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Mushihimesama Original Soundtrack :: Review by Dave
OverviewMushihimesama is a "Bullet-hell shooter" from Cave, and, along with Battle Garegga, is the epitome of twitch games, in which you have to navigate a small ship through narrow walls of enemy fire. Some players will see an endless procession of bullets blossoming out in hypnotic patterns, some will freak out at the impossible bullet patterns of the bosses, but a fair few may be left listening to the music rather than concentrating on the action. The music of the games from Cave has always been one of their best features, and with the same set of composers featuring on many of the albums, each track follows a distinct genre, too. The Mushihimesama Original Soundtrack takes a distinct electronica style, and with Hitoshi Sakimoto's company, Basiscape, being behind the work, the scores are generally successful. On this album, Manabu Namiki and Masaharu Iwata collaborate on most of the tracks, a whole thirteen in fact, and they seem to work almost naturally together. Sakimoto, Hosoe, Saso, and three other composers contribute to the album as well. Almost every Cave game has demanded near-impossible reflexes, and consequently, the music accounts for this tension, too. Each theme also has a sense of success about it, as the most dedicated gamers would always conquer each quest. Still, this uncovers one problem with the game, being that the music is hardly experienced by all. As a gamer, you would have to be very lucky to witness the last track, but with themes as rewarding as "The One Who Is Always in The Forest" spurring any non-death gamer on, the game almost becomes addictive. BodyThe first thing that should strike you about this album is its generally tension-filled atmosphere and electronic instrumentation. This idea originates from the graphical and highly technological nature of the game, and so, the album is almost an attempt to fulfil this image. Nonetheless, these themes prove to be quite poor, and the third track on the album proves to be the best representation of this. "Levi = Sense - Boss" takes a rhythmically congruent role, with its beats being very exact and announcing, so the track almost booms with fear. Namiki impressively sticks to the desired technological effect, but he achieves this with a few flaws left standing. It is probably the least successful boss battle on the soundtrack, as after a long listen, it is far too easy to get familiar with that all too grating bass line. A similar theme to this is "Is This How You Are? - Last Boss." Gamers may certainly feel disappointed when they journey through one of the hardest levels in the game to be greeted by a horrifically undeveloped track like this. The boss themes are the only real problem with the album, but in all fairness there is a good one, too. "Requiem of the Sky" features use of a perfect vocal harmony, and with it developing rhythmically as well as harmonically, it proves to be a great track to listen to. Even so, everything works ingame perfectly, as this undeveloped style has always been the case, with a few exceptions lying with the likes of Border Down. These themes may be considered poor if it was for an RPG, but seeing as though this is a shooter, they just do the job right. The rest of the album is a notch up from this, as with the first couple of themes emitting a strangely fun atmosphere, you can almost forget the failing boss battle themes. "Mushihime-sama, age 15 - Select" is the first theme on the album, and it is certainly amongst the most enjoyable themes, too. One can easily get used to the pleasing bass beats and the almost airy usage of a synth melody, but the most heightening experience of the track comes from its pop-like style. The track really gives the image of the fifteen year old Mushihime, as with the modern musical tastes of most young girls, it is almost fitting. Nevertheless, it is themes like "Shinju Heading to the Forest - Stage 1" that provide the most fulfilling melodies for the soundtrack. "Shinju Heading to the Forest - Stage 1" takes a fast paced, yet somewhat relaxed style, so it almost puts the player at ease with its soft vibes. The track is a great listen, and it is hard not to get addicted to its fun melodic line and its easy listening approach. Nonetheless, it is the wonderfully developed melodic lines of "The One Who Is Always in the Forest - Stage 5" that steal the show. This is what Namiki said when asked about these tracks: I guess you can't erase an image of a game that's been so ingrained. But, I think the significance of how you make [music] changes whether you knowingly make a melody that resembles that image, or go the complete opposite direction and make a track with your own "nourishment". — Manabu Namiki Still, the extremely fun themes are a nourishment too, and the game itself creates a number of different emotions that the soundtrack must obey. Tracks like "Furthermore, the Desert Must Also be Crossed - Stage 2" represent an almost fatigued sense of style, and although it creates a voyaging vibe, too, it becomes all too easy to linger on the falling, fatigued notes offered by the track. A similar track to this is "Walking on the Land of Flame - Stage 3 <Arranged>." his track starts off with a suspense filled introduction to represent the havoc of the situation, but this soon moves on to a gentler flute and piano section. The havoc evidently returns as we are plunged into a barrage of trumpets and timpani rolls, and soon, we are greeted with a drum kit which leads us out of the track with a grand atmosphere. This arrangement from Saso is the best of its kind on the album, as sadly, the rest are quite disappointing. "Like the Night of the Falling