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Legaia Duel Saga Original Soundtrack :: Review by Harry and Dave
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Album Title: | Legaia Duel Saga Original Soundtrack |
| Record Label: | MOVIC | |
| Catalog No.: | MACM-2024 | |
| Release Date: | March 9, 2002 | |
| Purchase: | Buy at CDJapan |
Overview
Legaia Duel Saga and its accompanying soundtrack, the Legaia Duel Saga Original Soundtrack, have a lot to offer. The original score for this album was composed by Hitoshi Sakimoto, Yasunori Mitsuda, and Michiru Oshima. Although Michiru Oshima's efforts are feeble, Sakimoto's surprising change in style draws the attention away from this fully. Mitsuda is amazing on this album, and this is one of the many albums he collaborated between 2001 and 2002. This is certainly one his best works within that timescale, with a close rival being the Shadow Hearts Original Soundtrack. Every album has its classics, and a majority of them on this album are composed by Mitsuda "Fight, Then Riot!" for one, is an extremely inspirational opening. This album boasts a total of forty-six near perfect tracks, and it is a truly moving score for the Legaia Duel Saga game.
Track-by-Track Reviews
Disc One
1) Fight, Then Riot!
Mitsuda's "Fight, Then Riot!" opens the album passionately. A trumpet solo mesmerises the listener as we are introduced to a new section filled with movement. A piano takes the main part from now on, and its melody is vibrantly played in its upper octaves. Having said that though, the track has a distinctive minor key in this section, and the melody gives the impression of a situation of loss. We soon move into the riot section after the one minute mark, which features a piano ostinato based on a powerful chord sequence. An acoustic guitar plays the main melody here, and Mitsuda's vast imagination lets it ring out perfectly over every other instrument. This track is an epic, and it builds up perfectly as it goes along. The ending of the track is perfect, and from here we can move easily into the next track, "Wasteland of Far Away Places.". (10/10)
2) Wasteland of Far Away Places
Mitsuda takes a more laid back approach to this track, and with the use of relaxing instruments he puts the listener at ease too. A wondrous oboe melody plays to an acoustic guitar accompaniment in the track, and with a wood block happily tapping away the track is given an ambient feel. I have to admit that this track is so relaxing that it gives the image of a far away place perfectly. There are no sudden dynamic changes, and every note is carefully struck to enhance this image even further. The impressive thing is that when you listen to the track, it actually seems extremely simplistic, yet when you delve deeper you can really see that the melody is actually quite complex. This is another turn out for the books from Mitsuda, and although it isn't as impacting as "Fight, Then Riot!" this is another classic to start the album off with. (10/10)
3) Wind, Tree, and Water
This is Oshima's first and best track on this album. The track takes a minimalist style which really gives the perfect image of nature and vegetation. A distorted xylophone takes the main melody, and the oriental feeling given off by it relates to the Japanese spiritual philosophies of Wind, Earth, Fire and Water. The first thing that I think of when I hear this track is 'bamboo,' as the accompaniment is of a wooden timbre. This track doesn't develop as much as the previous two did, but that is what minimalism is about. The instrumentation for this track is perfect, as the full effects of ambience are brought out by the simplicity of the instruments. This is another good track, but perhaps not as good as the first two. (8/10)
4) Fragments of Soul
This is a highly active track, which rivals the best of themes on the album. In this track Mitsuda blends an energetic melody with a dark rhythm. The track develops in a bizarre fashion, and the peculiarity is heightened by the addition of a jazz organ to the track. Tension is a main feature of this track, and the dark rhythm makes sure of this. Each part is expressed freely, and there seems to be no instrumental boundaries. The string melody holds a lot of meaning in the track, and its disjunctive rhythm adds the main flavour to the surroundings. Although the development is great, there are a number of things which could have been done to turn it into an even more mastered track. With the simple addition of shock chords, the tension could be enhanced further, but with a lack of this here, the track doesn't quite reach maximum efficiency. (9/10)
5) The Repressed Soul
Sakimoto's first track on the album is an extremely mysterious one. Not only this, but it is impressionist as well. This style is completely new for Sakimoto, and this album brings out the best of his musical diversity. The initial melody in this track is eerie, and the accompaniment just enhances this even further. The same accompaniment features throughout the track, and its melody really enhances that of the parts moving above it. The use of wind chimes, cat bells, and ghostly noises all add to the originality of the track, and although it lacks any tonal centre on the whole, the melody is still distinctive. I would never have believed that Sakimoto composed this track, but it just shows how composers evolve and adapt over the years. (10/10)
