What's new? 
|
|
|
|
|
|
|
|
|
Game music reviews from users
Add your review Showing reviews 1141-1160 from 3002:   SC-88 MIDI Collection: Arranged/Remixed tunes"Probably One of My Favourite Rips on Here to Date" (by Anorak99, 24 May 2006) [10/10] My god, and I downloaded this for a laugh! I have to say, this album is gold! Well, for old-school music anyway! "Legend of the Lone Wolves," "Step Quick," "Sealed Place," and "Darm - The Dawn of Ys" had me dancing! Probably one of my favourite rips on here to date.  Batman Returns: Game rip"Brings Back Memories" (by Anorak99, 24 May 2006) [7/10] Agreed, although there are quite a few pieces here that I find unbearable! Surprisingly good for a Batman game, and it brings back memories too. Wangan Midnight: Original soundtrack"Yay for Koshiro." (by Anorak99, 24 May 2006) [10/10] I've often seen this soundtrack criticised for its electronica basis. Indeed, electronica is pretty new for game music, and believe it or not, Koshiro was one of the ones that instigated its arrival. It's great to see some initiative finally being brought in to help the futuristic stance of the game along. Super Mario 64: Original soundtrack"Annoying" (by Anorak99, 24 May 2006) [3/10] The game was great to play and, I have to say, the music was very fitting on the most part. Still, there is obviously a massive void here which separates Kondo's score from the likes of other composers for the series (ie Motoi Sakuraba for Mario Tennis), and that is how annoyingly melodic they are. Fair enough, the man brought us the immensely popular Mario Overworld theme, but when Nintendo moved on to the Nintendo 64, the new sound capacity should have meant the Kondo should have raised his game a little. Any bass development in this soundtrack is merely that of a drum rhythm shift, or even worse, of an annoying synth trumpet. Tom Sawyer: Arranged/Remixed tunes"Definitely One of the Worst" (by Anorak99, 24 May 2006) [1/10] Ah, the score for Square no Tom Sawyer, aka Square's Tom Sawyer. I never played the game, but I have to say, I'm pretty glad that I didn't! Uematsu shows extremely little skill here offering a mere set of repeated tracks that were sure to bore the listener straight away. Good effort, but definitely one of the worst sets of music here, albeit a fun one. Hanjyuku Hero (Halfboiled Hero): Divertissement"Pretty Awesome" (by Anorak99, 24 May 2006) [9/10] Surpassing Uematsu's original Hanjuku Hero score by miles, this soundtrack is a must buy! The arranged tracks alone are enough to make it a worthy purchase! Check out "Scene 4 - Rondino," a favourite of mine.  Future Wars: Game rip"Development is Minimal..." (by Anorak99, 24 May 2006) [5/10] The title theme for this game has a certain sense of pizazz about it, and quite a nice development too, may I add. "Aliens" is slightly more rockin', but it will never beat "Suite 21"! Overall, a pretty solid set of pieces, but the fact that the majority of them are under a minute long in length means that development is minimal. Dinotopia: Game rip"I Don't Know Why..." (by Anorak99, 22 May 2006) [5/10] I don't know why, but I actually enjoyed this rip, despite the fact that the game is really lame. Still, there's nothing special here at all. I'll give it a 5 for being fun. Black Knight: Game rip"It's Alright" (by Anorak99, 22 May 2006) [3/10] Heh, well, it harldy compares to most of today's music, but I guess it gets a few brownie points for a memorable set of melodies. Lotus 3: Arranged/Remixed tunes"Lotus theme? Yes, it realy is!" (by Maty, 21 May 2006) [9/10] However there is only 2 songs here, and one of them is only nostalgic remember, the other one is absolutely very good made! Great remake it does one of many.. Realy very nice remember to old times :) Actraiser: Original soundtrack"Absolutely Awesome" (by Anorak99, 21 May 2006) [10/10] Actraiser has to be one of my favourite games from the Super Nintendo, and hence, this is one of my favourite soundtracks too! Yuzo Koshiro does a great job with this album and offers a wide variety of tracks, being amongst the first composers to create a quasi-symphonic score for a game. Crackman 97: Arranged/Remixed tunes"Awful" (by Anorak99, 21 May 2006) [4/10] No where near a 7 out of 10 I'm afraid. This is definitely one of those albums that just grate at you and force you to turn them off and quite possibly delete them upon first hearing. Unreal Tournament - Maps Music"Why Oh Why?" (by Anorak99, 21 May 2006) [6/10] I never understood why this was even on this website, but to be honest, it isn't that bad. I enjoyed it to more of an extent than I have done some others, I have to say. Ghouls 'n' Ghosts: