Valerie's Writings

Composed by Noriyuki Iwadare

Disc One

Orchestra Side
01 – The Theme of Grandia
02 – Ganbo’s Sandy Beach
03 – Delightful Adventure
04 – The Parting From Sue
05 – Ancient Illusionary Castle
06 – Mullen
07 – The Beautiful Woman of Alent
08 – The Ghost Ship
09 – The End of the World
10 – Approaching Crisis
11 – Leen~Love Theme
Total Time:
46′25″

Disc Two

Synthesizer Side
01 – Prelude
02 – The Streets of Parm
03 – Seagull Restaurant Lily
04 – Saruto Ruins
05 – New Parm~Frontier of Our Hearts~
06 – Dom Ruins
07 – Duel with Gadwin
08 – Dight Village
09 – Gambo’s Festival
10 – Twin Tower
11 – Village of Kafu
12 – Zilpadon
13 – The Snow Village Laine
14 – Stand and Rise! Justin
Total Time:
51′15″

01 – The Theme of Grandia

I’ll say it right away, the first disc is strong. There are literally no weak, boring, or unmemorable tracks: in addition to full arrangement and orchestration, each track is a beautiful stand-alone with separate fleshed out sections. The first track itself already represents a full range of emotions—from adventurous freedom to loneliness, quiet sweeping beauty, and through loss or depature, before returning to adventure and outrageous excitement—as well as three or four prominent melodies to illustrate these.

Iwadare is brilliant here, even including an electric guitar solo amidst the more traditional trumpet, trombone, flitting woodwinds, and orchestra. A pop-ish beat greatly improves excitement throughout, unifying the piece. Beautiful quiet violin solo to break the solid advancement; when the rest of the string orchestra edges in to accompany it, driving the solo steadily back into the main theme, this captures the greatest emotional moment in the piece. This is the one track that inspired me long ago to enter the realm of VGM. (10+/10)
02 – Ganbo’s Sandy Beach

One of the most delicate, understanding, artful pieces I’ve ever heard—literally, in the whole history of my musical experiences. If only they could have attached a more poignant, appropriate name to this immensely emotional track. A piano plays an introduction of the melody, then goes on to accompany the main soloist, a weeping, powerful violin: the song is about departure, repressed grief, and changing times. Interestingly, the accompaniment, with its descending chord motif, invariably sounds like the beach’s tides sweeping softly in and out, retreating on the second, lower and unemphasized chord. To demonstrate the perfection of both arrangement and performance, I must point out that at the melody’s climax the violin soloist does get “painfully” loud and into the high registers; however I have never minded this once, as the composition is itself so wonderfully heart-rending that it already borders the painful.

If all this wasn’t enough to satisfy, straight after the conclusion of the first theme (itself a solid three minutes), the track includes an extension of it that sounds like a unique piece. Granted the same instruments reprise it, along with an appropriate tide-wash-like ambience, but this second part is quite different in nature, and unbelievably, even more powerful than the first theme. While the previous theme may be more memorable and emotional exacting, this development is complex, changes often, and has a delectable, gorgeous ending. Here not only grief is represented but also hope, the mystery of the unknown, and the inevitable (fate). If this illustrated a story, this would be the part that the character really does depart, amid noisy sobs and waving hands; then the softer ending is the reflection afterwards, where each party discovers there is no regret, only good will for the other.

In the piece’s true conclusion, the main theme comes back solidly, fading away in one of the most effective and well-designed endings ever. (10+/10)
03 – Delightful Adventure

Bam! Suddenly, an upbeat “Delightful Adventure” pops in with trumpet fanfare, xylophone, ecstatic strings, and exciting pop dance beat. A refreshing piece, also effectively portrays the development of the “hope” in the previous track—not only do the characters carry on with their lives, but what fun-filled, exciting lives they are! The piece seems to “stumble” (intentionally) for a moment, descending crazily, the pop beat removed so that strange, refreshing silence remains—but no, the action kicks up once more, this time with sparser instrumentation, still raging though.