6) God of the Evil Ones
"God of the Evil Ones" adopts a ritual-like vocal humming, which typically tribal percussive instruments then proceed to develop around. An organ becomes a main feature of the track, as it provides to be an effective instrument when it comes to linking sections together. I have never heard Mitsuda compose like this before, as the sophisticated melodies and harmonies just weren't his style a few years prior to this. Advanced xylophone melodies, a wonderful development, and a great amount of ominous noise makes this a special track from him. The best thing about this track is that every part seems to have its own distinctive role, which is really quite a feat, especially after noticing the vast use of instrumentation. Although the melody itself may remain simple, the overall effect of the track is extremely awing. (10/10)
7) Advancing to Faraway Places
This is another Mitsuda track, and it is an extreme change in setting from the previous track. This melody is light-hearted, and this is enhanced further by the use of airy and pure instruments. A wonderful piano melody features in this track, and we are really given a feeling of love and hope from it. The melody doesn't really develop that much, although there is a second section after the 1:00 mark which shows some variation. The simplicity of this track makes it all the more cuter and good to listen to. Mitsuda has obviously wised up on the instrumentation side of things, as this track is wonderful. I have no criticisms for him here, only praise. He has already shown us through so little tracks more diversity than he ever has with a whole album. (10/10)
8) Inaccessible Road
Sakimoto's "Inaccessible Road" is a hard one to review, but an interesting one to listen to. This track is one of the longest on the first disc, and this is all due to the amount of variation which is going on with the melody. There are a number of interweaving melodies in this track, and the only really distinct one is that of the very bottom bass line. The track creates a very confused state of mind, as all of the parts move so fast that it is hard to pick out more than two melodies at a time. With the use of simple dynamic changes and variations in timbre, the prominent use of rhythmic variety, and through a wide knowledge of instrumentation, Sakimoto creates a great track here, which although hard on the ears, is extremely effective. (9/10)
9) Eri & Mari
"Eri & Mari" contains a dark melody which slowly and carefully moves like a snake through grass. Strings frequently come in with a shrieking melody which is meant to put the listener on edge. The accompaniment stays relatively simple throughout the track, and it is only when we transition into a new section that it changes. The rhythms in this track are simplistic, as is the instrumental use. The timbre is very electronica based, as we have regular synthesiser noises put into the track. The melody is eerie for the majority of the track, but it also seems fairly upbeat in places, namely the 2:03 section. The track is creative, but it seems to lack any substance in the harmony. This isn't one of Sakimoto's best tracks, but it is still a good one. (8/10)
10) Avoiding Destiny
This is Mitsuda's final track on this disc. "Avoiding Destiny" is a terror track, but it seems to lack the substance that his tracks prior to this have had. Although the bass line is fast paced and battle-like, the way Mitsuda develops it isn't conventional for the effect he is after. The second section of this theme is better than the first, and it gives the impression of a gentler approach to the situation. An elegant guitar and sitar melody play in this section to add a bit of culture to the track. Mitsuda's battle tracks are amongst his most criticised ones, and although this isn't exactly a battle theme, we can easily see why they would be disliked. There is nothing awful about this track, and the only problem with it is that it is meant to represent a threatening situation, yet the bass line isn't effective enough for this to become a prominent feature. (8/10)
11) Decadence and Corruption
This slow paced track features an evil melody which represents the wicked situation met when it plays. The beginning of the track is militaristic, but it also has a dark edge added to it through its atonality. The track leaves this motif as we find a more ominous section in which falling string melodies dominate. We further deter from this into a section filled with suspense, almost as if a spy is watching the people in the area. There are sections of hope throughout the track, with the most distinct being at 1:20. The track then returns to the descending string section, in which thumping 'cello's play a dark under part. This track is nicely developed to create the feeling of wickedness and corruption. This is a good Sakimoto track, but we know that he can do even better, as after all, the track does sound quite empty in places. (8/10)
12) Knight's Kingdom
