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The Essential Games Music Collection Vol. 1
Composed by London Music Works
Promotional Release (2010)
Rating:
6/10
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More soundclips below provided by AmazonMp3
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“As a stand-alone album, THE ESSENTIAL GAMES MUSIC COLLECTION VOL
1. Is acceptable as an introduction for those completely oblivious
to the brilliance hiding within the video game industry. ”
|
Essential Questions
Review by Richard Buxton
Compared to the mighty film industry Gaming is still in its infancy,
constantly shifting and developing in its strive to discover its identity.
With each generation, the gaming industry takes another step towards an
all-encompassing grip entertainment, be it through hardware capabilities
or online functionality. From humble beginnings, games have grown at a
breathtaking pace in not only concepts and visuals, but in audio. Long
gone are the days when the sounds of a video game were dismissed as mere
“bleeps and bloops”, and today the industry can boast musical journeys
that can stand proudly beside their motion-picture counterparts.
The evolution of video game music has been punctuated by a number of
pivotal achievements that have defined the growth up until each of these
groundbreaking moments. Sticking in the memory are the likes of KOJI
KONDO’S early and forever-iconic themes for SUPER MARIO BROS. and THE
LEGEND OF ZELDA, TAPPI IWASE’S controversial METAL GEAR SOLID theme,
MARTIN O’DONNELL and MICHAEL SALVATORI’S platform defining HALO scores,
and NOBUO UEMATSU’S library of music for the FINAL FANTASY saga. These
examples, among countless other scores, can all be argued as monumental
works in the history of video game music, and so deciding what is truly an
essential theme is an almost impossible challenge to be tasked with.
Nonetheless, it is a challenge that LONON MUSIC WORKS has elected to
tackle.
The biggest question one faces when compiling such a collection is what
makes a theme or score essential? Is it simply the quality of the
composition? Is it the theme’s effectiveness when heard in context? Or is
it the influence the composition had on other composers and developers in
the industry? A glance at the tracklist will reveal suggestions that
LONDON MUSIC WORKS struggled with a similar question when the video game
themes to be recorded were discussed. The tracklist presents a collection
of both the classic and the new, offering a healthy balance of the
refreshingly modern, and nostalgically aged. As one ventures into the
“classic section” of the album, it becomes clear that a number of these
themes are deserving of a place in any essential collection, but it is the
recordings of more modern video game themes that are somewhat questionable
choices for such a collection.
Not only are a select few of the tracks questionable choices, whatever
merit they may have retained is reduced to critical status when a number
of musical issues arise. To the casual listener, these issues may go
unnoticed, but to anyone familiar with the themes on offer the inevitable
comparisons with the original recordings leaves LONDON MUSIC WORKS efforts
struggling for relevancy.
In order to establish just how successful each re-imagined is, a
track-by-track comparison and evaluation follows:
1) “MW3 Theme (From “Call of Duty Modern Warfare 3”)
One of the most successful tracks in its attempt of imitating the
original, this version of BRIAN TYLER’S theme for the juggernaut that is
CALL OF DUTY: MODERN WARFARE 3 is an impressively loyal recreation. The
initial brooding chopping strings and ominously stirring choir retain the
atmospheric build of the original composition in unnervingly faithful
fashion. However, as the action ramps up and the brass takes centre stage,
the piece loses a significant part of what made the opening moments so
impressively reflective of the original track. The brass has an almost
intrusive taint to it that lends the overall quality an artificial sheen,
a shortcoming that is prominent throughout the entire album.
It is this the selection of this track, and various others that the
question of “what is essential” arises. To call a theme from a game barely
four months old essential is a bold statement to say the least, and while
BRIAN TYLER’S theme is certainly very effective in the game, it is
unlikely to be a theme that stands above the hordes in the pantheon of
gaming history.
