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Right. First and foremost, the wiki is NOT about you. NEVER use first-person voice on the wiki for any reason. Second, examples do not get blank lines between them. Third, these entries are packed with grammar errors and Word Cruft (for a start, it's not "timpani drums", it's just "timpani"). Fourth, there are numerous violations of the rules for Example Indentation In Trope Lists. And finally, this page isn't indexed.
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If you have heard of Hitoshi Sakimoto, then you might have heard of his music for VideoGame/RadiantSilvergun. Soukyugurentai is one of the games Sakimoto composed for before composing for Radiant Silvergun.
* The music for the first stage of the game, “Above Ota City,” is majestic yet powerful with its high-speed synth lines running up and down scales before electric piano and percussion lend the track a jazzier edge. For some reason, it seems that every shooter title of this era features a track like this for the first stage, reminding me immediately of VideoGame/RayStorm's soundtrack, which was coincidentally released the same year.
** It’s funny to think about this being Sakimoto’s work, because from time to time you’ll hear his characteristic orchestral progressions come through. This is particularly noticeable during the catchy chorus section in the first stage boss theme, "Kokubetsu Appears", and in the third stage, “Descent Into the Clouds,” where timpani drums and string pads push the piece forward like a medieval march. These are both easily my favorite tracks on the album, and the latter actually becomes somewhat of a main theme for the score.
* Back into the synthesized stuff, I love the third stage boss theme, “Hurricane Donryu,” which is a huge tank. The musical backing features a heavy bassline that reminds me of Vince [=DiCola=] while the heavy percussion retains the the “Descent into the Clouds” melody with the use of the timpani drum, which is a nice touch. The second stage theme, “On the Satellite’s Orbit,” sports a similar emphasis on bass, although chirpy synth accents and belltones give the piece an airy atmosphere.
* Later, the firth stage theme, “Intense Cold Oil Fields Base”, is interesting for the lengths that Sakimoto goes to bring out that cold soundscape. While the track is a hip-hop inspired electronic track, there are in fact jingle bells used in the percussion section during the chorus, which is a curious combination that I would never have expected.
* The final stage theme, "Break Into Mars" is simply epic, going back to Sakimoto’s orchestral style, reprising “Descent Into the Clouds” with intense string stabs and percussion all around. I was surprised to hear this theme again, but delighted as it’s such a powerful and memorable theme. It’s again featured in the timpani section of the mini-boss theme, "Bullet Storm", before it’s on to the final showdown with "Bakuzan the Ammo Dump", a somewhat mysterious and foreboding theme that [[MusicalSpoiler doesn’t sound like a final battle at all]]. That’s exactly the feeling that Sakimoto probably intended to impart, as there is a [[PostClimaxConfrontation second boss]] lurking after the first one, and without spoiling what it is, the final boss will be familiar both in name and in sound. [[labelnote:If you want to know the boss and track name]] [[spoiler: "Kokubetsu Reappears"]] [[/labelnote]]
* The emotional ending theme, “Finale and Retirement,” is quite lovely despite the broad synth strings used. It again reprises the “Descending Into the Clouds,” showing that, even early on, Sakimoto was a master at recrafting his melodies to suit different emotions.
* It’s then on to bonus material. “Inside the Jinsei Office” is a track that was featured in the Sega Saturn version of the game and was never previously released. It’s a pretty minimalistic track that’s more about atmosphere than memorable melody.
** Kimihiro Abe’s arrangement of “On the Satellite’s Orbit” is essentially an upgraded version with higher quality synths and the addition of some nice acoustic guitar work that lends the arrangement an organic edge. Mitsuhiro Kaneda’s “Descent Into the Clouds 10118 Mix” brings a monstrous synth bass and drum ‘n’ bass-style percussion and pairs it with orchestral strings and brass, creating an epic orchestral/electronic hybrid arrangement that will easily have you bopping your head. Yoshimi Kudo follows with “Above Ota City micro-cynic mix,” an eclectic combination of live jazz piano and bass with explosive drum ‘n’ bass percussion. The final track is a live set of “On the Satellite’s Orbit” from the EXTRA Hyper Game Music Event 2007. Don’t be confused by the fact that there was a track by the same name on the EXTRA – Official Compilation album released some years back; that track was a sequenced backing track while this track is the actual recording from the live event.