"Knight's Kingdom" is an ominously grand track from Michiru Oshima. This track marks the first of three Oshima tracks in a row, and this one is certainly the best out of all of them. The bass line stays the same throughout the track, yet this seems beneficial as its lack of development gives the track a steady beat to move against. The melodic line grows tedious, and there is no excuse why it hasn't been developed as much as it should have been either. The feeling we are left with is one of darkness and fear, but this track is truly un-inspirational to listen to. This track lets down the album slightly, but things do improve later on. (6/10)
13) Trust Tomorrow to the Wind
This Oshima track is downright tedious and uninventive. The accompaniment never changes in rhythm, and melodic changes are either abrupt or non-existent. The main melody in this track is equally as poor, as it just consists of rises and falls in an accordion part. The track has been given a typically Spanish feel; the bass rhythm, a use of castanets, and a use of an accordion all show this. When surrounded by so many good tracks, it just makes me wonder what possessed Oshima to write such a mind-numbing track. "Trust Tomorrow to the Wind" could have at least been made a bit more respectable before its release on this album, but Oshima's half-hearted attempt at producing a good melody is truly ineffective. (4/10)
14) Training Cave
This track adopts an Egyptian style, but the effect of this is soon lost due to the constant repetition of the bass line. The melody would have been effective if it weren't for this, but instead we are left with a brain so numb that not even the word 'rubbery' will constitute its texture. With two appalling tracks in a row, Oshima must realise how undeveloped his tracks are. Both in this track and "Trust Tomorrow to the Wind," the harmony is just left to rot in a pit of monotony. Adding chords could easily solve this, but Oshima doesn't even try. At least in this track he transposes the harmony to a new key every now and then. (4/10)
15) Already Rented
A fiddle plays the main melody in this folk-like track which is wonderfully upbeat at first. the fiddle melody moves in perfection with a quirky percussive accompaniment. As more and more string instruments are added to the harmony the track eventually moves into a new section. The new section at the 0:32 mark brings a new set of raw emotions with it. Here the melody and harmony are so much more sophisticated, and through this sophistication the track can sing out so much more. The accompaniment around this point is typically Spanish and it is full of flair too. We return to the original section, and the accompaniment dies down a lot more. This is an excellent track from Sakimoto, as it just seems to explore a wide amount changes in timbre. Following too poor tracks, this is an excellent change in style at a much needed time. (10/10)
16) Paying the Worthless War
A true feeling of despair is brought out by an extremely beautiful and expressive piano melody in this track. A glockenspiel accompanies the piano for the first part of the track where the piano passionately builds up as if to express a point. Careful chords, magnificent melodic movement, and delicious dynamics make this track all the more impressive. This piano melody is one of Sakimoto's most beautiful tracks, and it is only really rivalled on this soundtrack by "Ending," which was also wrote by him. Either way, this is a melodically impressive track, and the piano chords flow straight to your heart. "Paying the Worthless War" is magical. (10/10)
17) Setting of Glory
Any feelings built up whilst listening to "Paying the Worthless War" are most likely going to be destroyed by this track. This anachronous track doesn't fit the album at all. I see this as being a melodic mess, and it is almost impossible to pick out any decent melodies from it too. The start of the track is made up from chords being played in a 'startling rhythm.' Well, that was at least the intention. What we actually have at the start of the track are just plain old chords with no accents or any decorations added to them to make them sound even slightly effective. The next section is fast paced, but I really cannot tell what is supposed to be going on there. Cross-rhythms, tens of melodic lines, and a pointless drum beat all feature here. This section is ambiguous, and I certainly can't imagine this being played as a setting for glory. Oshima fails once again with this track. (3/10)
18) Forgotten Inheritance
Sakimoto has to set the pace once more, and by introducing the strangely eerie "Forgotten Inheritance" he manages to cover up for Oshima's mess with the "Setting for Glory" track. Although the track is only two minutes long, it is rather beautiful in the way that its simplistic development lets it continue without flaw. Shrilling flute melodies are added now and then to give the track a ghost-like aura, which is further magnified by actual vocal shrieks. This track is minimalist in the sense that it relies on hardly anything to keep itself from moving, which is always a step forward to making a good track. Sakimoto has proved to be even more diverse than Mitsuda on this disc, and I don't think I have ever heard him compose a more diverse set of tracks. (10/10)
19) Your Voice