Then, after several more “stumbles” to separate the chaotic action, the piece settles down for real. A more perilous, thrilling section puts a leash on the extremely upbeat, ambitious, non-stop excitement. Something that could even be battle music, with clashing solo notes from alternating brass and strings/woodwind/xylophone, followed by tense, pursuit type string rhythm. However, this all soon dissolves into more humourous, blaring “adventure” fragments. The main theme comes back, ending at an oddly-designed “cliffhanger.”

I think this is one of the most successful, though perhaps unfocused, attempts at creating a fun and exciting piece for RPG use. Unlike the also-happy “Theme of Grandia,” “Delightful Adventure” never slows down quite so much, so it can leave one absolutely physically breathless. A masterpiece: with its different sections and styles, this piece really succeeds at handling all expressions and dimensions involved in an “adventure.” (10+/10)
04 – The Parting From Sue

An extremely depressed, foot-dragging tune played on piano and flute, with string accompaniment. “Parting From Sue” feels similar to “Ganbo’s Sandy Beach,” but due to different instrumentation it best portrays a totally different character. The melody is basically chromatic, its individual notes usually ascending; the phrase itself leads steadily downwards. At first the melody is very simple, with only the piano to express it. When the flute succeeds it, a more serious, obvious sadness unfolds: Sue is not just showing signs, she’s a goner.

The next section is played by oboe, along with all other original instruments. The result is extreme beauty: the piece enters a sweeping, majestic, fantasy stage, as if now we are not the only ones concerned with Sue, but the whole planet itself weeps.

An ambitious character section follows, including a solo violin and pizzicato strings as the only background. One really senses that Sue is not just any woman, but a fussy young girl you’ve known long enough to be your sister. Afterwards, repeated main theme and beautiful, perfect ending. Nothing is overdone, nothing lacks development. An expertly handled piece—if a little heavy on the depression (at least “Sandy Beach” had one hopeful section)—that is, in my mind, the definitive “parting” theme. (10+/10)

05 – Ancient Illusionary Castle

Opens with a mysterious creeping theme. This one is a little less successful than its predecessors, in my opinion: the instrumentation is often dull, lacking power and conviction. The bassoon, bass clarinet, and sparse strings sound kind of distant and play a comparatively non-descript melody. The whole theme is a bit cliché as well, up to the pizzicato and syncopated snapping noises. Obviously, it’s successful in its purpose and highly enjoyable, but without quite so much charm as the previous themes. The second reiteration of the theme is more interesting in my opinion.

Abruptly, the theme enters into a glorious passage obviously referring to the “castle” element. Not too interesting, serves its purpose without any development or feeling.

As suddenly as before, we are thrown into a waltzing ballad that sounds distinctly upper class. At first it is strings en masse, but gradually flutes and then brass are added. An evocative passage, but again not altogether interesting. The following renditions of the theme are much more listenable than its first statement, in my opinion. The ending is suiting but rather cliché. In the end, “Ancient Illusionary Castle” doesn’t fit its description exactly, and comes across as confused and incomplete, but taken each section alone, still great. (9/10)
06 – Mullen

Thankfully, a much stronger melody and instrumentation this time. Starting soft, the piece grows into a bombastic, proud military theme for full orchestra. I think “Mullen” is highly enjoyable, on par with Uematsu’s “grand castle themes,” though (similar to Uematsu) its development is a bit cliché and uninteresting. The theme, played predominantly with strings, brass, and military percussion, can get repetitive in its many variations (including a boring key change): the main, unadulterated theme, however, never gets old. The ending section is probably the most interesting, with more diversive harmonies and a climatic feeling.

