And of course, who can forget " G o Straight," which will go down in history as one of the most memorable first stage tracks of all time? It's one thing to listen to great video game soundtrack it's another to listen to one so infectious that you're tapping your foot and humming its techno synth melodies long after you've turned your console off. You could probably mix " Dreamer"into a house music set and no one would bat an eye. The moody, swinging intro track sounds like the theme to Lethal Weapon from an alternate universe, properly setting the stage for an urban beat-down. Taking cues from 80s and 90s action flicks, Detroit house, and the Eurobeat scene, Koshiro worked magic on the Genesis' FM synth sound chip and crafted a soundtrack that's equally appropriate for the sidescrolling beat-'em-up as it is at home at any dance club. There's a reason why Yuzo Koshiro's name is front and center on the title screen to Streets of Rage 2 - it's because he's a god among video game composers. “ City of Commerce,” with its plucked guitar and shuffling doumbek beat, is the sound of crumbling buildings overtaken with vines. Calling Nier’s soundtrack new age is misleading, but it’s the closest categorization there is for its mix of soaring orchestral pieces, quiet Spanish guitar, and Emi Evans’ ethereal singing in what she describes as “ made-up futuristic languages.” “ Hills of Radiant Wind” sounds like a cut from Now That’s What I Call Music in the technologically advanced future of Middle-earth. What happens when Square-Enix tries to make an action RPG that appeals to both east and west, with different main characters for each region? A bizarre, pastoral post-apocalyptic adventure starring a violent hermaphrodite and a talking book soundtracked by some of the most moving new age music ever written thanks to Keiichi Okabe. Nier made no sense when it came out in 2010 and it doesn’t make any more sense now that it’s become a cultishly adored tributary in the stream of PS3/360 RPGs. And what's better, if you already know the God of War series, you'll spot some familiar bars: Composed by Bear McCreary (who's also the brains behind the 10 Cloverfield Lane soundtrack), he uses instruments like the hurdy-gurdy to really evoke that ethereal, Norse vibe. The new God of War is a powerful narrative that's only exemplified by its stunning score.
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Elsewhere songs like “Into the Thick of It,” whose sweet flute melody is driven by a synth melodica underneath, is the literal sound of climbing a giant tree that is the heart of the world. “ Fear of the Heavens” is a ruminative mix of strings and piano that takes on an air of hallucinatory mystery when it opens with, of all things, whale song. Making his own samples and stretching his skills to make songs that pulsated with the same teeming life that marked Secret of Mana’s verdant visuals, the result is a soundtrack that not only doesn’t sound like anything else from the era but one that doesn’t sound like anything else on the hardware. In making his first soundtrack, Hiroki Kikuta bent the Super Nintendo soundchip in truly bizarre ways.