Sakimoto's eighth track is a simple one which is composed for a set of magical chimes. The chimes reverberate to produce a sense of love, success, and even hope. Although the melody is wonderful, I can't help but feel that the harmony is lost in the chimes a little. Chimes were obviously the best instrument for the main melody, but a different instrument for the harmony would have perhaps been more appropriate. Apart from this, I see this track as being an angelic gift from Sakimoto, who really seems to get hold of his lighter side of composition in this album. It is truly amazing how far his abilities span, and I don't think that there is a single style that he has attempted and never mastered. This simple melody brings out the best of Sakimoto's emotions. (9/10)
20) Status Change
"Status Change" is another sweet melody from Sakimoto. As per usual, the piano takes a main role in expressing the melody, and over this melody we have some carefully played strings. The best thing about this track isn't its pure piano, its sweet strings, nor is it the overwhelming orchestration, but rather its simplicity. The melody is so simple that it can be hummed, yet it has been turned into an epic here. The repetition of the themes is obvious, yet it goes unnoticed as the track is extremely peaceful and relaxing. The orchestral accompaniment is extremely impressive, and the melody is explored to its maximum limits too. This is another awesome track from Sakimoto. (10/10)
21) Holy Banderasu Requiem Song
This is a synth vocal track, and despite the poor synth quality the melody is actually quite fitting. The track is in the form of a requiem, so it is slow paced, expressive and march-like. This is an interesting track, but as it follows a few great Sakimoto tracks, this one is undermined a bit. Sakimoto has composed this track well, but in contrast to tracks like "Status Change," and "Forgotten Inheritance" it just doesn't seem anywhere near as good. I'd rate it a respectable eight. (8/10)
22) Evil Desires
"Evil Desires" sees Sakimoto revisiting his darker side of composition. This track is wonderfully effective, and it contains the parts that Oshima's "Setting of Glory" was missing. The bass is wonderfully mastered to provide a sense of variety to the wonderful moving top line. The section around 2:20 is fantastic to listen to, as it sounds as if an enemy is marching closer and closer to you. The track fades, and when you return to your play list, you suddenly realise that you have nearly reached the end of the first disc. The middle of this disc drags, but it suddenly flies by as we come to the more enjoyable Sakimoto tracks. Sakimoto has a real talent for composition, and his tracks on this disc are wonderful. This one is no exception. (10/10)
23) Going to my Hometown
This is a slightly creative track from Oshima, but there is nothing really too special about it. The melody is cute, but as the harmony stays the same throughout once more, it would seem like Oshima is never going to learn what is going wrong in his compositions. If Sakimoto were to have composed this track the melody would be amidst a wonderful piano rhythm, and with a selection of exotic chords thrown in, he would have made the theme much more successful. Oshima has original ideas, but he never knows how to develop them. This is a notch up from his previous tracks, but it still lacks a sense of real musicality. (6/10)
24) Black Town
The melody in this track is an arrangement if the one from "Going to my Hometown," but in a minor key. This track is saddening and full of raw emotion. The slow pace of the track lets the true meaning of the melody penetrate the surroundings. The accompaniment to the melody is perfect, at first we have a repeated timpani beat, some sombre brass, and then after this a wonderful build up of a string harmony. This track has been orchestrated perfectly, and it really breaks your heart when you listen to it. Sakimoto has composed a fair few tracks for this disc, and most of them have been of top quality, but this one tops them all. This is a fantastically sensitive track. (10/10)
Disc Two
1) Lost Forest
After Yasunori Mitsuda opened up the first disc spectacularly with "Fight, Then Riot!", I would have expected Sakimoto to open up the second disc even better than Mitsuda. Was I right? Well, Yes and No. "Lost Forest" is, hands down, Sakimoto's best forest theme he's ever composed as it is beautiful, moving and can emotionally bring you to your knees. Musically, "Lost Forest" is more intelligent than "Fight, Then Riot" as its beauty and complex harmonies completely surpass Mitsuda's earlier disc opener. But what Sakimoto doesn't have in "Lost Forest" is something which grabs the listeners full attention. The feelings and emotions I receive when listening to this track don't even begin to describe how beautiful it truly is. "Lost Forest" is without doubt Sakimoto's most beautiful forest theme he has ever composed. A true fan of Sakimoto should not miss out on this composition as it combines his new styles with his old flair. A true masterpiece. (10/10)
2) Everyday Tranquility
He did it once with "Your Voice" and he's done it again! Sakimoto has taken the beautiful melody of "Paying the Worthless War" and has moulded it into a beautiful, lazy, and relaxing track that rivals the original composition. Sakimoto returns to the roots of the original composition by, once again, using the piano to play the main melody while adding the acoustic guitar to create the harmony. Ballad inspired and carefully composed, Sakimoto puts his new style and arranging abilities to the test by really crafting "Paying the Worthless War" into a much worthier piece which contains more structure. But even though it is a strong counterpart to the piano driven original, it doesn't have the impact that first drove me to like the original. Composition and originality, "Everyday Tranquility" proves a worthy addition to the Legaia Duel Saga Original Soundtrack. (9/10)
