Awesome Video Game Music: Typhon Mountain

I really enjoy all the God of War soundtracks; they all bring a slew of epic songs to the table that's practically unmatched by anything else out there. One of my personal favorites in the entire series is Typhon Mountain from God of War II.

All of the songs on the God of War soundtracks are epic of course, and Typhon Mountain is no different. One of the things God of War II specifically introduces to the series are the titans, and I feel that Typhon Mountain does a great job at showcasing the kind of gargantuan presence they create. Right from the start, the notes in Typhon Mountain sound big. You have deep, reverberating beats played from some heavy brass instruments and drums; these are big instruments for big creatures, and the titans deserve no less. It’s a great intro for such sizable characters, and this intro transitions nicely by adding some vocals and smaller horns into the mix. It all gels nicely to give off that ancient Greek vibe that helps define the rest of the soundtrack.

Shortly after the first minute, there’s a distinct, yet brief melody that takes control for a few gripping seconds. I love the basic rhythm of this short string of notes. The trumpets here may not be as big as what’s used at the beginning of the song, but they’re able to pierce through all the other drum beats and cymbal crashes to stand out all on their own. It’s a slightly different, yet equally epic take on what the titans represent, and hints at more to come. The song then backs off in intensity a little bit (or at least as much as a God of War song ever backs off), and starts building up for its climax. Using mostly the big drums and horns it started off with, it ramps up to an even greater moment. Right around the two minute mark almost everything else stops and the trumpets return, even louder than before, to execute their melody once more. This is my favorite part of the entire song, and serves as a nice exclamation on what kind of a sight the titans really must be. It’s almost like the song is stopping in its tracks, looking up at Typhon himself and exclaiming “Damn, you’re big!” It’s easy to get complacent in a God of War game when everything is so consistently ridiculous, but I love that little moments like these exist in the soundtrack (and elsewhere) to remind us just how spectacular the games’ sights and sounds really are. Typhon Mountain serves as a great showcase for the kind of experience you can expect in the God of War franchise, and is one of my favorite songs from a series known for having great music.

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Awesome Video Game Music: Field of Expel

Star Ocean: The Second Story is a fantastic game that too often gets lost among the horde of other similarly great JRPGs from that era. Not only was it a great game, but it had a few memorable songs that have stuck with me over the years, none of them more so than it’s main overworld theme, Field of Expel.

Like many JRPG overworld themes, Field of Expel is grand and epic. It’s bombastic in a way that speaks of pure adventure, and does a great job at representing the game’s mostly medieval setting. There’s a royal pomp to the horns and flutes that carry the main melody, which does a lot to define the game’s general tone. This is a pretty straightforward fantasy tale full of swords and sorcery, and the central plot revolves around your grand quest to save the world and its people from their fate. Field of Expel captures that essence and runs with it, though things cool off a little around the second half. The blaring horns and crashing symbols take a brief respite to allow for a more subdued tone. This is a nice, quieter section that I appreciate, even if that’s mostly because of the way it allows the song to build back up again. The intensity of that ramp up is probably my favorite part of the entire song. It’s the boiling point that brings all of its instrumentation and motifs together for one last exciting hurrah, before looping back to the beginning to start it all over again.

There’s nothing terribly complex about Field of Expel, which is just as well, because Star Ocean: The Second Story never becomes terribly complex itself; at least when it comes to its narrative aspects. Sure, there’s a weird sci-fi slant to things at times, but for the most part you’re dealing with very medieval fantasy happenings, and that is all represented nicely in this awesome song. Field of Expel is just a great, memorable overworld theme to accompany you on your epic journey in Star Ocean: The Second Story, and is a personal favorite as a result.

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Awesome Video Game Music: The Path You'll Travel

Meteos is a fantastic DS puzzle game, especially in those early days when good DS games were scarce. Still, it would hold up just as well today, and a lot of what made it stand out to me was the robust soundtrack. Each level’s theme was molded in part by your actions, but it’s the grand menu theme, The Path You’ll Travel, that takes the cake.