* The music for the first stage of the game, “Above Ota City,” is majestic yet powerful with its high-speed synth lines running up and down scales before electric piano and percussion lend the track a jazzier edge. For some reason, it seems that every shooter title of this era features a track like this for the first stage, reminding me immediately of VideoGame/RayStorm's soundtrack, which was coincidentally released the same year.
** It’s funny to think about this being Sakimoto’s work, because from time to time you’ll hear his characteristic orchestral progressions come through. This is particularly noticeable during the catchy chorus section in the first stage boss theme, "Kokubetsu Appears", and in the third stage, “Descent Into the Clouds,” where timpani drums and string pads push the piece forward like a medieval march. These are both easily my favorite tracks on the album, and the latter actually becomes somewhat of a main theme for the score.
* Back into the synthesized stuff, I love the third stage boss theme, “Hurricane Donryu,” which is a huge tank. The musical backing features a heavy bassline that reminds me of Vince [=DiCola=] while the heavy percussion retains the the “Descent into the Clouds” melody with the use of the timpani drum, which is a nice touch. The second stage theme, “On the Satellite’s Orbit,” sports a similar emphasis on bass, although chirpy synth accents and belltones give the piece an airy atmosphere.
* Later, the firth stage theme, “Intense Cold Oil Fields Base”, is interesting for the lengths that Sakimoto goes to bring out that cold soundscape. While the track is a hip-hop inspired electronic track, there are in fact jingle bells used in the percussion section during the chorus, which is a curious combination that I would never have expected.
* The final stage theme, "Break Into Mars" is simply epic, going back to Sakimoto’s orchestral style, reprising “Descent Into the Clouds” with intense string stabs and percussion all around. I was surprised to hear this theme again, but delighted as it’s such a powerful and memorable theme. It’s again featured in the timpani section of the mini-boss theme, "Bullet Storm", before it’s on to the final showdown with "Bakuzan the Ammo Dump", a somewhat mysterious and foreboding theme that [[MusicalSpoiler doesn’t sound like a final battle at all]]. That’s exactly the feeling that Sakimoto probably intended to impart, as there is a [[PostClimaxConfrontation second boss]] lurking after the first one, and without spoiling what it is, the final boss will be familiar both in name and in sound. [[labelnote:If you want to know the boss and track name]] [[spoiler: "Kokubetsu Reappears"]] [[/labelnote]]
* The emotional ending theme, “Finale and Retirement,” is quite lovely despite the broad synth strings used. It again reprises the “Descending Into the Clouds,” showing that, even early on, Sakimoto was a master at recrafting his melodies to suit different emotions.
* It’s then on to bonus material. “Inside the Jinsei Office” is a track that was featured in the Sega Saturn version of the game and was never previously released. It’s a pretty minimalistic track that’s more about atmosphere than memorable melody.
** Kimihiro Abe’s arrangement of “On the Satellite’s Orbit” is essentially an upgraded version with higher quality synths and the addition of some nice acoustic guitar work that lends the arrangement an organic edge. Mitsuhiro Kaneda’s “Descent Into the Clouds 10118 Mix” brings a monstrous synth bass and drum ‘n’ bass-style percussion and pairs it with orchestral strings and brass, creating an epic orchestral/electronic hybrid arrangement that will easily have you bopping your head. Yoshimi Kudo follows with “Above Ota City micro-cynic mix,” an eclectic combination of live jazz piano and bass with explosive drum ‘n’ bass percussion. The final track is a live set of “On the Satellite’s Orbit” from the EXTRA Hyper Game Music Event 2007. Don’t be confused by the fact that there was a track by the same name on the EXTRA – Official Compilation album released some years back; that track was a sequenced backing track while this track is the actual recording from the live event.
