This is my attempt at sharing my views on various things on the internet. I will review and blog on a wide arrangement of things. Mainly, I'll be talking about anime, games, music, and other media.
Included in the forth volume VHS of the Hoshineku Full House series is this little single. Published by the Walkers Company Inc. Vocals again from the talent group known as LISP, which have not appeared again till recently only on another soundtrack done by Nagaoka. I'm not sure if they are the same people though. A chorus joins in this time, name MILK, but no details on what the name comprises of.
01
My Boy Friend
4:28
02
そしてすべてが終わり
4:37
Disc length9:05
My Boy Friend takes the lead as being the fun song with its amazing opener. Certainly a huge touch of jazz is inserted for this one. LISP stand out more and each singer can be heard even when singing together. Despite the girly title, I don't feel it as being singled out for the female audience. Second song is composed by Hitomi Kuroishi, so it feels a little more conservative in terms of music and pace. Drums, vocals, and bass guitar are pretty laid back, which give off a romantic love feeling without pushing it too far as such. Both songs are pretty similar to each other, and definitely have a different tone then the singles from vol. 3. Nagaoka's own composition and arrangement for the first song is certainly stronger then his last in vol. 3, Dancin' Twilight.
Remember, this is the artists first real gig, at least as a solo artist. Before this it was a few image albums that seemed to be like he was shadowing or interning as for experience. I did not expect much difference in song making here, but behold there are some marked improvements. Specifically in Nagoaka's control of the vocals. Same vocalists but they feel more matured here and while the three vocalists of LISP sing over each other for most of the songs, each singer has a chance to take a few verses individually. There is no fear of high notes being struck bad or at all, and no problem with the cute sounds of the synth board overlapping the vocals. So I'm intrigued by how well Mr. Nagaoka has leveled his instrumentation and vocalists. I still place Honeymoon as the best song of the four. There is fortunately enough consistency between all of them. Both single discs are worth the place in anyone's collection large or small.
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 length100:04
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.
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.
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.