“Mullen” is definitely one of the more imaginative military style pieces in RPG history. Unfortunately, while the beginning is extremely captivating, featuring quiet woodwinds, the piece sort of loses interest after the fourth or fifth reappearance of the theme. Still, other than it’s not perfect for repeated listenings, this piece is a winner in its department. (10/10)
07 – The Beautiful Woman of Alent

A captivating, engrossing rhapsodic melody. With the beautiful, dreamy female vocals and electric piano accompaniment, this piece paints a shimmering, mystical scene of an “angel on earth.” The melody is extremely well-suited to the voice, including little drops in the phrase where one might breathe naturally. However, disappointingly, “Beautiful Woman of Alent” features hardly any development at all. The effect of the vocals is at least good enough to make you forget this, but still, some break from the melody could have been used. When the piece does develop, it’s with rather annoying (synth-sounding?) string orchestra; the beautiful harp used in the background and mysterious ending, though, is delightful. A single-minded piece that achieves its purpose well. (9/10)

08 – The Ghost Ship

A much-beloved and nostalgic theme for me. “The Ghost Ship” definitely is everything the title promises, and much more. This piece manages to be both terrifying, engaging, and humourous (sparingly though). I love this piece, though perhaps it is a bit exaggerated and heavy, especially when it was played in-game. This does nothing however to discount from “The Ghost Ship”’s enjoyability, effectiveness, and genius as a composition.

First, an intimidating introduction that creates some great effect (through timpani hits, drum roll, and soft-to-loud dynamics) of a rolling, swaying ship’s hold (I’m getting dizzy just listening to this, truly!), or perhaps the fierce waves carrying it. This theme, intriguing by itself, bridges with a puzzled, tense string section, into the final main theme: this part is terrifying, aggressive, and even depressing. Slightly reminiscent of great Final Fantasy Tactics OST, this section utilizes string trills, a repeated-note ostinato, and pumping, intimidating percussion. The melody in brass and then woodwinds is very inspiring and musically interesting: I can almost imagine the melody as a choir, wailing like ghouls as they suffer abroad the harrowing ghost ship.

Next, a climax that softens immediately into a tense melody mostly in oboe/flute (with the same ostinato as before played by overbearing strings). The tune has threatening moments, until it almost reaches tenderness, dying away into silence. The main theme takes over at this point, but in a non-threatening, mysterious, ominous sort of way.

Then comes the most interesting and evocative section. Iwadare is brilliant, I mean it, especially at establishing a certain atmosphere or scenario: not only is the melody memorable and entertaining, instrumentation suitable, but the title is absolutely accurate here. I feel totally transported to the ghost ship, with this gentle, strange melody in clarinet and then oboe (the oboe plays the main theme in its own distorted way). In the background, a soft velvet of pizzicato strings and brass chords. The tipping effect of the ship is not totally removed from here either, by the background mentioned plus ornaments of strumming harp and sudden plucked bass intervals. Especially in contrast with the previous bombastic theme, one feels as if they have entered the silent, empty, sea-soaked corridors of the ghost ship. The ending to this section is a little weird and not really to my tastes.

Suddenly, the main theme returns in an excellent, frantic rendition. In total silence, a desperate, questioning flute (and oboe) and responding french horn quietly foreshadow the coming danger; then, with great skill, Iwadare links the next section by playing this foreshadowing melody (it’s the main theme disguised) with hysteric, loud strings. The main theme returns in the most effective arrangement for it thus far: a raging, climatic end to a fantastic, supremely entertaining piece. This is how danger sounds, RPG composers! (10+/10)
09 – The End of the World

A thoroughly grand, solid theme. Starts with a pumping, victorious fanfare, making you feel as if you’ve just climbed to the world’s greatest heights ever and a spectacular dawn is unfolding before you. Once this leaves, a tender, mild theme comes in, as if in recollection of this event. This theme is so important it was prominently heard in the “Theme of Grandia” as well. This time it is expanded properly and even more breathtaking than before.

Another part, played in flute, oboe and strings with sparse accompaniment (among which include clarinets and plucked harp), reminds me truly of drifting through a misty landscape: it is so tender, so full of movement, so hopeful and reminiscent. Every part of this piece is perfect, though perhaps not as experimentative and original as the previous. A deeply moving piece that somehow, though more subtle in its intentions, manages to be more emotionally provocative even than the poignant “Sandy Beach” and “Parting of Sue.” The main element here is nostalgia; listening to this piece one feels immersed in memory, hope and regret, reflection.

One of my favourite parts is when brass play a single repeated note throughout a certain passage, strings etc suspended, the only variation in volume—a widening, boldening crescendo that then fades once again into the new melody. This is just so wonderfully designed and executed; this simple repeated pattern really successfully conveys a sense of moving, floating, ever upwards, as if to even greater heights.