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* The music for the first stage of the game,
** It’s funny to think about this being Sakimoto’s work, because from
* From time to time
*
* The second stage theme,
*
* The final stage theme, "Break Into Mars" is simply epic, going back to
* The emotional ending theme,
*
** "Inside the Jinsei
** Kimihiro
** Mitsuhiro
** Yoshimi Kudo follows with
** The final track is a live set of
----
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If you have heard of Hitoshi Sakimoto, then you might have heard of his music for VideoGame/RadiantSilvergun. Soukyugurentai is one of the games Sakimoto composed for before composing for Radiant Silvergun.
*The music for the first stage of the game, “Above Ota City,” is majestic yet powerful with its high-speed synth lines running up and down scales before electric piano and percussion lend the track a jazzier edge. For some reason, it seems that every shooter title of this era features a track like this for the first stage, reminding me immediately of VideoGame/RayStorm's soundtrack, which was coincidentally released the same year.
**It’s funny to think about this being Sakimoto’s work, because from time to time you’ll hear his characteristic orchestral progressions come through. This is particularly noticeable during the catchy chorus section in the first stage boss theme, "Kokubetsu Appears", and in the third stage, “Descent Into the Clouds,” where timpani drums and string pads push the piece forward like a medieval march. These are both easily my favorite tracks on the album, and the latter actually becomes somewhat of a main theme for the score.
*Back into the synthesized stuff, I love the third stage boss theme, “Hurricane Donryu,” which is a huge tank. The musical backing features a heavy bassline that reminds me of Vince [=DiCola=] while the heavy percussion retains the the “Descent into the Clouds” melody with the use of the timpani drum, which is a nice touch. The second stage theme, “On the Satellite’s Orbit,” sports a similar emphasis on bass, although chirpy synth accents and belltones give the piece an airy atmosphere.
*Later, the firth stage theme, “Intense Cold Oil Fields Base”, is interesting for the lengths that Sakimoto goes to bring out that cold soundscape. While the track is a hip-hop inspired electronic track, there are in fact jingle bells used in the percussion section during the chorus, which is a curious combination that I would never have expected.
*The final stage theme, "Break Into Mars" is simply epic, going back to Sakimoto’s orchestral style, reprising “Descent Into the Clouds” with intense string stabs and percussion all around. I was surprised to hear this theme again, but delighted as it’s such a powerful and memorable theme. It’s again featured in the timpani section of the mini-boss theme, "Bullet Storm", before it’s on to the final showdown with "Bakuzan the Ammo Dump", a somewhat mysterious and foreboding theme that [[MusicalSpoiler doesn’t sound like a final battle at all]]. That’s exactly the feeling that Sakimoto probably intended to impart, as there is a [[PostClimaxConfrontation second boss]] lurking after the first one, and without spoiling what it is, the final boss will be familiar both in name and in sound. [[labelnote:If you want to know the boss and track name]] [[spoiler: "Kokubetsu Reappears"]] [[/labelnote]]
*The emotional ending theme, “Finale and Retirement,” is quite lovely despite the broad synth strings used. It again reprises the “Descending Into the Clouds,” showing that, even early on, Sakimoto was a master at recrafting his melodies to suit different emotions.
*It’s then on to bonus material. “Inside the Jinsei Office” is a track that was featured in the Sega Saturn version of the game and was never previously released. It’s a pretty minimalistic track that’s more about atmosphere than memorable melody.
**Kimihiro Abe’s arrangement of “On the Satellite’s Orbit” is essentially an upgraded version with higher quality synths and the addition of some nice acoustic guitar work that lends the arrangement an organic edge. Mitsuhiro Kaneda’s “Descent Into the Clouds 10118 Mix” brings a monstrous synth bass and drum ‘n’ bass-style percussion and pairs it with orchestral strings and brass, creating an epic orchestral/electronic hybrid arrangement that will easily have you bopping your head. Yoshimi Kudo follows with “Above Ota City micro-cynic mix,” an eclectic combination of live jazz piano and bass with explosive drum ‘n’ bass percussion. The final track is a live set of “On the Satellite’s Orbit” from the EXTRA Hyper Game Music Event 2007. Don’t be confused by the fact that there was a track by the same name on the EXTRA – Official Compilation album released some years back; that track was a sequenced backing track while this track is the actual recording from the live event.