Stars - Stage 4 <Arranged>"'s artistically minimalist approach fails to capture the image of the original theme, and even more extremely, it fails to expand successfully on it, too. Nonetheless, we are greeted by some superb tracks as we listen to the album. "Mushihime-sama, age 15 - Select" and "Shinju Heading to the Forest - Stage 1" are the earliest representations of this, but it is the later tracks that are the better ones. The original of "Like the Night of the Falling Stars" is an inspiring and creative gem that features one of the best developments on the album. Over the four minutes and a half that it plays, the track explores a number of distinct atmospheres, and with the first being one of transparency, it is easy to settle down to it, too. The most pleasing assets of the first section are its sporadic harmony inputs and its highly purifying melody, as although each repeat a lot neither bore in conjunction with one another. The next notable track, "The One Who Is Always in the Forest - Stage 5," is easily the most pleasing on the album. Fans should greet this track in good heart, as, with its exciting trance introduction, it is bound to please. The most enjoyable factor of the track comes when it resolves thirty seconds from the end. We are flung into an incredible electronica section that should turn any heads around — this section is incredibly stimulating in nature, and furthermore, it provides a conclusive edge to the melody. Even so, having to wait around for four minutes to hear a melody receive its justice is a bit extreme when the level can be completed in half the time, so it comes down to the simpler gems of the album to satisfy the blessed modioli of the gamer. "Starfall Village - Name Entry" provides a really sensual and a natural vibe for the listener, as with its grasshopper-like sound effects in the background, the whole image of somewhere lucid is really given out. So, in comes "I Have a Favor to Ask," the ending theme for the album. Iwata claims that this was the hardest track to make in the following quote: "The hardest track for me was the ending. In the story, the village is saved, but something very sad has also happened. Considering Pricess Reko's frame of mind, it was hard expressing something that wasn't too sad." — Masaharu Iwata Admittedly, it isn't one of the grandest ending tracks that any dedicated music fan will come to experience in their lifetime, but instead, it offers a more complex and kosher vibe. The instrumentation is made up from airy instruments and twinkling instruments alike, so it is really from here that the heart of the game is shown. The melody flows nicely in a high-pitched attempt to get the emotions of the listener flowing, and truly, this is a great track. Furthermore, there is another notable gem offered by Sakimoto; sadly, "Location Test Song - Stage 1 <Test Ver.>" is his only track on the album, as, hearing its distinctively developed style, one really wants to hear from him. Unfortunately, this isn't possible, so the listener is left to listening to this enjoyable track which is very reminiscent of themes from his Radiant Silvergun Original Soundtrack + album released the previous year. SummaryAll in all, this is a great representation of Namiki's composing skills, and although some themes receive no development despite their potential, he and Masaharu Iwata provide us with a good score. The album obviously has its good sides, but unfortunately it has its downsides, too, with the battle tracks being one of the features on the album that are in need of an enhancement. Iwata and Namiki seemed to lack care in this department and it was almost as if they didn't have the potential to develop the themes further, but with Iwata's endless list of albums behind him, it is hard to believe that it is down to him. Namiki isn't really a renowned composer in these early stages of his career at Basiscape, so perhaps this lacking in good quality comes from him, here. Nonetheless, let us not linger on his bad attempts, but more reveal his true composing goodness. There are a number of tracks on this album that really ring out, and it is due to Namiki that they do. One such track is "The One Who Is Always In the Forest," a most pleasing track that features a full revivification of the melody. Nonetheless, this is one of the best albums to choose for an introduction to Namiki's style. Many game music fans dislike the electronica era and others think that such albums should come with health warnings, but the more open-minded individual would at least give this budding genre a chance before creating a false sense of delusion in their mind. The feature that most electronica tracks lack is a harmony, but even so, one asset that they hold over most other albums is a great sense of development. The Mushihimesama Original Soundtrack reveals one of the better tactical responses to this situation, as although it sticks to the electronica age fairly well, it features a slight bit of harmony, too. The key to these albums is this diversity, and I solely suggest that any hostility should be removed, especially when the style is even being developed to cater for the needs of fan appraisal. This album is amongst the better ones out there, and although it isn't a groundbreaking experience, it provides an entertaining introduction to the Namiki years and the electronica era. So, let me end with a quote from Namiki-san: "Since the backgrounds aren't mecha, but rather filled with nature, we were able to make some very interesting melodies. Please enjoy the medley of the story, visuals, and music of Mushihime-sama. Let's go liven up those arcades!" — Manabu Namiki Percentage Overall Score: 80% |
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