Zone of the Enders Original Soundtrack
Zone of the Enders Original Soundtrack
Konami Music Entertainment
April 25, 2001
Buy at CDJapan
Z.O.E. (Zone of the Enders) is a techno-based bonanza, which is enveloped in lush string arrangements and standout vocal tracks, and peppered with heartfelt piano pieces to make it standout as a classic soundtrack that could appeal to most listeners’ senses.
“Title (The Origin)” starts off the album in an ethereal vocal piece that sets the mystical and tense scene for “Introduction”, an ambient piece. The album builds up to “Leo Stenbuck (Break Out)”, which glides effortlessly between ambient and techno ambient as the build up continues to produce a nice string piece at the end before finally the soundtrack’s legs are let loose at full speed after a long build up. “Factory (Vivid Transparency)” is a synth-infested early 1990’s rave / techno hybrid that’s easy on the ears but great to stomp along to. It leads, as many of the tracks do, effortlessly into “VR (The Forth Dimension)”, which is a faster paced techno piece that’s full to the brim with grizzly sounds.
“Flowing Destiny (Piano Arrange)” takes the soundtrack to new uncharted areas as a beautifully pristine piano piece that’s understated and heartfelt. “Global 1 (Forever And Ever)” is more melodic than most of the beat-infused songs, with soaring electronic arpeggios fading in and out. After, the album slows down again for “Are You Alright, Celvice?” which encases each aspect of the album in one piece. “Boss (Neves)” gets the pace flowing again with more balanced hardcore beats layered with high pitched vocal lines and hard panned bass lines making for a panic fused song that will raise your blood pressure somewhat! “Celvice! This Way Quickly!” is a short and elegant piece lead by strings and piano with a slow beat that makes it unique in the album.
“Resident Block (SO2)” is a piece lead by a very muffled and quiet drumbeat showing underlying tension, while various sound effects and white noiz take the lead intertwining with a synth-guitar. “A Light With A Name Of Hope (Piano Arrange)” is short but since the main tune doesn’t really jump out on you, it does seem rather lost and easily forgettable. “Radar (Pandemonium)” returns to the SFX smothered techno / rave hybrid with some nice extra drum effects to make this track fluster you. This can also be said for “Global 2 (Virus),” which has some nice rolling wooden percussion throughout. “City (The Earth Light)” continues to edge the soundtrack towards the rave end of the electronic music scale with a piece like something you’d expect The Prodigy to release.
The soundtrack finds its ambient roots again with “Mountain (Who Can Read The Future?)”, a piece of two halves, one ambient and one very much full of discord and drama. “Rock Thunderheart (Function)” is a dramatic piece like a showdown. “A Light With The Name Of Hope” takes you on piano/violin piece that’s a beautiful bittersweet collaboration of a great tune that you’ll hear in different guises throughout the album. “You Need This Done To You” is a tension-building piece that comes across like a space oddity before dying before your very own eyes. “Flowing Destiny” is a continuation of the song that leads it into peace and tranquillity making you smile. “Ada (Promise)” is a piano piece that takes its time to tread its path, and sounds all the better for doing so in a downbeat performance. “Flowing Destiny (Memories)” is a full piano/violin rendition that is more heartfelt than the previous versions that have been sprinkled throughout the album so far.
“Neith (Risky)” screams danger and battle from the start as we hit the final boss themes. The intricate little details and drum rolls make this an exciting track, but it doesn’t sound full enough to be a real boss track, despite all its dramatics. “Viola (Silent Death)” is another piano theme that is made ten times better by its dramatic pauses and lack of rush to get anywhere; this makes it much more heartfelt and saddening as it reaches its low key crescendo. “Anubis (Impossible)” has the opening theme of the album running throughout and, instead of focusing on being intense, focuses on being giant in scale and overpowering. The piece is very refreshing for an end boss track and is unique again from the rest of the album.
“Juhuty Will Self-Destruct?” is an orchestral piece that highlights the fact this soundtrack can do anything, and do it above par with this bitter and subtle end. However, Z.O.E. saves the best until last, with three superb vocal songs to treat us to. Each one stands on their own two feet and are among the elite in the VGM ending songs. “Flowing Destiny – Ending Theme 1” is a perfect orchestral and vocal song with a nice pop beat helping it along the way. “Kiss Me Sunlights – Opening Theme” is an original song that borders the dance genre, but is bittersweet (like much of the album’s set pieces) with a hint of sadness in an otherwise very lively song. “A Light with A Name Of Hope -Ending Theme 2 / Celvice’s Theme” closes the album on a quiet note with a sensitive song and a beautiful voice.
Z.O.E. is a soundtrack that does everything and does it with panache. If you have a soft spot for dance / rave / techno music, I suggest you pick up a copy immediately. The rest of us, however, should only look at the other standout pieces and, if you love those, the rest of the album quickly grows on you around those pieces. A very pleasant surprise!
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Posted on August 1, 2012 by Simon Smith. Last modified on August 1, 2012.