Critically Velocity Original Soundtrack

Another quietly released album, with still no knowledge of its existence on the market, like most other albums anyway. Fortunately, there is no need to seek this soundtrack out, as it is available to the public to both Japan and America.  However, the game itself was never released in the states.  It's a shame, because judging by its cover to the left, it looks just as good as the F-Zero series.

        It was first announced as Rune Chase, changed when it didn't meet its release date and was given extra time to complete.  Though, let me talk about the game itself, as it does bare some features that do differ from Namco's main drive, Ridge Racer.  Although, instead of just being a bare racer, the player is allowed to roam freely on the roads.  There is the adventurous story mode, but they give the ability to explore the world. 

 

 At first glance, I was saddened that the music is mostly urban jazz.  There could have been the choice to go smooth jazz fusion like in Ridge Racer, but I guess they really wanted to steer away from that idea.  I was going to review the soundtrack per usual, by composer, but it seems each track continues right off from the last.  So, by the order of the track list, I have to take the straight road. 

 

Tracklist

01	Sunset Runaway-Ryuichi Takada	1:59
02	Invitation-RT	2:07
03	Toward a Difficulty-Junichi Nakatsuru	4:30
04	Break Time-JN	3:08
05	Memory of Passed Day-RT	2:10
06	Priyo City Part 1-Yuuichirou Noro	3:25
07	Priyo City Part 2-YN	2:56
08	Priyo City Part 3-YN	3:21
09	Priyo City Part 4-YN	3:31
10	Priyo City Part 5-YN	3:44
11	Crush ’em All-Jouji Nishigomi(George)	4:45
12	Racing the Storm-GN	4:01
13	Escape from Crisis-GN	4:25
14	Urban Striker-GN	3:42
15	Time Bomb-JN	7:02
16	Smooth Drivin’-RT	3:10
17	Through the Alley-Kakumi Nishigomi	3:47
18	It’s an Easy Work!-KN	4:13
19	Street Courser-GN	3:40
20	Blazing Vortex-GN	3:32
21	Stormers-JN	4:00
22	Funny Fat Guy-RT	3:19
23	Most Dangerous Game-JN	4:00
24	Master of Speed-GN	3:57
25	The Fixer-RT	4:00
26	Purple Highway of Daybreak-YN	5:03
27	Mission Complete-YN	0:03
28	Mission Failed-RT	0:02
29	Reward & Honor-RT	1:00
30	Depression-JN	1:32

Disc length 100:04
Symbols fiddle and soothing keys start off in Sunset Runway, followed by jazzy strings.  Ryuichi Takada does arrangement with the strings, added by brass, synth keyboards and explosive percussion.  The brass sometimes gets too brassy and jazzy, but only for a few moments.  This track is the opening cinematic theme.  It works well for a chase scene.  Still, jazz is not the right fit for a situation like that.  Invitation, I assume, is the menu theme, and what a welcome Takada presents.  Attractive are his keys, and the drums playing in the background, all representing a slow entry for a game about speed.

 

Nakatsuru gets the first in-game track, using the some strings as Takada's, only less abrasive. The brass covers over while the strings continue to repeat.  Toward a Difficulty, gets better when the drums start in.  A flute takes the lead somewhere in the piece, and rather adds to the situation of whats happening.  Back into the loop, Junichi takes his time and fleshes out his strings and brass, improvising the flute and horns the second time around.  At the abrupt end, we go into Break Time, to take a load off.  The pace is truly changed from his previous track.  Lounging around with cello strings and keys, while the sax sings on top.  This is not the Nakatsuru we normally hear, as he really lets the listener sit back for the first time. 

 

Takada picks back up in the same note.  Memory of Passed Day is similar to the menu theme, but he has more work for the percussion in the background.  I'm not too found of his use of brass.  The next five Piryo City tracks are done by a new composer to me, Yuuichiro Noro.  He takes a more subtle approach then the other two before him.  While the jazz style is there, the rhythm and blues are what he excels at.  The strings, sax, and drums work hand and hand, to deliver something new. Part 2 has some rock influence as well as some electronic sounds that hurt the piece.  When those sounds don't ring the ears, the electric guitar solo does make it worthy listen.  Part 3 picks up in the first parts attempt to go flamenco.  Again, the sax really makes me wonder if this is a racer.  At least, the strings and piano keys make me want to dance.  Part 4 continues the second parts rock style, opening up with electric guitar.  The drums make it feel sound like its heavy metal.  The driving guitar manages to keep me tuned in.  Getting back into another slow Spanish mood, Part 5 lowers the pace again, which makes this soundtrack wholly feel like elevator music.
 

