![\"She](\"https:\/\/grafskaya.club\/mysst\/wp-content\/uploads\/2012\/11\/she-can-do-it-with-her-eyes-closed-300x225.jpg\" "\\"She")
<\/a>The first epithet that comes to mind concerning Motoi Sakuraba\u2019s soundtrack is \u2018incongruous\u2019. I actually found some of the faster-paced tracks to be borderline jarring when I first played, despite the fact that there\u2019s a thematic cohesiveness to the whole thing: a mix of old melancholy and harsh, driving rhythms. The first fast-paced track you\u2019ll encounter is \u201cTake a Flight\u201d, during the introductory sequence of the game. Then there\u2019s the battle music, \u201cFighting the Shadowy Gods\u201d (which is, however, fittingly dynamic), but also all the dungeon themes. In fact, the latter are all so consistently fast-paced that they just start blending together in a buzzing cloud of synthesizers after a while. Maybe it\u2019s just me, but I found that wearying, as if the music were artificially trying to maintain a constant pitch of urgency and enthusiasm. That being said, there are some genuinely catchy tunes in the lot, such as \u201cEvil Tales and Obligations\u201d, which plays in the Clockwork Mansion, with its darkly bubbling undertones, like churning, murky water; the more heroic \u201cOblivion\u2019s Joy\u201d, from the Oddrock Caves; or \u201cRay of Darkness, Ray of Light\u201d, from the Arkdain Ruins, with its meandering rhythm. There\u2019s also the decidedly groovy \u201cBlameless Thoughts\u201d, which kicks in once you\u2019ve cleared a dungeon (i.e. defeated its boss and picked up its artifacts) and is actually one of my favourite songs in the game. On the other hand, you have less successful efforts, such as the excessively messy \u201cAn Illusion of the Brainstem\u201d, from the Cave of Thackus, the genuinely irritating \u201cHard Chain Reaction\u201d from Lezard\u2019s Tower or the dissonant \u201cMission to Deep Space\u201d, which plays in the Seraphic Gate.<\/p>\n![\"Exotic\"](\"https:\/\/grafskaya.club\/mysst\/wp-content\/uploads\/2012\/11\/Exotic-300x170.jpg\" "\\"Exotic\\"")
<\/a>Luckily, apart from these hectic dungeon- and combat-related tunes, you\u2019ve got calmer music related to exploration and storyline. The World Map theme, \u201cDoorway to Heaven\u201d is still relatively fast, expressing both Lenneth\u2019s need to hurry in her task and the scope of the world she has to explore, but it\u2019s already less of an aural assault than some of the battle music. Apart from that, there\u2019s a whole array of slower melodies, like the eponymous theme of Valhalla, which fits the impersonal, solemn austerity of the place with its choirs and bells. Other tunes showcase the bleakness and hopelessness of Midgard, such as \u201cAll is Twilight\u201d, which accompanies several scenes in the game (including Lucian\u2019s farewells to Lenneth before being sent off to Valhalla), with its melancholy piano score laced with bitterly lonely flute strains. You also have the very similar \u201cBehave Irrationally\u201d, which notably plays during Yumei\u2019s death, but replaces the piano with a tinny, music-box-like tune; the quiet sadness of \u201cEpic Poem to Sacred Death\u201d, which accompanies Platina\u2019s death scene; or the slower, more ominous \u201cTomorrow\u201d, which plays during some of the scenes in Hai-Lan. Speaking of Hai-Lan, it also provides one of the few brighter-sounding tracks of the lot, with \u201cIn Water, Air and Light\u201d and its unmistakably Asian sonorities, which is the default ambient music in the city.<\/p>\n\n
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![\"She](\"https:\/\/grafskaya.club\/mysst\/wp-content\/uploads\/2012\/11\/she-can-do-it-with-her-eyes-closed.jpg\" "\\"She")
<\/a>The first epithet that comes to mind concerning Motoi Sakuraba\u2019s soundtrack is \u2018incongruous\u2019. I actually found some of the faster-paced tracks to be borderline jarring when I first played, despite the fact that there\u2019s a thematic cohesiveness to the whole thing: a mix of old melancholy and harsh, driving rhythms. The first fast-paced track you\u2019ll encounter is \u201cTake a Flight\u201d, during the introductory sequence of the game. Then there\u2019s the battle music, \u201cFighting the Shadowy Gods\u201d (which is, however, fittingly dynamic), but also all the dungeon themes. In fact, the latter are all so consistently fast-paced that they just start blending together in a buzzing cloud of synthesizers after a while. Maybe it\u2019s just me, but I found that wearying, as if the music were artificially trying to maintain a constant pitch of urgency and enthusiasm. That being said, there are some genuinely catchy tunes in the lot, such as \u201cEvil Tales and Obligations\u201d, which plays in the Clockwork Mansion, with its darkly bubbling undertones, like churning, murky water; the more heroic \u201cOblivion\u2019s Joy\u201d, from the Oddrock Caves; or \u201cRay of Darkness, Ray of Light\u201d, from the Arkdain Ruins, with its meandering rhythm. There\u2019s also the decidedly groovy \u201cBlameless Thoughts\u201d, which kicks in once you\u2019ve cleared a dungeon (i.e. defeated its boss and picked up its artifacts) and is actually one of my favourite songs in the game. On the other hand, you have less successful efforts, such as the excessively messy \u201cAn Illusion of the Brainstem\u201d, from the Cave of Thackus, the genuinely irritating \u201cHard Chain Reaction\u201d from Lezard\u2019s Tower or the dissonant \u201cMission to Deep Space\u201d, which plays in the Seraphic Gate.<\/p>\n