Gradius V Soundtracks

Gradius V Soundtracks Album Title:
Gradius V Soundtracks
Record Label:
Konami Style
Catalog No.:
LC-1742
Release Date:
February 27, 2009
Purchase:
Buy Used Copy

Overview

Few anticipated the choice of Hitoshi Sakimoto to score an instalment of their famous spacey shooter series Gradius, externally developed by Treasure. Given the previous music for series from Konami Kukeiha Club et al was characteristically light, old-school, and melodic, it seemed unlikely that Sakimoto would maintain this in favour of something more modern and personal. This was not an arrogant move by any means — as interviews reveal, the early Gradius scores were among the biggest inspirations for Sakimoto to enter game music — but reflects that Mr. Sakimoto stays true to his stylistic inclinations in the bulk of the music he creates. Contrary to popular belief, the rip-roaring electronica, percussive madness, and electro-acoustic fusions that are featured throughout the score are among Hitoshi Sakimoto’s earliest trademark, though this is nonetheless the most electronically-oriented of all his CD works. The consequence for Gradius V players is an energetic, intense, and unusual accompaniment to the game, but to what extent does it appeal on a stand-alone basis?

Body

“Opening” exemplifies what most elements of the soundtrack are about. Introduced by Star Trek-esque ethereal strings backed solely by a soft celesta and grungy electronic noises, there is a slight crescendo into a loud and sudden brass-dominated chord before the track undergoes a cinematic buildup in a style many will find familiar in Sakimoto’s Final Fantasy XII soundtrack. With the acoustic elements fully introduced, the track gains further momentum and briskly transitions into a section featuring oppressive electronic beats, arpeggiated synth lines, and gliding distorted melodic fragments, all of which are skilfully implemented. Belligerent low brass melodies, repeated and heavily accentuated string discords, and bombastic timpani rolls add progression and interest to the piece while reinforcing the track’s percussive emphasis before there is a brief and incomplete recapitulation of the initial sci-fi progression. The track is left looming on a suspended chord after gaining tonnes of potential energy to unleash at the listener in subsequent tracks. Despite losing points for originality (particularly with the direct sampling of an easily recognisable from Vagrant Story), it firmly sets the tone for the soundtrack while vibrantly interpreting one’s spaceship’s ascension into space. A marvellous fusion of sound.

There are eight stages in the game, each depicted with an impressive theme. “Universe -Stage 1-” represents the first level, and it is through the increasing depth in the harmony and electronica rhythm that this track finally gets going. It certainly becomes intense, with a variety of different synth instruments entering in a sporadic fashion. Another strong track is “Cell -Stage 4-” with its two-tiered structure. The first part consists solely of an enforcing drum rhythm and ambient synth noises, but the overall effect is to create a strange sense of action and suspicion. As for “Impregnable Fortress -Stage 7-“, the progressive bass line and central techno beats depict just the timbre needed for such a setting. Other tracks, including “Something Green -Stage 6-” and “Fortress -Stage 3-” are more reminiscent of Radiant Silvergun for the way they integrate dissonant orchestral parts to yield a more intense timbre. Finally, “Battleship -Stage 2 & 8- is near-enough identical to “Opening” except it loops the electronic section and omits the recapitulation; regardless of the strength of the original, the complete lack of contrast here has a slightly detrimental effect to the soundtrack.

Interestingly, Sakimoto revisits the series’ routes during the boss themes. He interprets the classic boss themes from the first three Gradius games in the “Bigcore” themes, combining the distinct chord progressions of the originals with his own hybridised musicality. “Teto Ran” is even better, since it is based on Salamander‘s completely infectious boss anthem. Also enjoyable are “Elephant Gear” and “Demo”, two thematically related themes that feature military orchestrations and electronic soundscapes respectively. “Last Enemy” is a two minute representation of turmoil against a robotic multi-legged being. The track isn’t as dark as the title suggests, and instead motivates listeners with military trumpets and strings. This has a rousing effect in the game and is a refreshing departure from the dark mood of the rest of the soundtrack. With a history of excellent ending themes behind him, Sakimoto hardly disappoints with “Staff Roll”. The sampled orchestra proudly presents the melody here, free of the electronic influence, closing the soundtrack on a suitably majestic note.

Summary

Overall, Sakimoto maintains his flair with shooter soundtracks in Gradius V, a finely implemented, invigorating, and experimental experience. It is an excellent accompaniment to the game and largely captivating on a stand-alone basis, made particularly notable for its fusions, percussiveness, science-fiction references, and technological manipulation of electronic sounds. The soundtrack lacks somewhat in the field of originality, often sounding like Soukyuugurentai‘s little known score taken to space and remastered, and its sampling of other works and direct reuse of “Opening” only exacerbate this issue. Digging deeper beyond the superficial, however, reveals a lot of thought and inspiration has been channeled into the work’s production in order to make it sumptuous, effective, and often original. But to what extent is it accessible? Those who enjoyed Sakimoto’s past shooter scores should love it, while those who have some appreciation of complex electronica in general may also find the score appealing.

Gradius V Soundtracks Dave Valentine

Do you agree with the review and score? Let us know in the comments below!

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Posted on August 1, 2012 by Dave Valentine. Last modified on August 1, 2012.


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