thanks to the orchestration. Powerful, if inevitably brief. (9/10)
12) The Ice Queen ~The Beating of a Heart Burning in Gold~ (Written by Kyon)
I almost wanted to give this track a low score out of my frustration that this theme is featured too frequently. But after I calmed down and realized this track is actually better than the some of the versions, I decided it was permissable. My decision was helped by the fact that it accompanies a very touching, or should I say bittersweet, event.(8/10)
13) We'll Bloom in an Everlasting Tomorrow (Written by Kyon)
Another event track by Agematsu that celebrates freedom is finally obtained. Even though this track is very short, this piece is musically strong enough to be taken notice of and reprises several melodies. (8/10)
14) Crystal Letter ~ Ending Theme (Written by Kyon)
This ending theme is sung by Mizuki again. Although give the impression to the listeners that this track is a typical J-pop song, but the standout factor about this track is Nana's top-notch vocals, intriguing lyrics, the detailed accompaniment, and the fact that it resembles the "Ice Queen" theme at the chorus section. I think this track is meant to talk about Avril here. So, I must say that this track is thematically and lyrically relevant, unlike some other RPG themes. (10/10)
15) Battle: Knight Blazer (Written by Kyon)
This track, co-arranged by Kouda and Agematsu, is a bonus track that features a Naruke track in Wild Arms 2. I think this track is pretty interesting and I compliment the two arrangers here for paying an excellent homage. The techno remix of this track adds a nice flavour to this old classic, giving it a fresh sound. (10/10)
Summaries
Written by Chris
Wild Arms the Vth Vanguard's soundtrack survived admirably without Michiko Naruke. Masato Kouda and Noriyasu Agematsu managed to create an impressively diverse score with many highlights ought to be long-term replacements.
Agematsu's compositions were very reminiscent of Naruke's at first. "The Vth Vanguard", "On the Day the Shovel was Named Invincible", "When the Heart Ignites", and "Terrible-monster Attacking Crew!" got the score off to an incredible start and are among the series' greatest Western compositions. Beyond these catchy but bombastic compositions, however, I felt that Agematsu's shelflife was short. A barrage of uninspired compositions like "The Sweat of the Chase" and "Emergency Sign" showed that Agematsu's musicality could often be superficial, derivative, and unpleasant, while reprises of themes like "The Ice Queen" were tedious. By the second volume, it was clear that Agematsu had weakened, but he still impressed with occasional excellent executed experiments such as the Persephone and Kartikeya themes, and "Justice to Believe".
Kouda is the better of the two composers here. He has flair with Western, rock, jazz, and electronic tracks and creates compositions that are enticing on a timbral, rhythmic, and atmospheric level. His enemy appearance and battle themes are especially good. However, some of his compositions can be quite dull due to lack of melodiousness or too much repetition; this includes the well-crafted but unfortunately placed openers to the second volume or, for that matter, much of the first volume where Kouda remains in the background. Ultimately, his compositions do not reflect the stylistic or thematic core of the soundtrack; they rather decorate and deepen it through many impeccable decorations. Thus, Agematsu's weaknesses are a burden to the score's centre.
Overall, the two soundtracks to Wild Arms the Vth Vanguard are solid despite some weak moments. Kouda and Agematsu create a strong mix of catchy, stimulating, and atmospheric compositions to provide a score that complements the game and is endearing on a stand-alone basis. Something — that Naruke factor — is missing due to a lack of cohesion and emotional core. This prevents the score attaining the realms of excellence, but its highlights and decorations, for the most part, make these purchases worth it. (8/10)
Written by Dave
I was really surprised at how good this album turned out to be; with Michiko Naruke having left the scene and leaving the score entirely in the hands of Masato Kouda and newcomer Noriyasu Agematsu, the style of music that the album would hold was contested by fans long before its release.
You'll be pleased to hear that the series' flair has continued into this album which has a number of mesmeric and captivating tracks from the duo, namely Agematsu, who proves to be extremely diverse. The likes of "On the Day the Shovel was Named Invincible," "Persephone IPCC_3927 (Battle)," and "At the Frozen Depths of the Heart" are amongst Agematsu's best tracks on the album. The great thing to note, however, is that they are all different in style! Indeed, each theme is filled with melodic goodness, but the levels of ambience vary, and take both classical and electronic forms.
Kouda was the weaker of the composers on the album, in my opinion. His compositions on the second volume were perhaps his finer tracks, and are certainly a step up from his compositions in Wild Arms the 4th Detonator, but overall, he seemed to centre too much on industrial noise music. Towards the end of the last disc on the soundtrack this came evident, though he does indeed have his melodic gems too, namely "Volsung XERD_3113."
Overall, I found the blend of pieces across this soundtrack to be thrilling. It's great to see two very different composers work so well together without creating something dire or totally inaccessible. It certainly seems to be better than its predecessor and is definitely a recommended listen. (9/10)
Written by Don
Having not heard much Wild Arms before this, I was a little apprehensive as to what to expect. I knew from the Western style of the games themselves, to expect something of similar nature. Composed by Noriyasu Agematsu and Masato Kouda, many different styles of music are represented. Of the two composers, I felt that Kouda was the weakest. His tracks seemed to lack the flair I associate with some of the styles he composed for, although his compositions were pretty good. Despite this, he also had some weak tracks, namely his Nightbane Auckland. They were dragged out for too long. He does have some good tracks, mainly his battle themes, but in the end, he didn't appeal to me as much. Agematsu, on the other hand, had flair and a very diverse array of styles. His different arrangements of the main themes were pleasant to listen to, and his battle themes were superb. I do regret that I didn't enjoy his "Ice Queen" themes, and his hurry music, but we all get bad eggs once in a while.
Wild Arms the Vth Vanguard was truly a journey. At times, adventurous, at others, sorrowful. Everything you'd expect from a real life adventure. It blends together so many emotions into the tracks, one can not stand idle for long. It's captivating nature instantly captured my heart and while there were some bumps along the road, our final destination was reached safely. This album is definitely worth a purchase for those who interested, and both composers did Naruke, the original composer, justice. (9/10)
Written by Kyon
Listening to Wild Arms the Vth Vanguard Original Scores is a pleasant experience. The soundtracks also stays true to its roots with its western music, memorable melodies, inspiring battle themes, and yes, whistling.
Both Noriyasu Agematsu and Masato Kouda did an excellent job on both of this soundtracks. Kouda deserves numerous praise for not repeating the same mistake that detracted the overall quality of the 4th soundtrack. However, Agematsu is the star of both soundtracks here. Instead of taking the series into a new direction, he decided to preserve the original style and foundation which Naruke laid upon the Wild Arms series. Plus, I don't see there's any new direction to take with Wild Arms being a western flavored series. In addition to that, Agematsu also displayed a very high standard of musicianship with his versatility, his development of the tracks, and his superb sense of instrumentation and his highly lyrical melodic flair. His melodies are full of charisma and energy, his tracks are never superficial and do not lack musical depth. Although, he also composed some clunkers, but overall his performance are the most memorable and superb ones, with "Persephone IPCC_3927", "Vth Vanguard", "On the Day the Shovel was Named Invincible", and many tracks to come.
Both of these soundtracks are highly reccomended. Do not miss any one of them, for the overall quality of both of this soundtracks are on par with each other. Plus, soundtracks like Wild Arms the Vth Vanguard are why I love video game music. (9/10)