Suddenly, the piece breaks into excitement—as if the characters have realized truly what they have accomplished and begin running around frantically—at first sounding similar to “Delightful Adventure” but turning out to be another extremely moving, full theme. There is just so much content here packed into one track; it outshines most of Uematsu’s short, undeveloped accomplishments by a large mile. Here the theme conveys an even more effective sensation of lifting, of departing on a grand adventure. This theme is so complete and universally satisfying, it could be played as the background to any number of scenarios and still work: an airship taking off; a grandiose train adventure; chocobos dashing off into the distance; a ship departing with lengths of colourful streamers; sailing on a dragon or cloud; jumping for joy after the graduation ceremony, and so on. Triumphant, exalted, and proud, in fitting in with the track as a whole.

When the main theme returns, you will have completed one full circle, one grand adventure. You will feel as if you really have accomplished something immense and are now panting exerted breaths of amazement and delight. (10+/10)
10 – Approaching Crisis

Admittedly, not my favourite track. Not only is the sound quality somehow lower in this track, but the arrangement and themes are unoriginal and far too single-purposed here. Obviously, with its complexity, a piece like this is not wasted, but it’s a far cry from perfect. This piece somehow seems a little bit too grandiose and supreme, mixing a variation on the “Theme of Grandia” along with it, and doesn’t achieve its purpose of conveying “crisis” too effectively. In simple terms, this track is just too loud and stupendous; whenever I play it, especially in contrast with the previous tender and moving themes, I feel as if my head while explode from the apoplectic excitement going on.

The chromatic scales and trills in the strings whizzing throughout nearly the whole piece, while unifying it, are dizzying. Maybe if it weren’t orchestrated, the effect would be less severe, but here it is literally dizzying. Every melody in this piece, except the “Theme of Grandia,” is emphasized with way too many heavy instruments: the crash cymbals constantly pumping, brass fanfares, reverbed string orchestra, everything is too deafeningly loud.

Of course since “Approaching Crisis” terrifies me and makes me dizzy as if peering up at a colossal monster, it obviously has not failed in its purpose. Some moments are truly worth the listen, especially in the development sections where the melody enters major keys, “Theme of Grandia,” or the piece quietens. In general, however, this is a weaker piece in this soundtrack that I generally avoid—unless I’m seriously pumping myself up. (7/10)
11 – Leen~Love Theme

Whew. Once you make it through, you’re treated with a long-awaited, extremely sad theme. Iwadare’s romantic themes always give me the impression of sorrowful loss, somehow. Of course the melody is very tender, with vibrato flute and oboe solos, beneath which are delicate strings and harp arpeggios. This piece is handled very sparingly and tenderly, just like love, as if it might break if too much pressure or emotion is applied: this only serves to make “Leen~Love Theme” even more impressively emotional however. One of the best parts in the first two minutes is played by a clarinet in high register (almost mistook it for an oboe), with a playful bassoon countermelody. This is just so beautifully expansive, emotional, and yet playful at the same time. Somehow I always imagine that the clarinet is leading me up to play and float by a wide silver moon: it is just that magical and romantic.

The expressive vibrato woodwinds take us to the next section: the same theme on the strings this time, a french horn countermelody. After this, the woodwinds wind us through a beautiful, persistent melody that is so loving it at times even becomes dark; all the while the strings and piano in the background convey a sense of moving faster and faster, into the distance, below the insistent melody.

After that musical climax, a new section emerges. It has a simple style and an echoey outdoor feeling, as if we are now observing the new spring buds and fresh stems of grass. Very delicate, sweet, and again playful. I can imagine the lovers are finally truly reunited here: this section wraps up in happiness and expansive glory, almost fanfare style.

The concluding section is very emotionally satisfying. It begins mysteriously, almost ominously, but eventually unfolds into the heartwarming ending we’ve been longing for. Bells and a flute play the very last statement of the theme, in a cute and touching manner. The piece ends thoughtfully and delicately, the last peaceful notes to signal rest to this disc’s grand legacy. (10+/10)

Reviewing Score: 95%

Practically the closest you can get to VGM perfection under my judgment.