3) Maya
Mitsuda proves that his inspiration has not run dry through this track. One can definitely feel the emotion running through the classical guitar in this unpleasant track. The piano really conveys the depression exceptionally well, and although this track is full of sorrow, it is overflowing in spirit and heart. The melody isn't as complex as "Paying the Worthless War," but a melody doesn't have to be overly creative to be good. This track would be appropriate for a scene where the main character is walking around in a beautiful, lush town or environment with houses and people. In a majority of ways, this track is probably Mitsuda's most creative track on the Legaia Duel Saga Original Soundtrack because it bares no resemblance to any of his previous scores. Mitsuda only composed a limited amount of tracks for this Original Soundtrack, but what he added to it was truly inspiring. I can safely say that "Maya" is a depressingly divine composition, and one of the greats on the album, too. (10/10)
4) Boss' Pipe Organ
This was a totally unexpected composition from Sakimoto, and we learn through it that he is a fantastic organ composer. It is ultimately because of this track that Sakimoto created the obviously amazing "Far Cry (Coming Out to See the Sky)" from the Breath of Fire V Original Soundtrack that simply blew people away! "Boss' Pipe Organ" is different to other organ tracks in video game music, as it is light, aier and innovative, too. Most organ tracks are far too heavy, and they are nowhere near as experimental as this one. This track has one of those melodies which creates an indescribable imagery that makes you believe that it would work anywhere. Despite being his first fully organ track, Sakimoto deserves praise for creating what seems to be a perfectly incredible composition. There is no questioning how fantastic "Boss' Pipe Organ" truly is. (10/10)
5) Karavaia
Hardcore Sakimoto fans will be pleased to know that he hasn't lost his old symphonic style. As well as reprising his signature style, Sakimoto uses also a new exotic style and intertwines them both into a woodwind epical. At the beginning of the track, it sounds like the composition would be light based, but as the track seemingly progresses, it gradually changes from light and fun to dark and epic. Some composers have trouble transforming a track, but Sakimoto does it with complete ease and satisfaction with no signs of struggle or mistake apparent. The instrument that 'makes' the piece is with no doubt the flute. Not only does it help with the transition between the light and the dark, but it helps keep, mould, and contain the track into the masterpiece that it is. The melody is powerful and memorable as it works well with the chosen instruments and develops intelligently and immaculately. (10/10)
6) Tanza
Mysteriously, this track reminds me of Masashi Hamauzu's "Spiran Scenery," not because it was also a guitar duet, but because the introductory section of "Tanza" just sounds so similar. Like countless other tracks composed by Sakimoto on the Original Soundtrack, this is an airy and dreamy piece that could well and truly bring a tear to your eyes. Out of every Sakimoto track on this album, this is one of his most simple creative achievements, as it combines synth air-like noises and a flute with a beautiful guitar duet. It may not sound creative, but when you listen to it; all your problems will be answered. "Tanza" is inspiring, beautiful, and is a pleasure to listen to. I can't imagine the Legaia Duel Saga Original Soundtrack without it. (10/10)
7) Pirate's Pride
This track is amazing, and I would never have expected Sakimoto to compose it the way he has, either. Nothing beats a combination of a Celtic flute, flowing acoustic guitar, great bass, barely audible choir, and fitting Scottish bagpipes that are all arranged in an upbeat and happy style. The melody here is very light hearted but at the same time also very epic and innocent. It's like having two different personalities in the form of one. And I say what a bargain that is! Though the music is fantastic, the name of the track, "Pirate's Pride," is not. I just can't see a pirate or a thief running around with this theme in the background, it's too unusual. The synthesizer programming is also fantastic on this track as every synthesized instrument pulls its own weight and in superior style, I may add. "Pirate's Pride" is in every way a great melody and composition. Does Sakimoto even have a weakness?. (10/10)
8) Roars of the Sea and Sky
