Tales of Xillia Original Soundtrack
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Album Title: Tales of Xillia Original Soundtrack |
| Record Label: Avex Trax |
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| Catalog No.: AVCD-38355/7 (Regular Edition); AVCD-38351/4 (Limited Edition) |
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| Release Date: September 7, 2011 |
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| Purchase: Buy at CDJapan |
Overview
Despite its exponential release schedule, the Tales series continues to enjoy massive popularity in Japan and its latest instalment Tales of Xillia has enjoyed massive commercial and critical success. For the second time in the series, mainstay Motoi Sakuraba composed the title single-handedly. Continuing his innovations on Vesperia and Graces, Sakuraba took the music for Xillia in a more serious and symphonic direction. The resultant score definitely enhanced the game experience, but is its three disc album release appealing out of context?
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Motoi Sakuraba emphasises his more moody approach to this score right from the opening, “Master of the Spirits”. When analysed technically, this piece is little more than a series of crescendoing suspended string chords. However, it does portray the spiritual nature of the world Liese Maxi, while reflecting the darkness that lingers throughout the score. Soon enough, listeners are engulfed into more darkness with the experimental horror textures of “Rampant Malice” and the semi-operatic chants of “The Root of Evil”. Tracks like these are some of the most atmospheric he has ever written, rivalling even his most mature creations. While they rely on high quality samplers rather than orchestral performances, they’re also a step up from the series’ past soundtracks in terms of implementation. But when detached from their context, they may prove too ambient and functional to appeal. For better or worse, such tracks have more in common with epics like Infinite Undiscovery than the fluff of Tales of Symphonia.
Xillia’s most artistic pieces are those that portray the game’s scenery rather than events. For example, “A Royal City Enveloped in Night” combines the classical influences of a regal city with spiritual forces fitting a twilight cityscape; while not catchy in the conventional sound, the resounding violin lead will capture the heart of many listeners. The similarly subdued “The Land of Other Countries” and “A Mountain Village in the Dawn” integrate traditional Chinese instruments and tonalities throughout in order to portray locations Eastern-influenced aesthetics. The authentic erhu use in “The Village of the Spirits” is especially gorgeous, whereas the thicker textures of “A Lord’s City Towering in the Mountains” prove stirring and slightly intimating. There are also a range of more intimate compositions such as the uplifting choral-centred “Overlapping Ripples”, minimalistic piano-based “Covered Truth”, or the fantasy orchestration “Brief Rest” that prove emotional in and out of context.
A few tracks are more superficially enjoyable. The title theme and “Believe in Me” are fleeting returns to the composer’s more bombastic approach to orchestration, though the brass samples are toned now enough here to be appealing. More notably, “A Merchant Town Full of Life” and “A Beloved Town” combine folksy instrumentation with highly exuberant melodies. It’s refreshing to see that Sakuraba is still willing to revisit his light and lyrical side once in a while. Another complete surprise late in the game is “A City of Another Civilization”, which replaces the Eastern aesthetic running through the score with exuberant jazz improvisations reminiscent of New York; Sakuraba once again demonstrates his deep understanding of music with his stirring and authentic use of the piano, double bass, and drum kit here. “The Moving Gigantic Ship” and “The World Sinking into Darkness” meanwhile hybridise this jazz influence with darker orchestral textures, yielding some incredible atmospheres.
Of course, Sakuraba incorporates plenty of battle tracks throughout the score. Right from the normal battle theme “Clenching the Fists”, he demonstrates his core approach to Tales battle themes haven’t changed over the years: expect a frantic tempo, a motivating guitar melody, and piles of keyboard improvisation throughout. It’s definitely more superficial than his highbrow work at tri-Ace and, in this case, lacks the potent melody to really stand out. The similarly styled “That Fist, Decision in Break” are bigger stars melodically, while grittier tracks such as the bass-heavy “Unstoppable Pain” support the darker scenario effectively. Meanwhile “Daring Sword” and “That Sword, Dancing Magnificently” hybridises the composer’s typical rock instrumentation with a piercing violin lead influenced by Eastern culture. While decent, these tracks come across a little one-dimensional and seem like pale imitations of infinitely better tracks by the Falcom Sound Team J.D.K.
As the storyline approaches its conclusion, there are numerous subdued interludes and short cinematics, among more derivative tracks that are likely to tire. Yet while few of these tracks are noteworthy on the album release, they are entirely serviceable in the game. Thankfully, the conclusion of the soundtrack is more spectacular than its foreboding introduction. The battle theme “Indominitable Fists That Know no Equal” is among the finest the composer has written, mixing melody with improvisation, rock with orchestra, and frivolity with danger to great success. “Battle for a Future to Believe In”, in contrast, is an epic written for orchestra and chorus that resolves the soundtrack dramatically and thematically. A final highlight is “Each Step, and the Present”, a modest chamber orchestration that soothes listeners after all the tears and horror that preceded. Those that went for the limited edition can also experience a bonus track featuring talks from the Japanese voice actors set to music.
Summary
Tales of Xillia does not particularly suffer in the absence of Tales mainstay Shinji Tamura (aka Hibiki Aoyama). In his absence, Sakuraba was able to take the score in a more mature direction similar to his approach on tri-Ace’s latest titles. He yields numerous artistic setting themes, emotional cinematic cues, and energetic battle tracks as a result, all of which a tremendous amount to the game’s scenes. But be warned that this is less melodic or light-hearted than most Tales soundtracks, and there are plenty of tracks that will not appeal to casual listeners. Regardless, this soundtrack is impressive for its highlights and the incredible way it complements the game.
Do you agree with the review and score? Let us know in the comments below!
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Posted on August 1, 2012 by Chris Greening. Last modified on August 1, 2012.
About the Author
Chris Greening I've contributed to websites related to game audio since 2002. In this time, I've reviewed over a thousand albums and interviewed hundreds of musicians across the world. As the founder and webmaster of VGMO -Video Game Music Online-, I hope to create a cutting-edge, journalistic resource for all those soundtrack enthusiasts out there. In the process, I would love to further cultivate my passion for music, writing, and generally building things. Please enjoy the site and don't hesitate to say hello!
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