2) Gears Keep Turning (From “Gears of War 3”)
Another example of a relatively recent release, “Gears Keep Turning” (2)
is the reimagining of STEVE JABLONSKY’S theme for the final game in the
GEARS trilogy and an expansion upon his theme heard in GEARS 2. In many
respects, GEARS OF WAR 3 was, despite effortlessly pioneering game
mechanics and stunning visuals, a slight disappointment for the millions
who had anticipated its somewhat delayed release. JABLONSKY’S score and
for the second game of the series are unlikely to be remembered as
anything more than sufficiently rousing and bombastic considering the
game’s content, but his development on the theme in GEARS 3 brought things
down a notch. The grand scale of the theme in 2 loses a lot of its
tenacity and overpowering presence GEARS KEEP TURNING and the tempo is
increased dramatically. It is in this tempo change that LONDON MUSIC
WORKS’ effort is undone. The rhythmic motions that act as the base of the
piece are a combination of strings, vocals, and brass. Once again, the
weakness of the brass rears its head and gives the entire piece a faint,
but incessantly obvious, bumbling and bouncing demeanour that does nothing
for the stern nature of the theme.
Again, the choice of such a recent and anonymous theme in the grand scheme
of video games is questionable.
3) Nate’s Theme (From “Uncharted 2: Among Thieves”)
One of the defining new IP’s of the current generation, UNCHARTED charts
the irresistibly cinematic adventures of the limitlessly charming NATHAN
DRAKE. For a series founded on the love of an interactive-movie
experience, the UNCHARTED trilogy is one that requires, no, demands a
score to match its dazzling set pieces and lovingly clichéd cut-scenes and
story.
GREG EDMONSON’S original theme for the protagonist NATAHAN DRAKE boasts a
wonderful mixture of traditional and ethnic instruments as the percussion
drives the weaving brass and string sections, evoking images of the
countless vista’s that have greeted Nate on his incredible journeys. The
percussion heard in LONDON MUSIC WORKS’ interpretation is once again the
lively catalyst for the theme, but it is yet again the brass that is the
undermining force at work, its inefficiency bringing the entire piece down
every time it rears its head. The strings do their job, but the prominence
of the brass is truly too much and eventually overpowers whatever
positives the composition might have offered.
4) Ezio’s Family (From “Assassin’s Creed 2”)
While certainly enjoyable, for a series steeped in such a glorious
combination of history and myth, it could be argued that the music of the
ASSASSIN’S CREED series has never quite reached the empire of potential it
is surely nurturing. Veteran composer JESPER KYD certainly knows his way
around a video game universe by now, but rarely have the CREED games
explored any extensive thematic material that is begging to be unleashed.
Nonetheless, the series and the second game in particular offer moments of
true beauty. The choice of the piece “Ezio’s Family” is clearly an attempt
to break up the bombastic and more thematically robust overriding theme of
the album with its meandering vocals and strings. While sufficiently
evocative and ethnic, the vocal performance loses the innocence of the
original recording, instead appearing fuller, but ultimately less
effective. LONDON MUSIC WORK’S interpretation is devoid of any
brass-related interruptions and is subsequently one of the more tolerable
cues on offer, despite the obnoxious use of electric guitar in the closing
moments that fails to recapture the original’s effect.
5) Arthas My Son (From “World of Warcraft: Wrath of the Lich King”)
One of the more ambitious undertakings on the album, this cue from the
eternally musically invigorating WORLD OF WARCRAFT is an impressive
suite-like performance and a certain highlight. The original recording is
one of outstanding scope in both composition and orchestration, and an
electrifying piece of scoring. The depth heard on the LICH KING soundtrack
is hit and miss on this album as the solo vocal fails to ignite, and the
admittedly improved brass is insufficient in recreating the menacing tone
required of it. If this recording is even remotely pleasing to your ears,
the original recording is a highly recommended investment.
6) Finish the Fight (From “Halo 3”)
Perhaps the defining theme of the current console generation, “Finish the
Fight” was announced to the world on gaming’s biggest stage at E3 2006.