Another new composer to discover is Jouji Nishigomi or George.  He is the first really offer an attractive piece right from the opening of Crush'em All.  It is a rockin' track, with hints of jazz.  The drums spell out the name of the track well.  George does have the same techno sounds as Noro, but implements them in listenable manner.  Racing the Storm doesn't have the flare as the previous, though I'm not being negative about this track.  The rock instruments maybe minimal, but the feeling of racing is there.  Percussion give the beat alongside the brass and keyboard solos.  Escape From Crisis combines the other two's style, resulting in a rather unique experience.  I won't go further into detail.  Urban Striker does some fancy conga and brass work, with some funky soul keys and bass.  Some of this music reminds me of the silly Mario Kart themes, in which a lot of this soundtrack resembles. 

 

Nakatsuru reappears in the seven minute brass/rock out, Time Bomb.  It is a piece that carries the weight for the entire soundtrack.  Even so, his shorter ones are a little more enjoyable.  Takada is back again for a Smooth Drivin', in which the percussion is what stands out most here.  Ryuichi really could work on his brass, since he managed in Soul Calibur 3. 

 

The next two tracks by Kakumi Nishigomi(whom I'm guessing is the brother to George, and if so the elder one) does not do so well among the composers here.  The electronic sounds covering entirety of the track can be a turn off while listening to Through the Alley.  Percussion are a plus, and the improvising of them near the end saves him from being a skip.  The drums pick back up in the next track and surround the ears in all directions, making it an easy listen.  Its an Easy Work has reminiscent feel of some song, probably Broadway back in the days.   I can't tell what instrument takes the lead, either guitar or keyboard, sounds electronic but adds flavor, as well as the trumpet solo that comes after it, before keys take back over.  The final solo is an electric guitar for sure, and keeps Kakumi in good standing with the crashing of the drums again before it fades away. 

The other Nishigomi takes the spotlight, opening up like in Crush'em All, and using an electronic sound that reminds me of the Sonic games.  Street Courser seems to take some of the rock elements of Kakumi's and finally taking the soundtrack into a better direction, if Nakatsuru hasn't done that yet.  Blazing Vortex uses the all too repetitive brass linings of Takada's. The techno beat and sound effects like the wind fill the background, while the sax takes lead.  Interesting slew of engine sounds actually make appearance here. 

 

Pace is kept up in Stormers, in which Nakatsuru uses funky guitars, a somewhat nice saxophone solo, synth keys, and a great drum arrangement.  Nothing truly outstanding, but he does have a certain uniqueness that is hip and fresh.  Takada changes it up a little, as Funny Fat Guy goes comical and silly.  It is more serious than what I just said, and can be stomached for the most part.  Alternating back to Nakatsuru with Most Dangerous Game.  The guitars play out a 007 spy-like tune, only he did not flesh it out as much as I would have liked.  At the halfway mark, a very fun interlude of brass that sounds like screaming women, gets the listener aroused, followed by a bluesy guitar solo. 

 

 

George Nishigomi changes around again, in a very different offering of Master of Speed.  This is truly a unique sound from the rest of the tracks so far.  It is mysterious, ambietic, and leveled to enjoy from start to finish.  Even Takada changes his sound and style, gaining him some credibility.  Both of these tracks have nice bass.  The Fixer has some annoying engine that sounds like its being pushed to its limits.  Percussion and strings are done well and brass is minimal this time.  Yuuichiro as well lays back and gets the listener to relax as well with Purple Highway of Daybreak.  Seems to be the games results theme.  Noro-san's best offering yet, and one jazz piece that can really open anyone's ears to the genre.  Ryuichi's Reward & Honor is a short version of Noro's last but not as attractive.  Nakatsuru as well, doesn't surpass himself or anyone else with Depression. 

