 | Album Title: Beyond the Labyrinth Original Soundtrack Complete Edition |
| Record Label: Konami Digital Entertainment | |
| Catalog No.: N/A | |
| Release Date: January 18, 2012 | |
| Purchase: Download at iTunes |
Overview
Beyond the Labyrinth is the latest tri-Ace game to feature the music of Motoi Sakuraba. As stated in our interview with him, he took a different approach to the music compared to his previous tri-Ace scores. The complete soundtrack was released in digital form only, meaning those who ordered the physical release will miss out on 30 minutes of music. Is the end result a pleasing one and should one get the digital copy over a physical copy to enjoy the entire soundtrack?
Body
The album opens with “Labyrinth of Mist,” a dark, brooding chiptune track that illustrates the “dark sheen” he mentioned in our interview. It’s very simple, but it manages to create a dark atmosphere that one might encounter in a labyrinth. “Lilac Mist” is another interesting theme, featuring a dark tone though not as prominent as in “Labyrinth of Mist.” It also offers a first look at the fantasy soundscape Sakuraba creates throughout the album, using harps, strings, and choral samples. These themes are also featured in the “End-title roll” but in orchestral form. The dark nature is brought to life with ominous brass tones and militaristic percussion. However, the strings and tuned percussion also contribute a wonderful fantasy soundscape present in many tracks. While not as strong as some of his other staff roll themes, it is a wonderful combination of the two elements mentioned above.
There are a few mysterious themes on the album as well. Highlights include “Hallucination” and “Stray.” The former effectively uses strings, particularly pizzicato string work, to create this atmosphere. In addition, the synthesizer tones accentuate the mysterious nature, while percussion such as woodblocks and glockenspiel give a very fantasy-like feel. The latter gives off a feeling of desolation and mystery. The acoustic guitar and strings effectively create a vagrant sound, while synth and organ tones add a dark fantasy atmosphere. “Beyond the Labyrinth” is a brooding yet enchanting piano piece. Of all the themes on the album, it is the most touching, providing a warm melody while its progression conveys a sense of being lost.
Of course, there are some very fantastical-sounding themes as well. “Gate of Memory,” while not the most engaging composition on the album, is a piece that exudes atmosphere; the piano leads with poignant, heartfelt tones, while the accompaniment has an abrasive edge. When I first heard “Premonition,” I immediately thought “fantasy atmosphere”; in many ways it recalled the ideas used to convey the spirit world in the Ghibli film, Spirited Away. “Profusion of Flowers” shares the same fantastical feeling as “Premonition” through flourishing strings; however, it also has a serious tone, with accompanying elements like a subtle choir creating an oppressive atmosphere. But of all the fantasy-oriented themes, I think that “Triangle Shines” is the most successful in capturing the fantastical air of the soundtrack. While it incorporates many of the elements in other themes like “Premonition” and “Profusion of Flowers,” it is a much more successful theme overall. The piano melody helps and recurs elsewhere on the soundtrack, lending itself to both a surreal and darker tone.
Of course, there are plenty of action-oriented themes as well. “Cleave” is an excellent, albeit brief, battle theme that uses piano and strings to create an energetic, slightly chaotic piece that captures that fantasy sound. It is definitely one of the more effective battle themes on the album. “Illegal Hole,” “Soul to Wander About,” and “Clear Pace” also incorporate strings to produce a frenetic sound, combined with pulsing electronic beats, piano, and music box; however, they come off stylistically similar to some Kingdom Hearts music, so they may not be for everyone. Of the three, I find that “Soul to Wander About” and “Clear Pace” definitely manage to leave an impression. Another theme that incorporates some electronic accompaniment is “Return to Mind.” It has a fantastical sound with moments of ominous tone; the piano passages stand out, as do the sections that emphasize the electronic elements. It’s not the strongest piece on the album, but it is successful in creating an energetic environment.
Another theme that manages to stand out is “Decayed Edge.” It focuses on strings and piano, creating a menacing sound, and, in some ways, is reminiscent of Masashi Hamauzu’s piano work in his battle themes while also showing a Sakuraba flair. It’s an extremely effective theme that conveys both the darker side of the soundtrack and some of its lighter fantasy moments. “Illusional Defense” focuses on militaristic percussion and strings and piano work similar to “Decayed Edge,” but while enjoyable it doesn’t leave as lasting an impression. Similar things could be said of “Ask for Light,” although it doesn’t focus much on piano, relying more on chaotic, frenetic string work with electronic accompaniment. The final battle theme, “Progresses Straight,” however, is quite different for a final battle theme. It’s a beautiful piece that, while not overtly oppressive, conveys a sense of tension. The piano is the standout, and it even incorporates some of the melody from “Triangle Shines.” Overall, it is one of the album’s most successful themes.
In addition to the CD release, the Complete Edition includes additional themes. There are 8-bit versions of “Cleave” and “Lilac Mist” that, while nice, aren’t necessary to enjoy the soundtrack. “Lost One” is a contemplative, melancholy chiptune that doesn’t stand out much, while the more successful “Trial to Wait” captures sounds similar to themes like “Illegal Hole” with its pounding accompaniment and melodies that mimic those themes’ electronic and string components. In terms of other themes, “Breaking Gong” is very much like Sakuraba’s work on Dark Souls, creating a dark soundscape through ominous strings, percussion, and choral tones. It’s a shame that this track is not on the physical release. Themes like “The Deserted World,” “Round Air,” and “Sad War” help round out the fantastical-sounding material and are each quite effective.
Summary
In the end, the Beyond the Labyrinth Original Soundtrack Complete Edition is definitely a different beast for Sakuraba. For the most part, his normal conventions are thrown out the window, only appearing in a handful of tracks. The most successful aspect of this soundtrack is the atmosphere Sakuraba creates through strings and piano: an extremely fantastical sound combined with a sense of darkness, as if one is actually lost inside a labyrinth. The digital release features some fantastic themes, such as “Breaking Gong,” and bonuses that can’t be found on the physical release. However, I find the physical CD to be the more ideal release, since it contains a majority of the themes and has a more cohesive soundscape overall. If the digital copy is all you can obtain, it’s still worth considering for fans of Sakuraba seeking something a bit different. While it sounds more inspired than some of his Tales music, some may not like how many of the themes follow similar stylistic patterns.
