Devil May Cry Original Soundtrack

	Album Title: Devil May Cry Original Soundtrack
	Record Label: Suleputer
	Catalog No.: CPCA-1096/7
	Release Date: October 15, 2004
	Purchase: Buy Used Copy

Overview

I whole-heartedly support Capcom’s decision to reboot the Devil May Cry franchise. While I adored the original Devil May Cry, the franchise grew stale in subsequent years and even its lead character no longer cut it; a cocky, silver-haired lead in a trenchcoat might have been cool in 2001, but looked pretty cheesy a decade on. In the end, Ninja Theory delivered in an excellent game with DmC: Devil May Cry, preserving the core narrative and gameplay, while introducing a hot new lead, a well-considered story, and stunning visuals.

Where I felt more concerned was the musical direction. I was flabbergasted to learn that, instead of sourcing the talents of series’ veteran composer Tetsuya Shibata, the developers went for two artists who had no previous scoring experiences. But Ninja Theory scouted electronic music trio Noisia and heavy metal artist Combichrist for a reason — they both had something interesting and potentially great to offer. For those that don’t know, Combichrist is an industrial metal unit formed by Norwegian artist Andy LaPlegua. Combichrist’s contribution to DmC: Devil May Cry is a series of heavy metal vocal themes that largely accompanied the action scenes. These tracks were included in the album No Redemption, published by the artist’s long-term label Out of Line.

Body

The concept explored in this album is nothing new. Tetsuya Shibata’s soundtrack to Devil May Cry 3 featured heavy metal vocal tracks throughout their boss battles and so did its successor. Yet the way Combichrist expands on this idea throughout DmC: Devil May Cry is extraordinary. Right from the start of the album, “Zombie Fistfight” captures the pace and intensity of the game’s action perfectly. The screaming vocals, shredding guitar riffs, and electronic undertones all come together to create something hard-edged, but also catchy and interesting throughout its development. The title track “No Redemption” further affirms the quality of the release. While a relatively typical heavy metal track, its hard edge and gripping vocals are bound to have a massive mainstream draw. Both tracks shine as very well-produced, benefiting from excellent vocal and instrumental performances, as well as cutting-edge electronic sampling throughout — the sort that would be expected from a pioneering recording artist, but not always a game musician.

Andy LaPlegua demonstrates he is an excellent vocalist throughout this release. As with Shootie HG’s offerings on Devil May Cry 3, many of the performances feature mean, growling vocals typical of death metal. But where LaPlegua stands out is with the conviction he presents the songs. He absolutely dominates tracks such as “Falling Apart” and “Buried Alive” with aggressive, enpowering performances, always bringing out the full meaning of the lyrics — at least, those I could comprehend. When he asks listeners “Can you feel it? CAN YOU FEEL IT?”, you can be you’ll say yes. AThe artist also demonstrates considerable versatility throughout the release — filling “Gimme Deathrace” with a charismatic hard rock stylings, before taking a more introspective, brooding emotion on “Feed the Fire”. All of them fit their contexts in the game and come together to ensure a varied, fulfilling album experience.

In contrast to Combichrist’s wider discography, the original tracks on No Redemption focus more on standard heavy metal set-ups than electronic stylings. Yet several tracks here, notably “Cloud of War” and “Feed the Fire”, feature industrial soundscapes that create a suitably haunting, demonic atmosphere. They complement Noisia’s tracks well and demonstrate another facet of Combichrist’s musicality. A sudden break from the heavier tracks, “Empty” shifts the focus from vocals in favour of distorted, mechanised beats and edgy, idiosyncratic rhythms. Listeners may be surprised to learn this aseptic track forms the backdrop of the game’s most emotionally charged boss battle, yet it somehow works. It’s especially effective how it shifts through several tiers of intensity to capture the ever-intensifying combat. The orchestral undertones of the opening track “Age of Mutation” are also effective, supporting the cinematic approach for the game and setting an epic scope for the album.

While Combichrist maintain a dark, heavy sound throughout this release, they’re thankfully prepared to have fun too. “Gimme Deathrace” just oozes with ego and extravagance, with Combichrist clearly channeling influences from American hard rock artists. In many ways, it is a perfect depiction of the attitude of Dante himself. The final track “Gotta Go” is a loud and fast as they come, with vocal growls, drum rolls, and guitar riffs all on overdrive. Yet it’s also clear that Combichrist had a lot of fun making it. Encompassing the game itself, it manages to be over-the-top without being completely overbearing or ridiculous. But above all, listeners should expect an intense, unrelenting listening experience filled with heavy metal and industrial stylings. Just like the game itself, plenty of profanities come in tow too. If either of these are likely to bother you, No Redemption is certainly not for you.

Whereas all the material on the first disc was specifically composed for the game, the second disc features ten hit tracks taken from Combichrist’s wider discography. Though I often object to relying on licensed tracks in games, the tracks selected here fit the game surprisingly well and are also placed in an inspired way. Taken from Combichrist’s latest studio album, “Never Surrender” sets the stage perfectly for the first encounter with its meaty, industrial beats and sinister, part-spoken lyrics. The headbanging chorus also motivates players through the battle and captures Dante’s attitude well in both composition and lyrics (“I will suffer / I will burn / Let hate prevail / Enslave my soul / But I’ll never surrender”). In fact, this track might just go on to become the most iconic featured in the game. “Deathbed” follows suit and is another perfect match for DmC: Devil May Cry.

The licensed tracks have a much stronger focus on electronic manipulations than the original tracks. This is clear right from the opening track of the second disc, “Declamation”, an industrial scene-setter completely free of vocals. The band’s breakout single “Got Your Body Beat” is bound to captivate listeners with its hard breakbeats and distorted vocal hooks, while “Sent to Destroy” further showcases Combichrist’s ability to incorporate unique rhythms. It’s easy to imagine “Electrohead” and “All Pain is Gone” playing in an alternative club — both great blends of metal and electro elements filled with thrusting beats and crowd-pleasing vocals. A tongue-in-cheek addition is “What the F*** is Wrong with You”, the title track from Combichrist’s third album. It just about fits its context in the game, but the beats may be too pop-flavoured and the lyrics too contrived to have a wider appeal. But all in all, the second disc is a solid selection that nicely complements the first.

Summary

While credit must be given to artists from the original series for conceiving

Posted on August 1, 2012 by Chris Greening. Last modified on August 1, 2012.

About the Author

Chris Greening I've contributed to websites related to game audio since 2002. In this time, I've reviewed over a thousand albums and interviewed hundreds of musicians across the world. As the founder and webmaster of VGMO -Video Game Music Online-, I hope to create a cutting-edge, journalistic resource for all those soundtrack enthusiasts out there. In the process, I would love to further cultivate my passion for music, writing, and generally building things. Please enjoy the site and don't hesitate to say hello!

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