 

Album:C+

I got this soundtrack strictly for my fanship of Junichi, but if I were to just download his tracks, then I'd be ripping myself off.  $7.99 for 30 tracks, spanning a total of 100 minutes is a deal really.  Much of the music felt out place, but then again I haven't played the game.  The videos on the net didn't help that feeling either, and the premise of the game certainly is not typical of a racer genre.  This is one of first albums that I find hard to recommend.  Even Nakatsuru, whom did offer his talents, still fell short and quite frankly, disappointed me.  I didn't have hopes for any of the others, especially Takada, but he pulled through in the end.  I am glad to not be afraid of the new players, Noro and the Nishigomi brothers(that is if they are bros).  The price is the real factor in owning the soundtrack, even though my review can argue against it.  No composer had truly failed here, but there really isn't much of absolute must listen to tracks. 

 

Also, I don't know what had pushed Namco to release this years after the games release, but hopefully this will set a trend for other games in their library that they didn't have official soundtracks for.  Such as, Soul Calibur Legends, Time Crisis, and Urban Reign.  The game may have not made it here for U.S. citizens, but at least we can download it.  

 

Tekken 6 for PSP Original Soundtrack - EP

Searching for more of Junichi Nakatsuru's music, it has lead me to this download.  I've never played the game, and I probably won't in any future, but there is no reason to not try the music.  This set of music was composed for the PSP release of Tekken 6.  Six tracks for only two dollars and 99 cents is a real bargain.  Why pay a dollar just for Nakatsuru's contribution when I can own the entire collection?  Here is what good that come out of that. 

01	Blue Wall-Akitaka Tohyama	3:14
02	Broken Ties-Tetsuya Uchida	1:46
03	Spider- Tetsuya Uchida	2:06
04	Rebirth- Yoshihito Yano	2:30
05	Synthetic Pulse Installation-Tetsuya Uchida, Yoshihito Yano	3:36
06	Side Winder-Yoshihito Yano, Junichi Nakatsuru	2:12

Disc length 15:24


Tohyama opens up with a techno beat in Blue Wall, and the flavor of the arrangement doesn't start until about 45 secs with some string-like instruments.  He then takes us back into the loop with the standard beat and electronic flips of sound. The second time around feels more accomplished.  Akitaka doesn't really push for any type of flare.  I don't think he really pushed his personality here.  It is a laid back kind of piece, keeping the same mood and beat throughout the three minutes.  The track is at least passable, but I don't know how techno music can create a fighting environment. 

Broken Ties is a hip rock tune with some nice vocal lyrics added to it.  Even with the rock elements, it doesn't mask the fact that its mostly techno-electronic sounds.  This track may feel repetitive, but it will over before that it grows annoying.  I've never experienced Tetsuya Uchida, but this is a good start.  Spider continues in a rock fashion, though he can't keep from the electronic sounds like Tohyama.  At least Spider does not loop.  The opener feels like menu music, but the rest of the track changes tone. 

Uchida is aided by Yoshihito Yano in Synthetic Pulse Installation, which is not too different from Akitaka's offering.  It is definitely more industrial in style.  The techno beat and sounds can be bothersome.  For two composers working together, one would expect to be lost in style, but I can sense none in this one.  It is the worst of the bunch, as it feels like a collection of sounds, hence the name of the track.  Somehow, they don't manage to completely turn off the listener.

Yano seems to fuse Uchida's rock style with Tohyama's trance in Rebirth.  Some guitar riffs like in Uchida's tracks, fill in the background, along with the bunches of synthetic sounds and hints vocals.  Yano has kept it simple, which should be the case for music that can be entirely synthesized.  However, Nakatsuru aids Yano in Side Winder, the best of the tracks.  The opener is dark and broody, almost devoid of any electronic synth.  Nakatsuru basically took Yano's Rebirth(with some of Uchida's guitar riffs) and gave it a rehaul.  The entire track changes rythym, giving the soundtrack a fresh feel.  Along with the ambietic synth, there is the guitar riffs, some electronic guitar-like rythym flows through, and the track doesn't fade off like the rest of them.

This album is very concise.  While the composers were at different ends of the spectrum, in terms of music style, the overall sound is kept similar.  Either there was electronica, rock, or the fusion of the two.  Uchida stood out to me the most for his attemptive creativity and guitar fusions.  As expected, Nakatsuru really offered a unique take on Tekken's techno-cratic style.

