 | Album Title: Beyond the Beyond Original Game Soundtrack |
| Record Label: Antinos Records | |
| Catalog No.: ARCJ-33 | |
| Release Date: May 2, 1996 | |
| Purchase: Buy Used Copy |
Overview
Released in 1996, Beyond the Beyond Original Game Soundtrack is a bit of a misnomer: it’s an arranged album of a soundtrack that never received an official release. Arranged by Motoi Sakuraba, known for his progressive rock work on the Star Ocean and Valkyrie Profile series, this album offers a diverse array of soundscapes despite its short length. How does the final product turn out?
Body
“To the Promised Land” starts off with a dramatic, woodwind-driven melody with percussion to accentuate an overall feeling of freedom. There are choral highlights in the background, and the strings continue what the woodwind melody started. No Sakuraba piece would be complete without some synthesizer action either. The piece transitions into a piano-led melody with more woodwind and choral accents. Eventually, the piano becomes accompaniment to the woodwind, and this section has a very mysterious atmosphere. A more dramatic, darker section then arises. Focusing on a foreboding atmosphere with striking percussion and strings, it moves into a progressive rock section. The organ melody creates a sinister effect, with accents from the chorus highlighting it further. Futuristic synthesizer work introduces an almost ethereal quality while adding to the drama. Following this, the music returns to familiar woodwind, string, and choral work reminiscent of the original. The piece finally ends after a reprise of a piano-led melody with choral accents, creating the sense of reaching the Promised Land.
The second piece on this album, “Time of Flight,” starts with a woodwind passage that moves into a bouncy piano melody with acoustic guitar accompaniment, giving the feeling of wind blowing in your hair as you fly through the sky. As the piece progresses, woodwind passages move to the forefront once more, with the piano as accompaniment. Further in, choir and harpsichord are introduced, creating a dramatic soundscape that is enhanced by a chaotic string and piano section. An organ solo adds to the chaos. Because of these many elements, there is a nice blend of textures in this section. Advancing further, a woodwind melody with the choir used as a background accent gives it more of an epic feel, as opposed to the airy feel earlier. A foreboding atmosphere is introduced with striking percussion, flamenco guitar, and violin, giving it a subtle ethnic flavor. Another improvisation—a chaotic, chord-heavy piano solo—separates another flamenco-guitar-heavy section. Futuristic synth is introduced again, producing an evil, chaotic sound that simultaneously conveys a sense of adventure and holiness. It’s a nice contrast and works surprisingly well. The piece reverts to its origin with a free-flowing, airy woodwind and piano passage. As the piece winds down, choral accents return and a vigorous string passage ensues. In its final moments, a delicate, tranquil harp and woodwind section brings the piece to a dramatic close, as the time for flight seems to have passed.
Unlike the previous pieces, “Beyond the World” starts with a rather sinister aura, portrayed through haunting choral passages, chaotic piano, and percussion. As the piece progresses, deeper voices are added before culminating in an impressive organ section that preserves the earlier elements. This section relies heavily on improvisation and offers a hint of exploration to the overall sound. There are also brass and string passages that exude chaos before shifting into a more melancholy choral section featuring deep male vocals, harpsichord, harp, and acoustic guitar. This section offers a welcome sense of tranquility after the chaotic start. As this tranquil section continues, free-flowing woodwind work is added that heightens the experience. Continuing the tranquility, more choral work imparts an aura of holiness. Towards the end of the piece, a militaristic soundscape is produced with haunting choral parts, deep percussion, brass motifs, and string work. This ends the piece in a semi-haunting manner similar to the beginning, but slightly less effective.
Continuing with the album, “Cruel Wilderness” offers a semi-sinister choir balanced by more playful woodwinds. Once past the intro, we delve into an area I love Sakuraba for. Building on the playful tone, a progressive rock section full of organ, piano, futuristic synth, and a catchy bass line ensues, making this one of the most exuberant soundscapes on the album. Improvisation is this piece’s forte, and the semi-ethnic synthesizer sound in the first solo provides a nice textural contrast to the preceding section. As the piece continues, that sense of cruelty is exhibited by the organ improvisation that follows. This leads to a section using the same instrumentation to create a very urgent sound. Most surprising is an interlude that features a music box and some soft, distorted synth in the background to create a strange and eerie atmosphere. As this piece progresses, the synth becomes more prominent and transforms the arrangement into a sinister, haunting section before moving onto a more tranquil passage. This section emphasizes harp in the accompaniment to create a bubbly feeling while utilizing brass and strings in the melody to produce a very airy soundscape. The piece ends with strings that bring a hint of drama and melancholy, while woodwind and piano passages add happiness and tranquility. I guess we’ve made it to the end of the cruel wilderness!
The last piece on the album, “New Journey,” starts with a somber violin line, accented by choral work that evokes a sense of holiness. The piano and choir in the beginning create an extremely beautiful soundscape that is only heightened by the addition of harpsichord and woodwind. Dramatic percussion leads nicely into a free-flowing piano passage with sharp woodwind highlights and a subtle choral addition. The thunder sound effects suggest rain and add to the inherent sadness of the arrangement. Once the brass synth melody kicks in, the atmosphere is further heightened and the choir comes more to the forefront. As the piece advances, the sense of drama is accentuated using all the previously heard elements at once. It’s an extremely beautiful section that leads up to another solo piano passage that serves as a small, tranquil interlude. The piece continues with the dramatic effects until the end, where it is transformed into another tranquil section that gives a sense of completion.
Summary
The Beyond the Beyond Original Game Soundtrack is an album that showcases many of Sakuraba’s talents. Whether it’s his knack for fantastic improvisation or his ability to create beautiful or dramatic soundscapes, this album has it all. While it is only five pieces, the length of the album is what you’d expect from an arranged album or even a short single-disc original soundtrack release. While some might say the album could have benefited from a bit more separation in the pieces, I’d have to disagree. Each piece creates a unique experience where the main motifs can be heard throughout the piece. This is truly one of Sakuraba’s finest arranged albums. If you find it, I highly suggest you pick it up. It’s definitely worth the money.