Very good, Amazing, extremely fantastic and super dooper, these are the words to describe Sakimoto's ultra talent-full previous tracks, but when you compare "Roars of the Sea and Sky" to those previous themes, you would realize that it doesn't stand a chance. Why is this? It has nothing to do with the fact that it sounds like an Oshima piece, but the reason is because it is incredibly bland. And not only is it band, but it is uninspired and mediocre making this piece more of a misery to listen to. But it does have its 'up points'. One good feature about "Roars of the Sea and Sky" is the fact that it would work greatly in the game as I can see the characters traveling on the sea. But other than this little feature, this track is just bland. Besides, the bagpipes are turned up so high that they hurt my ears. (7/10)
9) Barracks
Right after the previous 'dud' by Sakimoto, we are treated to another mediocre composition. But this track is different compared to the other Oshima tracks on the album because I'm forced to say that this track is actually passable, but only by a hair. Like every other Oshima composition on the Original Soundtrack, it has downright horrible instrumentation, a boring melody, and it has no spirit embedded in it, either. But the thing that makes it just passable is the imagery that it gives you, and this is completely the names fault. If it were called something else rather than "Barracks," like "Heaven" or "Happy Town," it would have failed miserably like the other Oshima tracks on the Original Soundtrack, so at least Oshima decided to do one thing right. (5/10)
10) Dream of Paradise
Sakimoto returns to his full force on "Dream of Paradise." I believe this is a first in Sakimoto's wide career, as he has never done a big band jazz composition before. What fun he must have had, pressing all those keys on the synthesizer. This track really inspires me as it shows how versatile and diverse Sakimoto is. I can really imagine a casino with lots of slot machines and sly, sneaky card dealers. My only gripe with this track is that the instrumentation is too muffled and cluttered, which prevents you from enjoying the full effect of the track. I would definitely call "Dream of Paradise" Sakimoto's most diverse composition ever, as nothing like this has been created by the composer before. Fun, grand and surprising, this track has it all, making it an enjoyable addition to the Original Soundtrack. (10/10)
11) Elegy of War
The track's structure is fairly simple with no complexities involved, being pretty much a two instrument track and some Indian chanting. The shamisen that hides amongst the percussion brings back horrible memories of Oshima's excuse for music, but strangely, it sounds appropriate for the track. But never mind the Shamisen, the percussion is THE big musical instrument here as it serves as the backbone of the composition and the violent imagery that it shoots at you. It just sounds so forceful and vicious being filled with rushing emotions and played with expertise, as shown in the percussion solo towards the end of the track. Luckily, with "Elegy of War" Sakimoto ends up with a worthy composition that is great once you have listened to it a few times. This is more than what I can say for Oshima. (8/10)
12) Soldier's Ordeal
This is quite the peculiar track for Sakimoto to compose. Though "Soldier's Ordeal" may not be particularly inspiring or great, it does prove to be an interesting style for Sakimoto as it combines a little bit of Celtic flair, a tad of cacophony, and a whole lot of techno and electronica. As odd as it may seem, because of this style, it is hard to determine what instruments are actually present in this track, but I can clearly say that there is a flute involved in it. The likeability factor of this composition isn't very high either because I'm sure a lot of people won't appreciate or respect the whole jumbled mish-mash theme that is present. "Soldier's Ordeal" is Sakimoto's poor effort at returning to electronica on an acoustic album. (7/10)
13) Shriek of the Earth
"Shriek of the Earth" has a damn good name as I can see the earth shrieking when someone plays this track. It is virtually the same as other Oshima tracks, so there is no point on discussing what is contained in the composition, just expect more pain and more dull composition. Definitely the worst aspect of this track is its length as it goes for almost four minutes and, personally, I can't stand an Oshima track for this length of time. So, do yourself a large favour and press that nice welcoming button on your CD player remote control. You will definitely thank yourself later. (4/10)
14) Heaven and Earth's Valley
Michiru Oshima returns for a second helping in a row here, but this time, she has actually composed a welcoming addition to the near-perfect album. This may come as a surprise to many, but "Heaven and Earth's Valley" is actually a good if not great track. This time, Oshima does well to deliver us a steady and semi-memorable melody that, if you think positively, may stick in your head. But I guess the most rewarding feature about this track would be that it isn't repetitive, which is a big bonus when it comes to Oshima tracks. The bouncy strings serve as the bass line and paints the image of a long and narrow valley which the heroes must travel down in order to progress in their journey, while the horns represent the lurking unknown dangers and mysteries. My only issue with this composition is that it could have had a slightly better ending then just sort of cutting off when it was reaching a climax. A strong effort from Oshima, although not enough to redeem for her sins, but still enjoyable nonetheless. (7/10)