Being a digital download, I would like a better effort in terms of packaging.  Sure the music at a discount price is enticing, but what about a credits picture, or actual credits on the list of music.  Composer comments, bios, how the album came to be, etc.  There should also better album cover artwork.  It's too generic.  And being that it is a digital download, it doesn't get a packaged grade. 

Album:C-
Three bucks for six tracks(decent or indecent), I think is still worth the dip in the wallet.  I am satisfied, greatly in what I've heard.  What's lowering the grade, is the lack of, well... actual music.  The entire album seems to be done by sitting back, with only real assertion by Uchida.  There isn't enough volume pumped into the score.  Only Nakatsuru twists things up for a short period of time.  In my parting words, I would still make the purchase. 

Ace Combat 5: The Unsung War Original Soundtrack

Does this look like a Japanese import or an American product?

I am a huge fan of Namco's Soul series, specifically Soul Calibur II. Naturally, playing those games will open you up the audio.  Junichi Nakatsuru did a epic score on that game.  So recently, I decided to test his metal in his other works.   Although, here he is just a guest composer.  Offering only a few tracks per cd. 

There is certainly a ton of material in this 4-disc set.  I don't know where to start, so I'll go by composers.  Our Music Producer is Keiki Koboyashi, whom has his takes on the Soul series.  Tetsukazu Nakanishi serves as Sound Producer.  Joining our lead composers is Hiroshi Okubo and of course, the reason why this review is possible, Junichi Nakatsuru.  Takanori Goto performs the electric guitar on numerous pieces.  Most of which are for Nakatsuru's tracks.

Starting with the top, Keiki Koboyashi, is the main cook in question.  He offers us with some enjoyable appetizers, Briefing I and Hangar I.  The precedent leads with some funky bass and anthemic brass.  It can give the feeling of taking flight, before entering the actual game.  Hangar is also just hip, in that it welcomes the player with warm feelings, just before they get shot down.  Shorebirds takes charge with its cinematic opening.  Open War is the more darker than the previous.  Both feel like tutorial music, and thus accurately placed on the CD.

The real food is now served to us with Naval Blockade.  Mature strings and brass fill the ears with delight.  Amazing crash of the symbols and tense beats of the drums, make war seem like a good thing.  First Flight is taken from Ace Combat 4 and rearranged here.  Strings whistle at a high pitch, but I don't know if it does better than its electronic counterpart.  Still, it does not hurt Koboyashi's lineup.  Rendevous opens up with some tensity, gains even more with speed, and the additions of a somewhat electronic beat, for about a minute, until it loops again with more emotional string and brass.  Lit Fuse comes in crashing with the symbols and snare drums.  More strings are added and a nice touch of the triangle.  After a minute of preparing orchestrations, Koboyashi takes flight with high pitched sweeping of the strings.  He finishes his work on the first disc with Game Over.  

On the 2nd disc, Koboyashi offers some emotional pieces, but not without the help of synthesizers in Ice Cage and White Noise.  Both are beautiful and touching renditions of each other.  The precedent is painfully sad(in a good way) with its electronic beats and riffs.  While, the ladder is more mature in terms of instruments and orchestrations.  White Noise is more reminiscent of some Hollywood movie scores.  As this entire soundtrack is made with that in mind.  

Light harps open up in Free Flight.  Snare drums and violins follow in.  Heavier drums, symbols, and brass take charge for this patriotic theme.  Supercircus just satisfies my taste buds.  Action orientated with Takanori's rocking guitar.  Koboyashi's brass builds the intensity of the piece, making for a perfect combination.  Into the Dusk falls more in line with Free Flight, but is a Waltz-esque approach.  It slowly starts with brass and then piano.  Key by key, note by note, Koboyashi touches the soul with this piano arrangement of the main theme.  And then ending this disc with Final Options.  

Coming back onto Disc 3, Keiki follows up with his first Briefing and Hangar themes.  Though in the second Hanger begins more quietly, both are pure symphonic entree's.  Hangar arrangements us familiar to Jurassic Parks theme.  Wings of Unity has an interesting beat, excellent violins, string, and brass compilation.  Its not very different from the rest of his work, yet he manages to make each piece unique and independent.  If Supercircus were stripped of its guitar and fused with Lit Fuse and his hip Briefing I theme, Dead Ahead would be the result.  