From that moment onwards, that effortlessly simple reverberation of the
piano struck a chord with gamers the world over as the theme of humanity’s
plight against the ruthless and destructive Covenant forces. HALO already
boasted one of the most iconic themes in gaming history, and MARTIN
O’DONNELL and MICHAEL SALVATORI swiftly thrust another alongside it.
The theme retains its legacy here purely by association and a healthy dose
of nostalgia. Otherwise, the theme struggles under the same failings as
the rest of the album. The inadequacy of the brass if unforgivable when
heard in a theme so reliant upon it, and the integral piano is reduced to
nothingness in its meagre and soulless performance. It’s a great injustice
for such an inspiring and aromatic theme to be rendered so impotent. That
sense of wonder that simultaneously entranced the Microsoft Press
Conference audience and the entire gaming community is almost entirely
lost and is thus reduced to merely pleasing in its association with the
real thing.
7) One Winged Angel (From “Final Fantasy VII Advent Children”)
Based on the theme of FINAL FANTASY VII’S infamous villain SEPHIROTH,
ADVENT CHILDREN’S rendition of “One Winged Angel” has since become one of
the most iconic themes to spawn from the 32-Bit era through its
appearances in not only the motion picture, but as the climax of the
world-renowned game music concert VIDEO GAMES LIVE and the FINAL FANTASY
concert DISTANT WORLDS.
Launching with that infamously oppressive rally of strings and percussion,
“One Winged Angel” retains its domineering demeanour; overbearing whatever
atmosphere its sound waves are unleashed upon. The aforementioned
obnoxious guitar finds its true cause in NOBUO UEMATSU’S composition,
complimenting the menacing choral chants and propulsive strings. While
being effective, the guitar still lacks the wild, impulsive, and volatile
temperament of UEMATSU’S original recording.
The LONDON MUSIC WORKS rendition is at its best when the soundscape is
dominating by strings as opposed to a mixture of brass and strings, but
the overall mix casts shadow over the hit-and-miss brass and highlights
the overall complexion of the piece well. The recording never achieves the
heights of the original, but still manages to rise above the majority of
the album in its attempt of recreation.
8) Theme (From “Battlefield 1942”)
The TERMINATOR derived BATTLEFIELD theme has undergone many changes over
the years, evolving from compositions solely centred on the 6-hit motif
and brass fanfare (1942, 1943), to the frantic and shape-shifting action
piece of BATTLEFIELD 2, to the even more TERMINATOR-esque theme of
BATTLEFIELD 3 that favour blunt force over any subtlety. The variation
presented here is very much in the camp of 1942 and the downloadable 1943,
blasting the unison of militaristic snares and brash horns, and evoking
vivid memories of all-out war on the dunes of Wake Island.
The 1942 “Theme” is arguably the most efficient in recreating the sound of
the original recording, sounding almost identical when the comparison is
based purely on memory. Directly comparing the two provides slight
differences, most notably being this version’s lacking of the percussive
punch of the original. It’s in this track that LONDON MUSIC WORKS’
questionable brass sound finally finds its home, sounding genuinely
effective as it navigates the warring melody.
9) Theme (From “The Curse of Monkey Island”)
The most easygoing experience on the album, “Theme” from THE CURSE OF
MONKEY ISLAND makes a nice rest stop within the endless bravado of the
album. The effortlessly affable theme of Guybrush Threepwood’s adventures
on MONKEY ISLAND preserves its bouncing tropical character through
identical instrumentation, but loses the swaggering edge of the original
as a consequence of obvious differences in final mastering decisions. The
inherent nature of the theme and its ethnic stylings is likely to be the
most divisive for listeners in that it not your typical theme, shunning
the stereotypical sheer masculinity and bombast of most violence and
action-centric games of modern generations.
10) Staff Roll (From “Final Fantasy VII”)
The most interesting aspect of this lacklustre theme is the apparent
unwillingness to improve upon the original. In most cases, the
compositions that this album’s tracks are based upon are at a sufficiently
high enough level of recording and technological quality to be called
definitive. The original recording of “Staff Roll” is hardly a marvel of
music technology in this day and age, and it would seem that this album
presents an ideal opportunity to expand upon the original, and bring it
into the modern age of video game scoring. The end result is an
amalgamation of retro synths and modern samples that prove to be too
similar to provide any interesting contrasts.