15) Beast of Darkness
I never thought I'd see the day when Michiru Oshima would compose two decent tracks in a row! While the music in "Beast of Darkness" doesn't really live up to it's name, it does have some good qualities that are worth checking out. Oshima did have the right idea in composing a semi-dark and brooding piece but I don't understand why she arranged the piece in a semi-Indian style as it doesn't make much sense to do so. I'm reluctant to actually call this piece good as I still think that the instrumentation is bad and the development could have its improvements. If you managed to sit through all three of these Oshima pieces, I congratulate you, as it is not an easy task to do so. A decent end to Oshima's compositions. (6/10)
16) End of the World
After the previous three tracks by Oshima, this one feels especially refreshing. Sakimoto is responsible for creating this great piece and he really delivers an awesome theme. It has weird electronic sound effects, crazy orchestration, haunting choral voices, frightening horn samples, and an atmospheric feeling, too. The beginning must be the most frightening part of the track, as the strange whispering sound effects come in and haunt the living hell out of me. But then again, the horn samples are incredibly ferocious, especially through the inspiring echo that they break. Sakimoto must have been incredibly inspired when he wrote this track as it is probably his most frightening composition he has ever done. Another brainless victory by Sakimoto and his dominating style. (9/10)
17) God's Fist
I find it quite odd that the Japanese video game creators ask Mitsuda, who is widely known not to have fantastic battle themes or final battle themes, to compose the action sequences in Legaia Duel Saga, when clearly Sakimoto is a better candidate. "God's Fist" is clearly superior to the succeeding Final Battle theme, "Unique Persons Banquet," because in this track, Mitsuda clearly demonstrates evil and power in the most unique and awkward way possible. First off, the theme starts rather calm with the xylophone playing simple but effective notes for around 12 seconds before the body of the track begins. After a dominating and haunting chorus, an electric guitar and a poorly synthesized organ come in to bridge the gap between the ending and the beginning of the repeat. Overall, "God's Fist" is definitely one of Mitsuda's stronger battle themes after post-Chrono Trigger days, as it absolutely gives you a mild sense of danger, which, I may add, is quite hard for Mitsuda to do. (9/10)
18) Unique Person's Banquet
Mitsuda always goes for the 'interesting' approach when he creates his battle themes, and in "Unique Person's Banquet," he really shows how interesting he can get. Unlike the electric guitars and organs in "God's Fist", "Unique Person's Banquet" uses a more versatile set of instruments. The main melody is played and constructed by inaudible organs, harpsichords, crashing percussion, and a noble classical guitar. I can certainly say that it isn't a very enjoyable melody, as it can be annoying at most places. I can't say I enjoy the crashing percussion either as, although it is signature that Mitsuda composes a final battle theme with percussion, it doesn't add anything to the enjoyment of the theme. It is disappointing to say that "Unique Person's Banquet" is probably Mitsuda's worst final battle composition ever. (6/10)
19) Seeing the End of the Earth
"Unique Person's Banquet" was a disappointing final battle theme by Mitsuda, but luckily, Sakimoto picks up from where Mitsuda fails and creates an ultimately innocent composition that is guaranteed to win your heart over. When I first saw the name, I thought it would have been dark and epic, but upon first listen, I was proven ultimately wrong. "Seeing the End of the Earth" is one of the many tracks the feature consistent musical quality all the way through, from the painfully sad strings at the beginning to the emotional string and piano ending. Sakimoto arranges this track in his traditional symphonic style, and I must say that he made the right choice, too. The development is superb and it is completely satisfying in its short timeframe, leaving no gaps or flaws in its composition structure. "Seeing the End of the Earth" is another fresh and innovating track by Sakimoto that many will find heartfelt and divine. A perfect lead up to one of the greatest Sakimoto pieces ever mad. (10/10)
20) Ending
"Ending" is by far Sakimoto's most emotional ending theme. "Ending" starts off similar to "Paying the Worthless War" with a quick but dramatic piano solo that doesn't have the same depth or meaning than it's original piano counterpart, but still sounds just as good. The theme really kicks off when a beautiful choir enters to perform a short harmony alongside with the piano. It sounds so magical that it makes you want to cry in astonishment. But, like most good things, the choir soon disappears to be replaced by some emotional, majestic strings. The composition keeps building up, and nicely I may add, until crashing symbols enter where, in a daring move, Sakimoto decides to create an epic climax that is only rivalled by his famous renowned work "Climax of the Graylands Incident." Once the climax has been fulfilled, the track's direction changes completely as it drops the melody of "Paying the Worthless War" and changes into a more upbeat and heroic theme. Personally, I enjoy the emotional side of the composition as it is a superior form of showing Sakimoto's true passion for ending themes alike, but that doesn't mean that the second half is bad, it's just not up to standard with the first. "Ending" is most definitely a classic Sakimoto track that belongs in his personal 'Hall of Fame' of incredible themes. (10/10)