The Unsung War is the main dish.  If all of the above was not good enough, well this one accumulates all that Mr. Koboyashi has done thus far into one grand course.  Powerful vocals seer through the ear, into the brain, and touches the soul.  This track alone made Mr. Keiki Kobayashi the star that he is.  The Warsaw Philharmonic Orchestra performs both The Journey Home and Razgriz.  Both feel like movie experiences.  They are sweet and melodic.  For me though, being true classical music, is not my favorite meal.  Razgriz is like the 7 minute wonder, but without the lyrics.  

Koboyashi only cooks a few short pieces for the Arcade version.  Both Clear and Victory Road are pumping, but it's at the end of the day feel to it, that won't get it stuck in the head.  This complete soundtrack has an amazing main theme, Razgriz, which should be listened to, from the get go.  

From Razgriz and on, I assume, are all BGM's to the cut scenes.  Open the War has some pace to it, but the rest are slow pieces, and they should be taken the time to listen to.  However, other than the aforementioned piece, these short tracks are good to breeze through.  15 Years Ago is an excellent piano arrangement, that could get repeat plays.  Blind Corridor is sleek and creepy.  It stands out as one of my favorites for Keiki's last moments in this 4-disc collection.  It does burst out in the middle and then at the end.  Fugitive Hope also starts out quietly, but gets down and dirty for whole entirity of it.  There is surprisingly just as much tension and percussion in these last tracks as in the in-gameplay music. 

Mary Elizabeth McGlynn adds her voice to The Journey Home, this game's ending theme.  The lyrics are precise, and she hits the notes accordingly, but the song doesn't reach to me.  I'm more attracted to the radio version, vocalised by Elizabeth Ladizinsky.  It is uniquely engineered to start out as if it's coming from the radio back in WWII.  Then gradually evolving into our modern day quality sound.  Interestingly, and oddly, Puddle of Mudd's Blurry has been included.  Never liked the song, but I guess its a nice add.  Nakatsuru finally does a song, well, at least a remix of Blue Skies.  Originally done by Hiroshi Okubo, and appearing on the two preceeding OST releases.  I did not like it at first, for it's jazzy tunes, but after a couple tries, Nakatsuru regains my respect.  Some composers can't do songs as well as instrumentals. 

Speaking of Okubo, he contributes a few main game pieces and most of the arcade themes.  All his arcade themes are hip, funky, rocking, and the antithesis of the main game tracks.  I'm kind of weary of the decision that King Records has made to put these fun tracks in together with Koboyashi's more serious cut scene music.  Although, they probably had no better way to do it.  Okubo's arcade themes, are not grand, but can be catchy and have the audience dancing.  They are all equally addicting, with Elemental Particle 2 giving the most jolt of electricity.  Although, he uses only instruments that a band would use, but that's what appeals to me most anyway.  

Given that only three console tracks were composed by Okubo, I would that is enough.  I keep thinking that it's game over when White Bird I opens up.  I do like the whole track, and the use of more traditional instruments.  Hiroshi certainly stands out from the rest of the crews style, but thats not so much a good thing.  For now, his work can belong with the entirity of the disc.  

Way over on Disc-3, is White Bird II, which has even more electronic sounds filling in with his anthemic score.  He does get a little emotional in the later half of the track, eventually making a solid effort.  It's atmospheric synths are not too far from Metroid Prime's score.  Heartbreak One takes drums kits and more electonic noises that will throw of any stereo system.  Which is normal for anyone who gets this type of music.  

Entirely new to me is Tetsukazu Nakanishi, who owns the first track, Title.  It took some to get used to, but Nakanishi has opened my ears even more.  He commands all of the enemy themes, which give off the more brash and clash then Kobayashi's themes.  In Wardog, its does not stray far from the music director's style.  Being one of the longer tracks on the first disc, it feels right at home as a tutorial theme.  Very welcoming and enjoyable.  I think he does better than Kobayashi.  Though, Tetsukazu lags behind in menu themes, for being less orchestral and more purely sounds.

Ballistic Missile and Demons of Razgriz immediately gets into Ace Combats shady side, as well as the rest he offers.  Scinfaxi picks up the pace with more percussion.  Hrimfaxi is the same but adds Goto's electric guitar skills.  All 4 pieces use sounds that would be found on the vessels used in the game, giving more depth and immersion into the setting.  I criticize those for being a little too similar, although they are still each unique.