Arranged/Remixed tunes"Pretty Lame." (by Anorak99, 21 May 2006) [7/10] Agreed, 2 files does not suffice an archive. :p I adored the game, but sadly the music is now a blur to me. :( Ghouls 'n' Ghosts: Arranged/Remixed tunes"Ghouls n Ghosts" (by jimdove, 21 May 2006) [6/10] Only 2 files in this, all the game levels would be appreciated :) this game had music that almost matched the first 2 beast games. Anybody plz... :) been trying to find the full scountrack for this game since i first heard it back in the early 90s Chrono Trigger: Arranged/Remixed tunes"Awesome" (by Anorak99, 20 May 2006) [9/10] I tell you what, it took me a long while to listen to this archive, but it was worth it. There a great deal of awesome tracks here that you definitely won't want to miss. Chrono Trigger: Original soundtrack"He Even Developed Ulcers from Working Too Hard..." (by Anorak99, 20 May 2006) [9/10] Acclaimed the best RPG of its time, Chrono Trigger was released back in the later days of the Super Nintendo. The game's music has its own little story behind it, as a dissatisfied Sound Engineer appeared in the office of Hironobu Sakaguchi — who we know as the creator of Final Fantasy — and demanded that he must have a job as a composer, otherwise he would leave the company for good. His name: Yasunori Mitsuda. In return, he got the main role in composing for their next big hit, Chrono Trigger. Nobuo Uematsu played a reasonably small, but still credible role in the Original Sound Version, providing some of the more melodic themes. With the help of an arrangement by Nobuo Uematsu, Noriko Matsueda also made a small contribution, composing the "Boss Battle 1" track. Although this track was arranged, it led her to many new opportunities. Though Mitsuda played the main role, too many people forget the other composers' efforts. The Chrono Trigger Original Sound Version is three CDs (64 tracks) long, and although one's first criticisms would refer to the anachronous sound, it is doubtful that you will find much else to criticise. We are also presented with two unreleased tracks, which really, should have been put in the game, "Singing Mountain" and "Battle 2," both of which are very creative, despite the former sharing similarities to the track "Laputa Theme" from the Anime production Laputa Castle in the Sky. Immediately and evidently we can see that Yasunori Mitsuda wanted to get the feel of the game. He managed to produce many interesting tracks, thus bringing attention to the music rather than to the game. Throughout, we see him blending in some simple, light-hearted tunes ("Spekkio"), sad themes ("At the Bottom of Night"), upbeat tracks (Lucca and Robo's themes), and darker themes ("Battle With Magus" and "Underwater Palace"). Not only this, but experimentation is also evidential, especially experimentation with the lesser used instruments. This is mostly evidential in tracks like "Schala's Theme," which turned out to be an unforgettable classic. The best thing is that the music always fits the mood in the game; "Battle with Magus," for instance, definitely shows this. Mitsuda is a superb composer when it comes to light-hearted tracks. "Peaceful Days" — a track built on the idea of theme and variation — and "Guardia Millennial Fair" both have a real wow factor. The track "Guardia Millennial Fair" is Chrono Trigger's version of Final Fantasy VII's "Gold Saucer," being very jolly and light-hearted, yet also being an example of a fusion of styles. Another such track is "Corridors of Time," used in the Kingdom of Zeal. It sounds tragic, yet light-hearted at the same time, and Mitsuda utilises crazy cross-rhythms throughout to give it a unique touch. Similar to such tracks are those that have a hopeful sound. "The Day the World Revived" is a good example, being taken from the more positive section of "Lavos' theme," a theme used, strangely enough, for an evil parasite. "Ayla's Theme" is another good track. Ayla, despite being primitive in nearly every way and extremely strong, also has style and this is expressed throughout this track. The track doesn't fail her at all, so her true character shines through. "Epoch ~Wings that Cross Time" is the theme for the airship, and it is upbeat and catchy throughout. The introduction is great, and the melody makes the journey seem like an important one, being filled with hope and pride. Pride is another main aspect of the game, and it is mainly reflected in the character themes. "Chrono Trigger" is the theme of the main character Crono. This catchy melody shows hope, pride, and enrichment, suggesting to us straight away that this person is an important character. This theme is