02 – The Streets of Parm

An original, quirky and highly enjoyable piece that transitions well from the “Prelude.” Light and playful, like the street urchins that inhabit the town, this piece is well designed, showing not only direction but a lot of creativity. The background consists of a strange mix of percussive instruments and noises (one of which, a metallic hit noise, is also heard in disc four, “Parm Harbour”), along with a droning low woodwind synth. Bagpipes that are not annoying play the melody, resulting in a very sweet, nostalgic tune. This piece is solid entertainment, and never really sounds repetitive due to the constantly changing melody. At one point, a small-sounding flute jumps in to a quieter section, portraying the young protagonists and Parm’s hoodlums. (10/10)

01 – Off Runs Sue

Great memories from this track, and that’s not just nostalgia talking. This is a stirringly effective piece, evocative of a certain scene, even with its extremely condensed length. The opening is cute and compact, a high-hat ticking throughout, and adorable little pizzicato strings. Even jingle bells are used. I love the trombone jumping up and down the octaves, gives an otherwise irreproducable pumping, swaying feel. The strings whirling around in escalating scale passages are also effective, though perhaps cliché (reminds me of Uematsu’s “short scene tracks”—FFVIII’s “Retaliation,” “Blue Sky,” etc). A very short, effective piece that should have been more! (I only marked it down due to its length and lack of complexity) (8/10)

02 – Justin Hits the Scene

It’s Justin! The upbeat, adventure-loving, almost hyperactive redheaded protagonist. This arrangement of “Theme of Grandia,” while cliché and not as memorable as the others, is still breathtaking. The whole theme is reminiscent of “Victory Theme”—a rockin’ style that Iwadare tends to overuse. Exuberance is displayed through the profuse percussion riffs, flute tremolos, and ragin’ trumpets and electric guitars. More pop than rock feel. One complaint is the simplicity of the solos—while serving to show Justin’s one-track mind, it is to the detriment of this track’s interest.

The development section is, in my opinion, more beautiful than the main theme. When it comes in, the progression feels very logical and anticipated. Here, more diverse instrumentation is used, and rather than non-stop loud melody, the piece manages to convey a level of complexity to Justin’s character: we learn (through another electric guitar solo) that he’s fallable, lovable, and liable to suffer his own moments of weirdness, doubt, and tender feelings. (7/10)

03 – Angel Culture

An impressive piece in style, but not so much in composition. The beginning, with long, long suspended chords in uninteresting strings and choir, is bound to bore anyone: it takes great patience to listen through to any hint of a melody in this piece. Well, it does come, in the form of an oboe playing “Leen’s Love Theme”—it’s rather buried by the heavy background though.

Essentially “Angel Culture” is a more boring, unflattering version of the excellent “Leen’s Love Theme.” While it does have its moments, it is mainly a weaker reiteration of the already-heard theme. There are not many strengths this version holds over the orchestrated perfection on disc one. That is not to say that it is intolerable or even actually boring at all: definitely a worthy listen (unless, like me, you’ve heard “Leen’s Love Theme” way too many times) that will still tug your heartstrings. (7/10)

04 – Deck Swabbing

Mr. Iwadare really likes those upbeat, snappy snare drum intros and beats, doesn’t he. Unfortunately, I’m not so big a fan. While it’s not bad—it’s a cheery, sweet little tune—“Deck Swabbing” sounds like filler…because it is implemented in a lame “deck swabbing mini game,” after all (doesn’t that sound like “boatloads” of fun?). Somehow I can’t help but feel this would almost have made a more appropriate victory theme than the one further along this disc: that’s what this track feels like, a spirited, congratulatory tune with lots of electric guitar and percussion.