The Path You’ll Travel is super energetic in all the right ways. For such a quirky, oddball puzzle game that has little to no real story, the way the main menu theme leaps out never fails to put a smile on my face. It’s grand and epic in that space-faring “Save the galaxy!” kind of way, from the the blaring trumpets down to the rolling drums beats. I especially love when it breaks out (first occurring about 27 or so seconds in the above video), as if its announcing itself for a second time. It's so excited about it all! I simply find this to be a fun, jaunty theme that’s great to hum along with, and it made my experience with Meteos all the more enjoyable as a result- menus have never been this bombastic. And with that, there’s not much else to say. I just had to give a shout out to this awesome theme :)

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Awesome Video Game Music: Setting Sail, Coming Home

I absolutely love Bastion’s soundtrack. Each song is fresh and imaginative, and they all fit their respective levels in the game perfectly. The songs that sick with me the most, however, are the lyrical ones, especially Setting Sail, Coming Home. It’s more or less a simple fusion of the other two lyrical songs, Build That Wall (Zia’s Theme) and Mother, I’m Here (Zulf’s Theme), so I’ll focus on those two first. Be warned, spoilers lie ahead.

Both of these songs have a fair amount in common, not the least of which is their instrumentation. They use only a guitar to supplement the vocals, and this simplicity works in their favor. The world in Bastion has a fairly wild-west, frontier-like vibe to it, and the bare-bones instrumentation of these songs gives me the image of people gathering around a campfire in the wilderness, sharing songs and stories. They have a folklore feel to them, which can also be seen in their simple lyrics. The first, Build That Wall, is about nothing more than, well, building a wall. It’s a catchy, lighthearted tune that sounds like something passed down through generations, something hummed within a community as they go about their daily chores. Indeed, when you first encounter the song it’s being sung by Zia, who’s just sitting around minding her own business. It gives a nice insight into the culture of her and her people, and also fits the rugged world of Bastion amazingly well.

Mother, I’m Here is equally simple in its instrumentation, and for the most part its lyrics as well. To me it’s about going “back to my home, sweet home”, though I’m sure someone more artsy than me could dive deeper into the lyrics. But like Build That Wall, my big takeaway is the folklore nature of it and how it helps to flesh out the culture of Zulf and the Ura. The main difference between these two songs, to me, is the tone of them. Where Build That Wall is more upbeat and catchy, Mother, I’m Here is more somber, and almost a little brooding. I view this as an insight into the two characters’ differing ideals; Zia is more forward thinking, Zulf more stuck in the past. The lyrics point to this time dynamic as well. Zia is singing about something coming in the future, while Zulf is singing about going back home, returning to better times. This dynamic is the very focus of Bastion’s major plot point, and Setting Sail, Coming Home combines it all into one representative song.

Bastion’s climactic moment sees you completing the titular Bastion and deciding if you want to use it; do you want to turn back the clock to before the Calamity happened, or move forward and do the best you can in a post-Calamity world? The way the game unfolds makes this a very interesting question, but more importantly for our purposes, it’s the same dynamic that’s contrasted in Zia’s and Zulf’s themes. Setting Sail, Coming Home is literally a combination of the two songs. They play simultaneously, overlapping each other to great effect, which is an awesome way to summarize the game’s major theme. The instrumentation is also much more complete, featuring a lot of the musical qualities that permeate the rest of the soundtrack. As such, Setting Sail, Coming Home is just a fantastic summary piece that captures the spirit of Bastion beautifully. I’m always amazed when a single song can so accurately represent a game, and Setting Sail, Coming Home does it as well as any.

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Awesome Video Game Music: Banjoland

I’ve always loved the upbeat, whimsical nature of a lot of Rare’s soundtracks, and the Banjo-Kazooie games are arguably the best examples of this. The latest (and hopefully not last) game in the series, Banjo-Kazooie: Nuts & Bolts, has a wonderful orchestrated soundtrack that’s a ton of fun. One of the most memorable tracks to me is Banjoland.