manifested throughout the score, both directly and with remarkable subtlety. We then have "Kaeru's Theme" (Frog's theme), which is possibly the most memorable theme on the album. Kaeru was once a noble man, hence the glory of this track, but the evil and almighty Magus turned him into a Frog, thus this track is full of passion, representing Kaeru's need for revenge. Both "Chrono and Marle ~ Far Off Promise" and "Robo's Theme" work well in the game. They each show different aspects of success and glory, and this just shows how Mitsuda can create similar atmospheres in more than one way. "Guardia Castle ~Courage and Pride~" has to be the most obvious instance of pride shown through Mitsuda's music. With trumpets and drums, what else do you need for a stately track? This track is very grandiose and has nationalistic influences, completely reflecting the style of Guardia Castle. This is certainly one of the better tracks on this album, and it is truly a marvel of its time. Mitsuda creates a wide range of mysterious tracks, too. "Mystery of the Forest," "Ruined World," "Remains of Factory," and "The Brink of Time" are great examples of this, each featuring disjunctive melodies and eerie bass lines to create this. "The Trial" and "The Hidden Truth" go hand-in-hand, both being played when Crono is taken to jail for doing nothing wrong. "The Trial" gives off the impression of the situation being a joke, but undergoes a metamorphosis to become more serious, whereas "The Hidden Truth" is played when Crono is brought to jail after the trial, utilising the same theme from "The Trial," but on a piccolo. Both of these tracks certainly are effective at creating suspense and wonder. "Silent Light," the first real dungeon theme, is played when you are searching for the missing queen. Nobuo Uematsu has gone to great lengths here, and it is his first input to the Sound Version. It has a very mysterious feel to it, and once again the odd bass line adds to this effect. The battle themes in Chrono Trigger are quite poor and it would seem like Mitsuda has a lot of trouble expressing the idea of pain, action, and adventure with such themes. There are exceptions, however. You really know you are in trouble when "Boss Battle 2" plays, as it is reserved for the hardest of battles. The upbeat tempo, trumpet melodies, and rhythmic drum beats are all key elements of a classic battle theme and Mitsuda uses them fantastically here. "Lavos' Theme" uses similar principles, and is extended well to give "World Revolution" and "Last Battle," the penultimate boss theme. The latter track is accompanied by frequent sound effects of crackles and pops, so you don't even need to look at the screen to realise that Lavos, the evil alien parasite, is exploding, in classic SNES style! Final battle themes have never been Mitsuda's strength, however, and the themes aren't so good on a stand-alone basis. The other boss battle theme "Boss Battle 1" is Noriko Matsueda's only input to the game, and it is a decent one at that, though it was arranged by Nobuo Uematsu. Matsueda certainly shows us here what she has learnt from the Front Mission Sound Version. Sadly, however, the normal battle music quickly grows repetitive and annoying, which is a pretty crucial flaw, considering one must hear this music hundreds of times in order to complete the game. The soundtrack finishes with three very well-mastered tracks. The first track is "Festival of Stars," which representations our heroes celebrating. It's a rather upbeat variation of "Guardia Millenial Fair" and a pleasant recapitulation of the theme. The next track, "Epilogue - To Good Friends," recapitulates the classic melody from "Chrono and Marle ~ Far Off Promise" during the introduction. This develops at the 45 second mark, where it bursts into a rather gentle and lovely string arrangement, with a xylophone added in the background. The final track is the end credits theme, "To Far Away Times," which is quite magical. The introduction is mainly a keyboard and a bass guitar keeping a steady beat. The melody begins to move above this, and as the game ends and the titles begin to flow, one cannot help but reminisce about everything achieved. Mitsuda's last track of the Sound Version is remarkable in every respect; it's yet another epic on a great album. Every Original Sound Version has its bad parts, and for this one, it is the second disc. "People Who Threw Away the Will to Live" gets tedious, and the regular battle theme is poor in comparison to others. However, apart from this, this is a great album in most respects. The album sees the birth of a new square composer, Yasunori Mitsuda, who used his