However, there is the matter of the constant repeated synth string beats dominating the bulk of this piece: they add a vigour and “push” not present normally in victory themes. Altogether, an uplifting but tragically simple, get-fast-old filler track (I have to congratulate Iwadare for making even filler this enjoyable, though!). (6/10)

05 – Sult Ruins

Despite its name and general dungeon style, this is actually quite an interesting piece. I mean with the various bleeping noises, strong timpani, and the harmony (when it exists) in the strings. The repeated-note-ostinato that is now famous is, I agree, highly annoying and likely to deter the ears from repeated listening; stylistically, however, this is about as extreme as you get. The ostinato practically never lets up. It’s quite interesting to see how Iwadare creates a little variation to restore your ears’ confidence. I’m not saying he was totally successfully with this theme, but I still think it must’ve proved quite an endeavour on his part to create this so consistently. Yes, later on, some semblance of a melody appears, and more diverse rhythms are introduced. But yes, I still wouldn’t say it’s worth your time and patience. While sharing some qualities with Xenogears OST, “Sult Ruins” is not a very enjoyable track at all. (4/10)

06 – Battle Theme

In my opinion, Iwadare seems (like Mitsuda) a little weak in conveying the “traditional” battle scene. The problem is that he handles them just like ordinary pieces, with similar structure, instruments, and trying to make them too thematic (rather than relying on rhythm and instrumentation like in a “proper” battle theme). Also, the synths are sometimes quite annoying here. I feel as if this piece is very much on the slow side as far as battle themes usually go (it’s even slower than the battle theme in Chrono Trigger!). The drum rhythm used in the background seems to clog the theme down considerably, as well as the heavy, oddly arranged melody. In terms of composition, this theme suffers nothing, though: attention is paid everywhere to maintaining interest, building up to a climax, development, addition of the “Victory Theme” as foreshadowing, and so on. It just fails in execution. (6/10)

07 – Victory Theme

While I have memories of this being annoying (perhaps because it opens exactly the same way to the battle theme), the “Victory Theme” has excellently effective instrumentation. The opening fanfare of three seconds’ length, for example, is passed between the strings, the “woodwinds” and the lower brass, all together. Then the rhythm section takes over for a bit of quiet and rest. When the melody returns, it becomes immediately obvious that this is the widely reused “Theme of Grandia” in variation. The whole piece seems bogged down again, although this is slightly less annoying than in “Battle Theme.” Well, with no serious development, this theme is obviously one of the weaker ones on the soundtrack; as far as victory themes go, though, it’s definitely not bad. (6/10)

09 – Gaia Egg

Disappointingly, this is a very boring, highly skippable “scene event” track: usually it is expected that these condensed forms of a real track are refined to be worthy of such short track-time. Gaia Egg, however, is all parts tedium. The blaring synth in the background of the first half is not welcome; the instrumentation is quite boring. This theme, in case you’re interested, is reminiscent of the Galiel army theme. (2/10)

21 – Village of Ruku

A successfully ambient-feeling piece that is not in fact ambient whatsoever. Melodies, though not prominent, float quite distinctly throughout, dominating over the background setup as strongly as the sun sails through mist. The melody ends with a pleasingly puzzled, questioning limb—very beautiful, this particular part. Throughout the weak but shining melody, the background of assorted synths, metal guitar (and bass guitar), and most effectively marimbas, steadily gains more momentum and weight, making this piece not so directionless as it at first seems.

I admit this theme can be so disorientating as to cause dizziness: the background synths, as always, seem a bit overdone to me. The marimba, however, is terrific. The instrumentation of the melody is mostly appropriate—flute, guitar and some oriental oboe-like woodwind—although sometimes it can feel as if a stronger, heavier sound would be very welcome, amidst all this seemingly ambient noise. The ending, using a solo guitar and the same marimba pattern, is the best part, at least in effectiveness: reducing the instrumentation from four or five parts to just one lonely guitar really helps convey the isolation and desolate surroundings of the Ruku village. (7/10)

03 – Three Young Women

Surprisingly for such an obvious, simple theme, “The Three Young Women” (referring to the three posh, humourously non-threatening soldiers under Mullen) is compelling and, like later with “New Parm Sake Bar,” will have you hooked with its cheery light-headed charm. A simple repeated chromatic scale variation opens the piece, but this is one of the most memorable chromatic scales ever. The theme carries on with dance pop beats, profuse orchestra hits, beeping trumpets (mimics a car’s horn), and a melody on the shrill, slightly annoying pan flute (it could even be a high organ, I’m not sure). The overall feeling is good will and humour; they make a few stumbles and can be a nuisance, but looking past the idle threats they’re really a pack of fun.