Banjoland is first and foremost a trip down memory lane for those who played the original Banjo-Kazooie. The level itself is a theme park built in honor of Banjo-Kazooie, and its theme is a mish-mash of original Banjo-Kazooie (and some Banjo-Tooie) tunes. All of the songs it brings together were great in their original forms, and they are even better here thanks to solid instrumentation and sound quality. Everything just sounds great, and there’s a lot of variety in the instrumentation. This song is kind of just all over the place, which might be expected given how many tracks it pulls together, yet it manages to transition extremely smoothly from on segment to the next. My favorite segments will always be the ones that showcase a lot of horns. They’re generally upbeat and jaunty in that classic Rare fashion, and never fail to put a smile on my face. I especially love them in the Freezeezy Peak segment, which is still one of my favorites from the original game (along with Click Clock Wood, which I’ve already given tribute to).

Ultimately, it’s the simple fact that I like all of these songs from Banjo-Kazooie that makes Banjoland so memorable to me. I also love that Nuts & Bolts, as a game, is equally as carefree and joyful as the Nintendo 64 platformers were. That means that these songs still work as well as they ever have, and to have them all strung together in a giant throwback level is pretty rad. It’s a nice level and a nice fit for some genuinely entertaining music, which goes a long way towards describing why I like Banjoland as much as I do.

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Awesome Video Game Music: Aeris' Theme

I love it when a song can define a single, powerful moment. Be it in video games, movies, or even real life, the right song used at the right time can make an already memorable moment even more so. One of my favorite examples of this in video games comes in the form of Aeris’ Theme (I know it's technically "Aerith", but she'll always be “Aeris” to me!) from Final Fantasy VII. I should probably warn you that if you’re one of the two people left on the planet still concerned with Final Fantasy VII spoilers, there will be big ones here.


Aeris’ Theme, as the name suggests, is the character theme for Aeris. In this sense, it does a lot to define what Aeris is all about. Amid all the crazy things that happen during Final Fantasy VII, Aeris somehow manages to remain calm and collected the entire time. She is, in a lot of ways, portrayed as a beacon of hope and reason, someone who just might be able to save this poor planet. And she handles that role as calmly and as confidently as anyone could be expected to; she proves the strength of her character multiple times throughout the game. Unsurprisingly, her theme represents all of these same attributes. It is, first and foremost, a calm song. The instrumentation and chords are all very soft, and represent someone who accepts her role without complaint. At the same time, the notes here are strong and steady, and exude a lot of subtle confidence. This is clearly someone who knows what they need to do, and is at peace with their fate. The tone of the song represents this dynamic incredibly well.

These qualities combine to make Aeris’ Theme an extremely powerful song. It doesn’t shove itself in your face, but the way it swells and grows as it moves along can pull at your (or at least my) heartstrings. Relying mostly on the same basic melody throughout, the song starts out quiet and peaceful and then slowly builds up until it finally erupts in a grand swell of emotion. I see this as chronicling Aeris’ trials as they build during the game, ultimately culminating in that aforementioned penultimate moment at the end of the first disc; her death. And what a moment it is. As Cloud holds a limp Aeris in his hands, this song continues to play on, almost as if to try and convince us that we shouldn’t be sad (I kind of see it as a message from Aeris to Cloud, telling him to be strong). Aeris herself is the last person who would cry about her fate; she would simply soldier on with a smile. Her theme does an equally wonderful job at accepting its role and carrying on with a calm but powerful confidence, as if to remind us to never give in even in our worst moments.