*The music for the first stage of the game, “Above Ota City,” is majestic yet powerful with its high-speed synth lines running up and down scales before electric piano and percussion lend the track a jazzier edge. For some reason, it seems that every shooter title of this era features a track like this for the first stage, reminding me immediately of VideoGame/RayStorm's soundtrack, which was coincidentally released the same year.
**It’s funny to think about this being Sakimoto’s work, because from time to time you’ll hear his characteristic orchestral progressions come through. This is particularly noticeable during the catchy chorus section in the first stage boss theme, "Kokubetsu Appears", and in the third stage, “Descent Into the Clouds,” where timpani drums and string pads push the piece forward like a medieval march. These are both easily my favorite tracks on the album, and the latter actually becomes somewhat of a main theme for the score.
*Back into the synthesized stuff, I love the third stage boss theme, “Hurricane Donryu,” which is a huge tank. The musical backing features a heavy bassline that reminds me of Vince [=DiCola=] while the heavy percussion retains the the “Descent into the Clouds” melody with the use of the timpani drum, which is a nice touch. The second stage theme, “On the Satellite’s Orbit,” sports a similar emphasis on bass, although chirpy synth accents and belltones give the piece an airy atmosphere.
*Later, the firth stage theme, “Intense Cold Oil Fields Base”, is interesting for the lengths that Sakimoto goes to bring out that cold soundscape. While the track is a hip-hop inspired electronic track, there are in fact jingle bells used in the percussion section during the chorus, which is a curious combination that I would never have expected.
*The final stage theme, "Break Into Mars" is simply epic, going back to Sakimoto’s orchestral style, reprising “Descent Into the Clouds” with intense string stabs and percussion all around. I was surprised to hear this theme again, but delighted as it’s such a powerful and memorable theme. It’s again featured in the timpani section of the mini-boss theme, "Bullet Storm", before it’s on to the final showdown with "Bakuzan the Ammo Dump", a somewhat mysterious and foreboding theme that [[MusicalSpoiler doesn’t sound like a final battle at all]]. That’s exactly the feeling that Sakimoto probably intended to impart, as there is a [[PostClimaxConfrontation second boss]] lurking after the first one, and without spoiling what it is, the final boss will be familiar both in name and in sound. [[labelnote:If you want to know the boss and track name]] [[spoiler: "Kokubetsu Reappears"]] [[/labelnote]]
*The emotional ending theme, “Finale and Retirement,” is quite lovely despite the broad synth strings used. It again reprises the “Descending Into the Clouds,” showing that, even early on, Sakimoto was a master at recrafting his melodies to suit different emotions.
*It’s then on to bonus material. “Inside the Jinsei Office” is a track that was featured in the Sega Saturn version of the game and was never previously released. It’s a pretty minimalistic track that’s more about atmosphere than memorable melody.
**Kimihiro Abe’s arrangement of “On the Satellite’s Orbit” is essentially an upgraded version with higher quality synths and the addition of some nice acoustic guitar work that lends the arrangement an organic edge. Mitsuhiro Kaneda’s “Descent Into the Clouds 10118 Mix” brings a monstrous synth bass and drum ‘n’ bass-style percussion and pairs it with orchestral strings and brass, creating an epic orchestral/electronic hybrid arrangement that will easily have you bopping your head. Yoshimi Kudo follows with “Above Ota City micro-cynic mix,” an eclectic combination of live jazz piano and bass with explosive drum ‘n’ bass percussion. The final track is a live set of “On the Satellite’s Orbit” from the EXTRA Hyper Game Music Event 2007. Don’t be confused by the fact that there was a track by the same name on the EXTRA – Official Compilation album released some years back; that track was a sequenced backing track while this track is the actual recording from the live event.