past experiences in sound manipulation as guidance for the tracks. "I remember I worked like crazy on this one because it was my debut title. One of my memories from this game is that I got ulcers from working too hard." - Yasunori Mitsuda Hence he manages to create another great Sound Version for Square, and gives himself a better, more acclaimed role in Square's productions. You can see from his quote, the pain and agony he went through to make the music work. It just shows what a dedicated and determined fellow he is! Since his career move to become a freelancer, Mitsuda has composed for a variety of recent games. However, perhaps with the exception of the Xenosaga Original Soundtrack, the Chrono Trigger Original Sound Version is probably the height of his career. 1000 Miglia: Game rip"Poor." (by Anorak99, 20 May 2006) [2/10] This really wasn't what I was looking for. With a rating of 5 stars out of 5 on the main page, I didn't take too well to this poor piano music. 4th & Inches: Arranged/Remixed tunes"Heh, umm" (by Anorak99, 20 May 2006) [4/10] Heh, well, after listening to some of the other rips on here, this rates pretty low. There wasn't really a single track that caught my eye here, sorry. Square Vocal Collection"A Respectable Album" (by Anorak99, 20 May 2006) [8/10] This album takes no particular style, as it is simply a collection of vocal collections from a number of Square albums. Quite a number of genres are explored throughout the album, with a punk track being the biggest shock. Not only this, but the album features a number of languages, too; not only does it have English and Japanese, but Swedish and Spanish, too. Many may consider this as an attempt from Square to make more money, and to be frank, it was albums like this which caused the downfall of DigiCube. However, although this collection seems pointless in that respect, it is a great gift for vocal fans, who may usually have to purchase each album separately, just to hear the themes. Square Vocal Collections features the work of eleven game music artists, with the names of Shimomura, Matsueda, Eguchi, Mitsuda, and Uematsu being the most prominent. Not only this, but with twelve tracks, twelve different albums are represented, too, almost as if to give the listener a taster of what is on each one. You'll find that you have probably heard most of the tracks on the album, but collectively, it is a totally different experience. 1) Forevermore [The Bouncer] This is a cute track from The Bouncer Original Soundtrack sung by Reiko Noda. It begins with a slow piano melody to which an elegant guitar is added in preparation of a wonderful vocal line. A drum beat soon enters to add a bit more of a sentimental value to the track, as after all, the lyrics tell a story of love that warms the heart. We can certainly hear a lot of passion through the vocal line, but it is really the power of the accompaniment that lets the track live. For instance, the piano that opens the track carries on flawlessly to provide a compassionate harmony for Noda to go against. However, it obviously isn't just a solo effort from the piano, and strings are involved too. They, themselves, act as passionate links to each section, and are the heart of the development around the 1:05 section. This is a perfect track which you shouldn't miss out on. (10/10) 2) Small Two of Pieces [Xenogears] "Small Two of Pieces" from the Xenogears Original Soundtrack is yet another amazing track, and although slightly on the 'pop-classic' side of the rails, it is highly likeably inspirational and delicate. The lyrics are sung in English in this track, which adds a bit of variation and culture to the album. Each sung verse contains so much philosophy that your mind burst with imagination when you hear Joanne Hogg's voice. As in "Forevermore" though, it isn't really the vocalist that makes the track what it is, as despite her passion, you can't miss the efforts of the flute and electric guitar. The great thing about this track in comparison to "Forevermore" is that it actually lets the instrumentation shine so much more, with a wondrous electric guitar solo being the epitome of this. This is another great track that evidently provides an excellent start to the album. (10+/10) 3) Treasure Chest of the Heart [Chocobo Racing] Hiromi Ota's cute, yet ear piercing voice takes the melody in this track, and transforms it into something heartfelt and meaningful. Once again, it is a song of love and passion, but the lyrics just seem to be so much more innocent and immature in comparison to the likes of "Small Two of Pieces," so perhaps it is a song about childhood sweethearts. The structure