Powder Keg and Front Line are more active and dark, really getting into the intense wars.  Nakanishi is not hesitant to use Goto in the latter.  Front Line is very attractive with strong drums and guitar works, for great action music.  Though, Desert Lightning gets even more gritter.  The entire piece is filled with dark chords of brass and the Devils Chord, I believe.  Takanori enhances the darkness with his talent.  

Desert Arrow has that fantasy element and emotional symphony sound that is being drawn from Hollywood.  Some nice percussion leading to a nice peak at 2:30.  Fortress takes a different route, mostly consisting of strings and brass.  The percussion enters around halfway, and things get more interesting.  Ancient Walls is not too different from the previous.  Not too attractive beginning, but after a minute or so, it grew on me.  The extra jingles made the difference.

The one characteristic about Nakanishi's style is his beat, its what sucks me in.  And his menu themes hold true to that, but lack any true reason to come back to them.  Solitaire and Closure are both fun tracks to listen to.  Solitaire has evil brass and a funky jungle beat.  Closure is just as the name suggests, with a strong beat, emotional brass, and intricately written piano arrangement.  Mr. Nakanishi finishes off strong, as I barely got introduced to him.  

I've saved the best for last, Mr. Junichi Nakatsuru.  Not one of his tracks disappoint.  In my opinion, I question the importance of having the other composers.  Junichi shows more love for instruments than anyone else.  Takanori Goto would have been sitting out, what with the one or two tracks that he has been slipped into by Koboyashi and Nakanishi.  

Ghost of Razgriz rips through air with Takanori's guitar.  The same air sounds are used in Grabacr.  Climatic from the begining, and soon adding more drama with a strong female vocal.  Winter Storm really takes the listener into the mountains for a hike.  Mask and 8492 is similar to the previous, but Nakatsuru knows how make it a worth while listen.  Chained Reaction's brass carries through as if truly racing against the clock.  All have some sort of dark piano keys imbedded between all the drama. 

Four Horsemen is one of the more attractive offerings that Nakatsuru-san has, and it's certainly the more brighter ones.  Hints of espionage acoustics, funky bass and electric guitar.  From start to finish, and the middle interlude with the brass, just make the earbuds melt in.  Reprisal is a five minute glory, that encapsulates all of Hollywoods grand themes into one track.  Takanori's guitar skills work symbiotically with Nakatusuru's brass.  The final minute's tearing oboe bring aesthetics back to music.

Blind Spot is surprisingly quiet, that is more heavy on electronic and computer synths.  Mother Goose I is the most relative and effective track in Ace Combats line up.  The entire track is a journey, changes landscapes between each minute.  Opening up with electronic synth the first, getting ready for take off, and then quiets down for landing.  Picking back up for an extreme and hostile situation, with heavy drums, strings, and brass.  Pure brilliance.  

http://www.squareenixmusic.com/features/liners/acecombat5.shtml

Above is a link to the composers commentary.  Nakanishi doesn't have much to say, or rather, want to say.  He's probably mad that he lost the director's position.  They all have some sort of enthusiasm toward the project.  Though, I find it weird to hear of Nakatsuru's cats and dogs.  Junichi points out correctly, that each composer's style had a chance to shine.

Namco always manages to package their discs well.  Completely the opposite of Nintendo.  Just the four disc compilation is enough to dish out $50.  The booklet is just as hard as the case.  Flipping through the pages is a cinch, and no need to bend the book.  Texts, color, and layout are all done just right.  Commentary is the only extra, if that counts as any.  They could have at least had English translations.
Package: 8/10

Yes, I made the right choice to buy this CD and venture out from my little circle of composers.  Each one here has a happy home on my hard drive.  It took me a year to accustomed to their work.  There is not one  composer that I cannot prefer over the other here.  Having not played the game, I don't see any track here that does not work outside the game.   Although there are some tracks that are passable and filler, but there are plenty to keep busy with and most likely repeat over and over.

There is no reason to miss out on this compilations, and at a fair price.  Original prints are still available just about everywhere.  http://www.cdjapan.co.jp/  is filled with tons of them.  I am a proud owner of this CD and the successors as well, with reviews coming up eventually.  Though I need to try and get the previous.
Album: A+