After the common electric guitar solo, the piece begins to develop a more dramatic, dark theme. Unlike the common pattern, though, this ending section is definitely the weaker half of the piece: just some buzzing, bouncing beats, orchestra hits and random entries of the strings. It is definitely not interesting and fails to convey much other than a tame, vague sense of threat, ultimately dissolving into the previous upbeat excitement without so much as a hitch. Because of the weaker development, this piece feels only passable. (6/10)

04 – Boss Battle

My personal favourite of all four regular battle themes in this game. While it is a bit lacking instrumentation compared to the others, it’s rather effective, especially in its introduction. With its distorted organ, synth strings, and electric guitar, along with unnameable sound effects, “Boss Battle” is also experimental and creative, venturing out on a limb that most other composers wouldn’t dare for such a traditionally significant theme. Once the piece develops past its more “atonal” stage, the theme furthers its interest with a nice organ solo. This piece is quite perfect, though it loops noticeably sooner than most of Iwadare’s compositions. (9/10)

05 – New Parm Sake Bar

Captures perfectly the boisterous, irreverent party atmosphere—imagine a tavern at noon packed chock full with rowdy adventurers, swearing sailors and vigilantes. This piece is repetitive but very loopable, its background full of exquisite interesting noises: a fun trumpet pattern, another in saxophone, string bass, and piano as well. At certain points in the music each of these patterns takes center stage, like a mini jazz solo, or else drops out in favour of the others. Cymbal or orchestra hits spice it up even more, making for one hell of a lively piece. Due to its lack of development and a very weak sense of melody, however, “New Parm Sake Bar” cannot be termed as beautiful as its companion pieces. It is definitely an insistent, addictive theme that will endear you totally—at least until the cheerfulness of it all starts to feel heavy and annoying. (7/10)

10 – Galeil

Due to its development, use of strong instruments, and stunning opening, “Galeil” succeeds as the enemy army’s main theme. The heaviness of the bass drum/timpani beats is almost indescribable: one can really grasp the sensation of marching through just these beats (snare drum is only sparingly used). After the first few main themes, the piece develops in proper Iwadare fanfare style with competing high note-low note battles.

Next, the march-paced army stronghold theme flies off into a battle-esque arrangement with a feeling of highly mobile, potent action. The brisk pace of this section is refreshing after the previous overbearing lumber. Still, this area does tend to get repetitive, with little to no variation in the actual theme’s statement.

The most surprising aspect of this piece is its ability to transform, quite suddenly, into a compelling piece of courageous swiftness based on “Mullen”: rather than oppressive evil, “Galeil” becomes noble, heroic, and desperate in its own efforts. The piece even ends this way, in a major dominant cadence! With this expansion the composer seems to be offering us a glimpse into the more virtuous, appreciable side of the enemy: Mullen, Leen, and the three quirky generals—each have human pride, wants, and fears as powerful as the protagonists’.

14 – Short Loop 2

I don’t know why the publishers just had to condense all these themes into one track—granted they are quite boring and unlistenable, but I don’t like tracks that fade in and out into completely unrelated sections.

16 – Battle Theme 3

Reminiscent of Grandia II’s main battle theme. I felt this one was handled the best of the three battle themes, although still it’s far from perfect. While engaging and a good piece on its own, it sort of lacks that “battle” feel. Again, a slow tempo, lagging melody, and heavy drum beat. Maybe, since Grandia has slower paced battles than normal (with strategizing a more common feature than in, say, Final Fantasy), this is all acceptable. The composition definitely is fine. For example, the electric guitar is pleasant to listen to. The developed second statement of the main theme is quite nice, too. This piece can be very climatic and nice on its own, something not all battle themes are known for. I also appreciate the integration of the “Theme of Grandia” into this as well. Iwadare is a knowledgable thorough composer, for sure. This battle theme is at least twice as long as most other RPG’s, which is a feat in itself. (9/10)