of the track is very similar to the first two, yet once again it features a little bit extra, as it is the only track out of the first few that features a choir as well as a lead vocalist. It is around 4:55 when this innocent choir first features, and they really add a superb part above the blasting piano part. Despite how good this track, I personally couldn't blend with it, and I blame Hiromi Ota's voice for that, as I really can't stand her tone. Still, the musicality of this track is excellent, and proves to be as breathtaking as any vocal track should be. (9/10) 4) 9 Times - Punk This Town [Generation XX] The album takes an interesting turn here as we reach a punk composition from a band known as SOBUT. The bass line is repetitive, but it is effective too, as it takes the form of a pumping electric guitar which adds a great amount of power to the track. This track is unsurprisingly strophic, as after all, most rock songs are nowadays, unless they come from the more mainstream artists, of course. The lyrics seem to give the impression that the track is an anthem for success, with the vocalists feeding inspirational vibes to one's mind. Despite all of this encouragement, one can't help but feel that the track seems a bit inappropriate when places amongst the likes of "Small Two of Pieces" and "Melodies of Life." It is misplaced on the album as it certainly comes as a shock, so perhaps if it were later in the album, it would have been more respected. (8/10) 5) Lovely Strains [Soukaigi] Transitioning back to the original, fluid stance that the album once had, "Lovely Strains"' orchestral approach seems well suited. The Soukaigi Original Soundtrack vocal theme begins with a timid string part to which an enhanced brass line is added, and it is after 0:40 that Kotomi Kyouno's voice is first heard. Her voice seems to stay on an even keel with the orchestra as she stays quiet throughout, whispering her emotions throughout. Due to this, there isn't really a part that takes the centre stage, but rather ripples of instrumental parts which come through now and again. Short variations on the melody from such parts give a quaint touch to the track, which is quite an orchestral masterpiece. Effectively, the orchestra does all the work as its passionate crescendo and diminuendo parts are extremely suited to the track. This track is probably the best on the album, as the orchestra is definitely mastered in such a way that no other tracks can touch it. What a great experience. (10+/10) 6) Eyes on Me [Final Fantasy VIII] "Eyes on Me" marks a revolution in the Final Fantasy series, as it began a trend of featuring at least one vocal theme in every Final Fantasy game that followed, and not only this, but it is the first piece of video game music to be recognized with a popular music award. It becomes hard to criticise this piece with such a good run of history behind it, either way, there isn't a lot to criticise anyway. The lyrics link directly to the relationship of Squall and Rinoa, with Faye Wong's voice gorgeously singing the true fate which is unknown love. Furthermore, as with the first few tracks on the album "Eyes on Me" features not just a vocalist, but a superb orchestra, too. Although the orchestration isn't as good as the likes of "Lovely Strains," it is still exceptional, with every melodic input being a worthy one. This is perhaps the best known track on the album and for a good reason, too. This track alone must have persuaded many a fan to buy the album. (10/10) 7) Somnia Memorias [Parasite Eve] This enchanting vocal melody from the Parasite Eve Original Soundtrack starts off with ambient jungle-like sound effects. This hopeful introduction is soon added to by some synthesiser chords which rise in volume and pitch, and then even more variety is added when a drum beat enters the track. Soon after though, comes the light of the track, the voice of Shani Rigsbee, which is quite cute, but horribly out of tune in places. The Spanish lyrics suggest an ill-fated passion which will end in grief — Shani Rigsbee plays the part of the partner, who warns her loved one what will happen to them. Her tone is cutting, yet strangely suited to the image meaning to be portrayed. All in all, the track builds itself up well, with the overall effect being a feeling of hope, but dismay too. We return to the jungle sound effects near the end, which is intended to recapitulate the theme, almost as if the lovers will fall into the same trap every time. (9/10) 8) Stars of Tears [Xenogears] The name "Stars of Tears" reflects upon the splash of a tear on the floor, similar to a snow drop, no star will be the same, thus