It’s hard to critique a certain style when there really is no one style that he sticks with. The resulting song is gorgeous and feels very authentic, and feels less concerned with following a certain genre than with simply getting a thorough, rounded musical idea completely written out.Ī success point of Sawano’s score is that there is something in it for just about any listener. “The Way,” one of the many lyrical songs on the album, incorporates the theme beautifully as an instrumental countermelody to the vocalist’s part. “Ares Boss” takes the same theme and plays it in delicate high strings against a heavier bass there is relatively little instrumentation in the middle octaves, which gives the piece a very open feel, especially after some rolls of dissonant piano make their way into the second half of the piece. “Mono X” is a more acoustic version of the theme, and drops some of the rock air in favor of a more finite and resolute electronic symphonia sound. However, the theme appears in other forms. It’s far more peaceful than many of the other tracks in the score, although only relatively so. “Re:Arr X” takes the same theme and sets it against a more orchestral backdrop. “Theme X” is an exuberant rock-and-strings track setting the theme in a dotted note pattern with a counter-melody in the brass and intermittent intervals of electric guitar riffs. “Boukyaku Keikoku” takes a more feverish approach not only is the percussion faster and more complex, but the melody (which is otherwise a simple scalar descent) is completely dotted and consequently off-beat – and insanely catchy.įor the main theme of the soundtrack, Sawano uses three notes spread across nearly the entirety of the score, skillfully rearranging, inverting, and varying the sequence into a multitude of styles. This would be the place that most pieces loop, but instead the percussion changes rhythm, although not dynamic, and the strings become more agitated and lighter. Halfway through, the piece fades off until even the buzzing bass is gone. I loved this piece: it is extremely straightforward and maintains a constant heavy rhythm throughout. I really love the way that the instruments counter each other, and the melody is nice. “RAOKIMERATERESIA” is another such track, beginning with a low bass electronic sound in the “buzzing” octave, and quickly rising to a striking rock-choral piece. It’s kind of atmospheric, but Sawano does a wonderful job of taking the score in a new direction without completely losing an identity. The electronics-and-strings feel really works. The resulting piece is great to just sit back with and take in. Eventually it morphs into a sort of chorale-turned-electronica track before finally ending with a string orchestra / electronica piece alongside some strange synth percussion. The direction of the piece is murky at first, but about halfway through it picks up with a slight increase in volume and rhythm with more lines of music. “Requiem” starts so quietly that I wasn’t even sure I had the volume turned up properly when I first heard it. This sort of breathless, adrenaline-packed mixed-instrument style is not limited to the opening. The piece feels authentic, and maintains a direction throughout its duration if we’re modernizing the sound of Xenoblade, this is the way to do it. The track is packed full with electric guitar, percussion, crazy chorals, and the end result is extremely exhilarating. “Codename Z” is a fantastic way to start the sequel score to Xenoblade, and Sawano does not hold back in letting listeners know what kind of statement he’s going to make in terms of the album’s energy. ![]() Whatever shortcomings this score contains, they are not present in the opening track. This approach came with both benefits and drawbacks in his behemoth of a final product, which spans an impressive four and a half hours in length. Sawano, currently well known for his extensive work on the Attack on Titan anime and movies, took a heavily electronic approach to the score and varied the tracks as much as possible, perhaps working to emulate the feel of multiple composers working on the same score as in Xenoblade. Newcomer to the Xeno universe Hiroyuki Sawano took the reins from ACE+, Yoko Shimomura, Manami Kyota, and Yasunori Mitsuda and created his own massive score to the game, which in itself is drastically modified thematically from its predecessor. ![]() The much-anticipated sequel to Xenoblade Chronicles came with a much-anticipated soundtrack, although not without some major changes. Xenoblade Chronicles X Original Soundtrack
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