In some ways Aeris’ Theme is a sad song, but I also find it to be a surprisingly uplifting one. Also, what's often lost in the drama of the memorable scene it accompanies is just how beautiful the song itself really is. The instrumentation, the core melody, the chords, the rhythm; I find it all incredibly beautiful purely as a song (I’ve posted an orchestrated version as well, which is my preferred version). That such a wonderful song is also so directly linked with one of gaming’s most memorable scenes is a fantastic treat, and does a lot to cement Aeris’ Theme as one of my favorite video game songs.

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Awesome Video Game Music: Rose Town and Nimbus Land

Super Mario RPG is awesome. So is its soundtrack. The game’s music may not do anything super special, but it’s a great example that you don’t always have to. Sometimes it’s just as good to offer up some simple, lighthearted tunes to supplement an incredibly fun game. That’s what songs like Rose Town and Nimbus Land are meant to do, and they do it well.

Rose TownNimbus Land

The thing I love about both of these songs is how unabashedly happy they are. Rose Town in particular essentially screams out “Let the good times roll!” It has a jaunty, big band kind of vibe to it that I really like, and it fits incredibly well with the carefree style of the game itself. Nimbus Land is similar in that it’s such a happy song, but its instrumentation and rhythm are much less bombastic than Rose Town’s. It’s more peaceful and mellow, but that also manages to fit the game in its own way. Super Mario RPG never takes itself too seriously, and neither do either of these songs. They both strike a slightly different tone, but they both manage to be lighthearted and fun in much the same way that Super Mario RPG is on the whole.

That’s about all I have to say on Rose Town and Nimbus Land. I mostly wanted to just give them a shout for being so awesome. I should (hopefully) have a more substantial entry up within the next week.

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Awesome Video Game Music: Hyrule Field

The Legend of Zelda games always have great music, and some of their most memorable songs occur in their various “overworlds”. With regards to Ocarina of Time and Twilight Princess, that would be Hyrule Field.

Ocarina of TimeTwilight Princess

If I had to describe The Legend of Zelda franchise in one word, it would most certainly be “Adventure”. I personally think that’s why the games resonate so well with so many people- a good Zelda game is about nothing more than a young boy having the adventure of a lifetime. That’s as pure and noble a premise as any, and is also what the overworld theme for practically every Zelda game is all about. The Hyrule Field themes from both Ocarina of Time and Twilgiht Princess are no exceptions, and I’ll focus on Ocarina of Time first. The song opens up with a great rift that immediately kicks it into gear, which is quickly followed by the fast paced drum and horn beats that set the pace for the song. In a way, it reminds me of riding Epona. The quick opening is reminiscent of spurring a horse into action, and the song’s basic beat has a galloping feel to it. Past that, the basic melody and instrumentation is very much suited for such an epic adventure. Everything is upbeat and grand in a way that’s fitting for a brave hero setting out to save the world.

At some point the song takes a turn. The notes and chords become discordant, and the melody becomes disorganized. There’s this high pitched shrill that’s particularly unsettling, and to me, this section of the song is representative of the struggles one would encounter on such an adventure. But it snaps back together almost as quickly as it spiraled out of control, and shortly after there’s a section that’s very peaceful in tone. I see this as representing the hero finally overcoming his or her trials, and quietly reflecting on the adventure afterwards. I feel like this quieter section really gives the entire song a lot more heart than it would have otherwise, and always makes me appreciate the scope of the adventure in a game like Ocarina of Time. The Hyrule Field theme just does a fantastic job at covering that scope, including all of the highs and lows you’d expect to experience on such a quest. That’s the main reason I like this song as much as I do.

I included the Hyrule Field themes from both Ocarina of Time and Twilight Princess because they’re both very similar. The Twilight Princess version follows an almost identical pattern as Ocarina of Time, and is equally great in the same way. They both hit all the highs and lows that these epic adventures contain, which makes them fantastic overworld themes through and through.

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Awesome Video Game Music: Best of Times

The World of Goo soundtrack is one of my personal favorites. The pinnacle track, Best of Times, is one of the soundtrack’s more dramatic songs. It swells back and forth between various highs and lows, making for a moving piece that’s as memorable as the game itself.