11) Intro (From “Turrican II: The Final Fight”)
Finally, LONDON MUSIC WORKS offers an interpretation that is arguably
superior to the original. The reimagining preserves the classic retro
synthetic sound in its irresistibly catchy melody and in the second half,
provides a dynamic, and crucially, satisfying duel between the retro and
modern sounds. The brass once again rears its head, but finds itself at
home in the grand scheme of the cue. The transition from solely retro to
the subsequent fusion is just subtle enough to retain the charm whilst
adding a pivotal edge over the original.
12) Theme (From “The Legend of Zelda”)
Venturing into the realm of true classics, the penultimate track on the
album is second only to the final track in legendary status. There’s
little more that can be said about KOJI KONDO’S immortal theme other than
that its legacy lives on through each and every ZELDA iteration, and
almost every video game music compilation on the planet.
The opening follows the formula set in the prior tracks, opening with
memories of 8-bit symphonies that slowly evolve into a fusion that just
about manages to survive the awkward sample choices in the brass section.
The theme can subsist on nostalgia and legacy alone at this point.
13) Ground Theme (From “Super Mario Bros.)
Potentially the most recognisable theme in gaming, and perhaps even more
so than the majority of film themes, KOJI KONDO’S theme for Mario and
Luigi refuses to die, and rightly so. The infectious nature of the theme
is eternal and is a reminder of the years in which video games were truly
innovating and finding their forms.
As is the trend, the 8-bit sounds dominate the opening section of the
piece before the orchestral elements emerge in a fantastic eruption of
joviality and reminiscence. The surfacing of the orchestral elements is a
tremendously gratifying and cathartic moments and is a contender for the
greatest element of the entire album. Such a classic theme deserves
nothing but excellence, and while the orchestral sounds begin to grate
towards the end, it’s worth it just to hear the transition between decades
of video game music trends.
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As a stand-alone album, THE ESSENTIAL GAMES MUSIC COLLECTION VOL 1. Is
acceptable as an introduction for those completely oblivious to the
brilliance hiding within the video game industry. For those familiar with
the games and scores of said games, this is merely a reminder that these
scores are out there and that they are worth your attention although
preferably when they are in their original form. In comparison to LONDON
MUSIC WORKS’ previous release MUSIC FROM THE TRANSFORMERS TRILOGY, there
is a gaping discrepancy in sound quality and faithfulness to the original
scores, and it begs the question of why this release couldn’t have been
treated with the same care?
Rating:
6/10
Track |
Track Title |
Track Time |
Rating |
1 |
MW3 Theme (Call
of Duty: Modern
Warfare 3) |
2:10 |
**** |
2 |
Gears Keep
Turning
(Gears of
War 3) |
2:55 |
*** |
3 |
Nate's
Theme
(Uncharted
2: Among
Themes) |
1:45 |
** |
4 |
Ezio's
Family
(Assassin's
Creed
2) |
3:54 |
*** |
5 |
Arthas
My
Son
(World
of
Warcraft:
The
Wrath
of
the
Lich
King) |
3:15 |
**** |
6 |
Finish the Fight (Halo 3) |
2:29 |
*** |
7 |
One Winged Angel (Final Fantasy VII: Advent Children) |
6:06 |
*** |
8 |
Theme (Battlefield 1942) |
2:36 |
*** |
9 |
Theme (The Curse of the Monkey Island) |
2:11 |
*** |
10 |
Staff Roll (Final Fantasy VII) |
6:52 |
** |
11 |
Intro (Turrican II: The Final Fight) |
3:44 |
**** |
12 |
Theme (The Legend of Zelda) |
2:36 |
*** |
13 |
Ground Theme (Super Mario Bros) |
2:14 |
**** |
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Total Running Time (approx) |
43 minutes |
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