Eminence Online, Game Music Review

This one really needs no introduction. Shadow of the Colossus has been considered by many to be one of the best games on the PlayStation 2, and the music, composed by Kow Otani, has been on the top of the list for many game music enthusiasts since the soundtrack was released in 2005. Given the high profile of the title, you may be interested to learn that I almost missed it, not having played the game until as late as 2008!

I guess, if anything, this makes me well qualified to comment on the music given that I'm a recent convert. Otani employs a minimalistic approach, which is perfect for the title's serene landscapes. In fact, silence is what most players will hear when exploring the vast areas of the game, with music being used to accent key moments. A long list of session artists are featured as well, lending the score a certain warmth that can only be achieved using live players. Needless to say, I think Otani is on to something with this minimalistic approach to orchestral music.

The journey begins with "Prologue ~To the Ancient Land~," which opens with scattered woodwind notes and the gentle call of the choir. Strings and choir double up to voice a soothing melody that sounds as though it has been locked away for ages along with the Forbidden Land. "Black Blood," on the other hand, makes the listener feel like they're somewhere they ought not to be, with an odd on-and-off woodwind melody that is interrupted by sudden hisses and tense pads.

"Sign of the Colossus" makes a great introduction to the game's many colossi. It sounds foreign with the use of a plucked instrument, but the melody itself is smooth and seductive, drawing on the listener's curiosity as to what lies ahead. What's ahead is not pretty in a visual sense, but is the highlight of the album in terms of musical impact. Each colossus has its own "theme," starting with one of my favorites, "The Opened Way." It's an upbeat piece with a hopeful melody voiced by a rich string section. The thundering percussion and defiant brass are the perfect accompaniment to the lumbering colossus.

Afterwards, with "The End of the Battle," Otani conveys a feeling of accomplishment while masterfully hinting at the many battles that are still to come. It's a great combination that makes for a great listening experience. The brief "Idol Collapse" is noteworthy in that it features an organ, one of my favorite instruments, but it left me wanting more at only 34 seconds in length. "The Farthest Land" is a folksy piece featuring an ensemble of stringed instruments that don't quite sound like guitars with their unique flanged sound.

Each and every battle has its musical moment, whether it be the galloping strings and twisting woodwinds of "Violent Encounter" or the beautifully soft and alluring violins of "Silence." "In Awe of the Power" is another great title for a piece of music that creates an image of an epic struggle with its sharp and repetitive strings and heavy use of crash cymbals. I remember being nervous when I first heard "Creeping Shadow," as the dark, brooding piece sounded as though death was lurking ahead. However, the tides shift with one of my favorite tracks, "Counterattack," which is a bombastic piece with some amazing brass melodies that let you know you've got the upper hand. The frantic, doubled-up piano notes of "Liberated Guardian" almost sound like a serious arrangement of the infamous "The Celebrated Chop Waltz" (aka "Chopsticks"), but the airiness they lend to the piece is a perfect companion to the earthy string and brass sections.

Taking a break away from the colossus themes, "Swift Horse" is an epic offering with a catchy melody. The steady stream of string notes towards the end add a hint of chaos to the otherwise well-controlled score. It's quickly back to the task at hand, however, as "Gate Watcher of the Castle Ruins" instills a sense of dread with deep brass notes and a brute force melody that slowly yet ferociously trudges along. Finally it's time to challenge the final colossus, whose stature alone is enough to silence even the most confident adventurer. Fortunately the music accompaniment, titled "Demise of the Ritual" is subdued and minimalistic in approach, as you'll likely spend a lot of time listening to it in the game. The sorrowful composition plods along slowly, with the mesmerizing choir lending a touch of beauty to even the most ominous of foes. The solo choral section towards the end is a nice touch.

From here it's on to the final stretch with the ending pieces and some additional bonus tracks that weren't featured in the game. "Epilogue ~Those who Remain~" brings the album full circle by quoting the opening prologue. "The Sunlit Earth" is a genuinely happy piece of music with piano arpeggios and chirping woodwinds, which is somewhat of a relief after the dark atmospheres of the rest of the album.

The remaining seven pieces of music are all bonuses. Several are simply short segments of music, but to quickly tell you about the others, "Memories" is a lovely solo piano piece, "Final Battle" is a powerful piece that sounds as though it was intended for the final battle (although I'm happy with the piece that they decided to use instead), and "The Farthest Land {Reprise}" which sounds to be a live rendition of the original track with less pads and a more upfront mix. Not that it matters at this point, as the music alone is reason enough to buy this album right this minute, but the packaging makes the deal all that much sweeter. It is filled with artwork from the game (which is as stunning as the music), with artwork even appearing on the back of the obi. There is a list of credits for the session artists who participated and some information about Kow Otani (although it's in Japanese). I can't recommend this album enough for fans of game music or those who are simply looking for a unique orchestral experience. Don't miss out on this one like I almost did.

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