21) The Ones Who Obtain Tomorrow
This track is another of the good Sakimoto Celtic and exotic themes that are present in the album. I can certainly say that the composition is definitely arranged in the most addictive style found on the album. Who could possibly resist a fiddle and an addictive melody? The fact is that this was the 1:00 sample that first drew me to the album, and the full version certainly did not disappoint. Despite absolute love for this track, it does have its simple flaws, one being that it's quite short and underdeveloped — a pity considering that this would have made the best track if constructed to its full extent. The second problem is that it is annoyingly repetitive. But still, I hold this track as one of the most addictive and memorable on the original soundtrack. Now if only I can get it out of my head. (9/10)
22) Mark of the Vanquished
Sakimoto's final contribution to the Original Soundtrack is odd. I can understand that Sakimoto probably wanted to end it with a depressing feeling, but after listening to this track, all I can feel is emptiness. The track is structured right and develops well, but it doesn't lead anywhere special and memorable. I can imagine this track used as a Game Over theme where all the characters have been defeated, and it would have been perfect for a scene like this. "Mark of the Vanquished" is most certainly an interesting listen, but nothing really stands out enough to make it a must have on the album. (7/10)
Summary
Michiru Oshima's first dive into the Legaia series was back in 1998 with the prequel to Legaia Duel Saga, The Legend of Legaia. The game itself took the world by storm and was an extremely popular PlayStation game. The music was also heavily recognized by fans of the game, making Oshima an all round success. But what did true video game music fans think of the compositions? Well, most of them thought that it was average at best, but still, the Original Soundtrack to the game became an instant success. Now, we jump foreword to the year 2001, where Japanese Video Game creators are making the sequel to the popular The Legend of Legaia by the name of Legaia Duel Saga. Alongside the big changes in graphics and other various features, the creators also decided to hire three composers to score the game. They were the symphonic master Hitoshi Sakimoto, the world wide loved Yasunori Mitsuda, and Michiru Oshima who returned to arrange previous Legend of Legaia themes.
All I can say is that the Japanese Video Game creators decided to do the right thing by hiring two new faces to the Legaia scene. Sakimoto has completely caught me off guard with his new and improved styles on Legaia Duel Saga Original Soundtrack. In tracks like "Repressed Soul," "Inaccessible Road," "Already Rented," "Your Voice," and "The Ones Who Obtain Tomorrow," Sakimoto shows us more diversity than he has done putting all his other albums put together. You won't find many fully orchestrated tracks on this Original Soundtrack as Sakimoto clearly states in the linear notes that he wanted to go for a more relaxed, acoustic style. Outside of the game, his themes work incredibly well, keeping the old Sakimoto feeling, while loosely intertwining it with his improved styles. The vast majority of his compositions are sensational and inspired, but if I were to choose his best themes on the soundtrack, it would have to be "Ending." Sadly, though, not every Sakimoto composition is great, as themes like "Soldiers Ordeal" and "Roars of Sea and Sky" only provide half the enjoyment which one should get. Despite these two pieces, Sakimoto contributes by far the best compositions on the album.
Yasunori Mitsuda returns to the Game music scene with full force and he smashes it in your face on his first track, "Fight, Then Riot!" He definitely hit the spot with this track, as it is critically acclaimed by his fans and his haters. It was also largely based on his other opening theme, "Chrono Cross ~ Scars of Time," as the structuring is similar. Mitsuda, compared with Sakimoto, doesn't have a wide diversity, but that is easily made up by the quality of his compositions which are worthy additions to the Original Soundtrack and are great counterparts to Sakimoto's genius. It's a pity that I can't say the same for Oshima, though. She was the diabolical demon behind most of the album's faults. Now, if you want an example of bad composition, I suggest you go listen to "Setting of Glory" as nothing on the album is as bad as this track.
The Legaia Duel Saga Original Soundtrack is a double edged sword; swift, cunning, and divine, but also demonic, evil, and satanic. But needless to say, the beautiful compositions by Sakimoto and Mitsuda easily over power Oshima's tyranny and destruction, making this album a must have in anybody's collection.
