The session was recorded in a concert hall and Hamauzu listened to it from the balcony, saying afterward it was sad there was no audience, since it was so beautiful. Plays during the flashback of Snow and Serah at the fireworks festival localized versions. Sealed Area Hanged Edge - 3:26 Background theme for the Hanging Edge. These instruments often appeal to me and, thanks to the exquisite arrangement, their use is especially poignant here. I rearranged it so many times after that, but I could still not create something definite. A brief reprise is heard when Lightning watches Hope sleep in the Vile Peaks. Between Hamauzu's conventional orchestration, Mitsuto Suzuki offers an exquisite mix of atmospheric Kajiuran-style vocals and ethnic percussion samples.
At the same time, there are comparatively few tracks that display dramatic changes from the source material. As anyone who has listened to his piano arrangements will know, however, Hamauzu is capable of capturing listeners even in his most simple works with his affecting chord changes and emotional performances. Masashi Hamauzu's comments were originally posted in Japanese on Square Enix's official website for the soundtrack. Summary As I stated before, I wasn't the biggest fan of Hamauzu in general before listening to this soundtrack. I remember that I worked hard on this piece in order not to let people down. Plays at the Hanging Edge while playing as Snow, and at the Agora in Palumpolum.
Arranged by Ryo Yamazaki, this track actually serves as the normal battle theme of the game and is far-from-delicate. I originally thought to mix orchestra, guitar and drums in one piece and then cut out any unnecessary parts, however it turned out to be quite interesting and well-balanced, so I decided to use it as is. This song is not on the official soundtrack, but is available on her second album, Echo. Appropriately, it maintains the use of rich orchestrations and uplifting electronica featured elsewhere in te soundtrack. It's not bad, just nothing special.
Yamazaki to add a taste of rock music to it, and I don't think we could add such a sense of speed without him. With vocal melody, lyrics, piano accompaniment, chord names and guitar chord diagrams. Parts of the soundtrack have been recorded with the Warsaw Philharmonic Orchestra, orchestrated by Yoshihisa Hirano. While there is definitely some militaristic influences in the piece, I find the piano to really steal the show. It's a wandering piano, woodwind, and violin performance that shows the delicate and beautiful soundscapes that Hamauzu is able to create. The main tools used in producing the soundtrack were Digital Performer, orchestral samples by East West, and some standard software synth by Native Instruments, although a lot of live instruments were used, along with vocals in the many background themes of different locations.
The piece is quite epic, relying on strong percussion and brass to demonstrate a feeling of utter hopelessness. First plays when Fang talks about her past in Palumpolum, and also when the party views Oerba from the top of Taejin's Tower. I am so proud of my best buddy! I had about four demos and by incorporating ideas from Mr Toriyama the Director , I made one arrangement to another to form the piece. I find it a bit hard to listen to on a standalone basis, but I'm sure it is quite effective in-game. The percussion elements in this battle theme are quite powerful as well, when they are featured, and just accentuates the dissonant chords above. Though melodically sparse, the distorted features and grisly harmonies really give this one an edge.
In the end, this is one of those amazing themes that I was absolutely stunned upon first listen. Hamauzu really blew me away with his foray into the rock genre. The percussion is top notch, the acoustic guitar gives some great personality, and the piano work is absolutely to die for. Among the highest priorities was to stay away from recording the same music, this time on the piano. Since Hamauzu left Square Enix, it's hard to say where he will turn up next, but if he can keep up this caliber, he may just convert me into a full-fledged fan. Yet compared to past villain themes in the series, this one lacks in terms of memorability and individuality. Though a marvelous creation, I'm quite sad that the extended mix featured extensively in the game did not feature on the official soundtrack.
Adult Contemporary; New Age; Pop. Broadway, 20th Century, Musicals, Classical. Plays during the Scrap Processing zone in the Vile Peaks. As the theme progresses, it gets more peppy, as if to demonstrate a potential playful side of the character. It was originally a 90 second piece, but just before the recording, I thought the loop was too fast for a field track, so I quickly wrote the development part.
Unfortunately, I'm not the biggest fan of this one; it fits very well with the technologically advanced Cocoon and does feature some interesting electronic elements, though the autotuned vocals added on the second loop provide a novel yet disruptive feature. When I was making demos, people often said that the programmed elements were good enough because I made them in great detail. There are plenty of extremely exquisite themes here, particularly among the area and character tracks, both electro-acoustic and orchestral. It has a very heroic nature to it thanks to the bright nationalistic orchestration. Initially there weren't plans for several songs, but Hamauzu felt Mina's performance fit the game's atmosphere, which led to further recording.