enhancing the idea that emotions are unique and something to respect. The track doesn't off much, yet still, it proves to be an effective addition to the album, being the only track with a Celtic edge to it. The track is traditional in its sense of instrumentation — namely an acoustic guitar, a tambourine, and a wood flute — so it stays true to the album, too, as there is never anything misplaced in any of the genres explored. Nonetheless, the story of the track is that the force of life goes on, and through Joanne Hogg's pure voice, this is expressed amazingly. (9.5/10) 9) Radical Dreamers [Chrono Cross] The beloved "Radical Dreamers" theme is expressed in its purest form in this track. The first thing one notices about the track is that the accompaniment is bare, however, this is a cunning effort to place more emphasis upon the melody. The guitar is pure, ambient, and expressive, too. Noriko Mitose's strong voice draws out the true essence of the theme, as although it is sad, she doesn't take it to the unearthly extremes. The track is was created by Mitsuda in an intelligent, minimalist style that increases the purity intended. The best bit about this adopted style, is that at the end of the track we are left with a sense of emptiness, so you can really reminisce upon the preceding events. So, although this track may seem somewhat bland in comparison to others on the album, one can see that it is actually a masterpiece and a simple gem. There isn't any blandness about it either. (10/10) 10) Melodies of Life [Final Fantasy IX] Beautifully quaint, Emiko Shiratori's voice sings wonderfully against the solid instrumentation. This is, once again, a track filled with passion, and it centres on the theme of love, too, with the main idea being of support and friendship. The track features one of the more inspirational solos on the album, with an electric guitar overtaking an accompanying piano part to let a stream of passion flow right through the track. There is so much more to this piece though, as it proves to be intricate in almost every section, as after all, this is an ending track. As an added bonus, once the lyrical section ends, the familiar Final Fantasy ending theme is played to round out the experience, recapitulating upon the encounters within the game. (10/10) 11) Song of Mana [Legend of Mana] This track is the first and last Swedish sung vocal piece, with Annika and some marvellous orchestration being in the limelight. It starts off slowly, with its increasing dynamics somewhat eager in comparison to other track introductions. This eagerness is great though, as it prepares us for the shock of a total change in character. Suddenly, this sombre, nostalgic song, turns into a flair of melodies and upbeat harmonies. An enjoyable, endless repeat of the melody rings it to justice, and not once does it bore, simply because the track features so much variation that it is a continual classic. This is a great way to end this album, with "Tiny Wings" being considered a bonus track. This is a personal favourite of mine, and it comes a close second to "Lovely Strains." (10+/10) 12) Tiny Wings [Dice de Chocobo] Although the Chocobo theme has been endlessly arranged, this track was truly enjoyable. It acts as a reprise to the album, and Mari Izukawa is well suited to this, simply because her voice is extremely cute. The lyrics are just as innocent, with the Chocobo becoming a representation of free spirit with a moral of letting fate guide you. The track sounds slightly French, with the typical impressionist style shining through nicely. And so, the track ends on the note "Let them fly away: they'll take you to the heart of the one that's most precious to you." It is definitely a meaningful addition to the soundtrack within its philosophy, sadly though, there is little development, making it one of the lesser gems on the album. (8/10) Although each of these tracks have been released on other albums, the experience that you get from just listening to them as a whole is incomparable to when they are within their main albums. It is surprising to see the similarities between the themes, as it seems that most of them either follow a plain structure — being an instrumental introduction, then the lyrics, then an instrumental lead out — or just deviate from this and explore a new style. Simplicity is the key throughout the album, with even the barest of tracks standing out well. I can't say that there is a single red herring amongst the album, it's just the fact that it was a deliberate money making opportunity that put most fans off. Still, this is a respectable album as expected.
|
|||||||
Slovak version