Best of Times opens up in subtle fashion, with quiet but clear piano beats. Vocal humming and/or chanting quickly comes in to give the song a fuller sound, and I find the chords they produce beautiful. Not long afterwards, a heavy, forceful drum beat kicks the song into gear. This is my favorite part of the entire song, as that single beat is a powerful transition that never fails to make my heart skip its own beat. Those drums continue to be the driving force for the remainder of the song, and in a way sound very primal. It reminds me of the natural way that the goo balls function. They rely entirely on themselves and nature (gravity, wind, etc.) to accomplish some pretty spectacular feats- no technology needed. They are incredibly capable and resourceful all by themselves, and in a way that’s also how you play the game. You have a very simple input method, as the interface is no more complicated than “point-and-click”. It’s a refreshing way to play a game that still manages to be complex and stimulating, and just goes to show how much you can do with so little. Best of Times is similar, as it’s able to get a lot of mileage out of simple methods, the aforementioned drums being one example.

Shortly after the drums come in, the song begins to swell dramatically. A lot of fantastic instrumentation and beautiful chords continue to ramp up in volume and intensity. As it nears a boiling point, the song quickly backs off to regroup before putting everything it has into one last hurrah. The ensuing segment brings some great vocal chanting to the forefront, and combines it with everything else the song has done thus far, dramatically building up to a fantastic fever pitch. This entire section of the song is incredibly exciting, and goes a long way towards representing the imaginative way that World of Goo operates on the whole. It’s wonderful and majestic in a way that really draws me in, exuding a level of genuine excitement that’s really great to see. Once it’s reached its apex the song finally cools off, reverting back to the somber style that it began with. In a way, this song is all about the ups and downs, as it constantly alternates between peaceful lows and breathtaking highs to great effect.

Best of Times, to my knowledge, never appears in the actual game. I only recall hearing it alongside one of the game’s trailers (as well as on the officially released soundtrack), and in that sense it is perhaps a better representation of the journey you take in World of Goo more than any specific moment of the game itself. Best of Times is a wonderfully dramatic and majestic song, and is one of my absolute favorites as a result.

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Awesome Video Game Music: Katamari on the Rocks

I love Katamari Damacy’s soundtrack. It’s completely over-the-top, eccentric and silly. The game is too, and I find it totally awesome that both the game and soundtrack go balls out with it, embracing the craziness. The game’s main theme, Katamari on the Rocks, is the perfect example of this.

From start to finish, Katamari on the Rocks is full of energy. Frantic drums beats, blaring trumpets, and goofy vocal chants kick the song off with a bang, setting the standard. I especially love the trumpets- it’s a distinct sound you rarely hear in video game soundtracks, but they work wonderfully here. They’re used in that “Big Band” kind of way, and when played to the song’s quick pace they're effectively upbeat. Combine that with the drums and vocals it’s easy to see that there’s a personality and energy here that’s pretty rare. Once the lead vocals come in it gets even more ridiculous. The lyrics are mostly in Japanese, meaning I have no idea what they’re saying (probably something nonsensical anyway), but every now and then the guy spouts a line in English. It’s a strange way to do it, but the song just rolls with it. In a way, the whole thing almost feels like the purest embrace of Japanese pop culture they could come up with. It’s all eccentric and colorful in a way only Japan can do, and all told Katamari Damacy is probably one of the most Japanese games I’ve ever played. That’s one of the reasons I like it so much, and is also why I like Katamari on the Rocks.

For a game where you play a tights-wearing midget whose goal is to roll up everything from thumbtacks to cows to rainbows in pursuit of rebuilding the universe, you’d probably expect things to be pretty crazy. Fortunately for me, as someone who appreciates pure craziness, Katamari Damacy delivers on this premise. Even better is that its soundtrack does too. Katamari on the Rocks is one of the best examples of the game’s bizarre Japanese nature, and that’s exactly why I enjoy it as much as I do.

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