 | Album Title: Castlevania Tribute Vol. 1 |
| Record Label: Konami Digital Entertainment | |
| Catalog No.: LC-1957 | |
| Release Date: January 13, 2011 | |
| Purchase: Buy at Konami Style |
Overview
The Castlevania series is very popular, featuring a variety of classic themes across its many generations and incarnations. A set of tribute albums featuring many famous names in the gaming industry was released in 2011. The first volume focuses on the idea “theme of a hero” and offers mostly rock and electronic interpretations of classic Castlevania music. Featuring many iconic themes, how does it turn out?
Body
The album opens with the iconic “Vampire Killer,” arranged by horror veteran Tsukasa Masuko. This theme is rather intriguing. I’m not sure why there have been so many disco-sounding versions of “Vampire Killer,” but I guess the original seems to inspire this very atmosphere. Rather than just do a standard disco-themed arrangement, Masuko decided to add some Dracula voice-over work into the mix, similar to Perfect Selection Dracula. It is probably distracting to some listeners, but the music underneath is gothic-themed and fits the Castlevania setting quite nicely. It’s sure to be an arrangement that will split opinions.
Speaking of splitting opinions, I’m sure that TECHNOuchi’s remix of “Bloody Tears” will prove controversial, solely because the original melody is underplayed in this remix. Opening with some references to the melody in a haunting music box and ambient synthesizer, it moves into a haunting theme with percussion, ambient elements, some electronic garbling, and orchestral undertones that reference the original. I, on the other hand, find this remix to be brilliant. It manages to capture the gothic setting of Castlevania, and although the original isn’t featured as much as most people would like, I can definitely appreciate TECHNOuchi’s vision of a reimagined Castlevania.
Takuya Hanaoka’s “Crucifix Held Close” actually opens with a sinister organ version of “Wedding March of Tragedy,” the preceding track on the original soundtrack, and it’s quite a varied theme. The main theme, however, is a progressive orchestral rock piece that brings the rock edge many people love to the original music. At the same time, people may find the keyboard and drum synthesizers a bit weak and lacking punch. All the elements go together quite well, giving the track a bit of a retro sound, especially the electric guitar and orchestral harmonies. It’s also quite nice to have some different tempos heard throughout the theme.
Motoi Sakuraba’s take on “Beginning” from Castlevania III is another great remix on the album. It’s done in a progressive rock style, something the original seemed to be begging for, and he manages to keep the actual melody in focus rather than indulging in a long solo section. Of course, solo sections are still present and really remind me of his progressive rock work for the Star Ocean series. Some sections are sinister, others recall his live concerts, but overall the elaborations are more melodically focused than chaotic. While pretty typical of the arranger, it’s a fun remix that builds over time.
My favorite remix on the album is definitely Aki Hata’s “Clockwork.” It’s a high-energy rock remix with some amazing solo sections. I really enjoy how the electric guitar, violin, and piano come together to create a dark yet delicate atmosphere. The solo sections, however, are the true stars of the show. The violin is manipulated in a way to make it sound like a fiddle; the piano solo is classically oriented with a bit of a jazzy nature, and the guitar sections are quite powerful, conjuring images of a wonderful jam session. In the end, it’s one remix that I can always go back to if I’m in the mood for some excellent soundscapes.
Nobuyoshi Sano had the honor of remixing “Simon’s Theme” from Super Castlevania IV. It’s a fairly straightforward take on the original, which already had a poppy electronic sound, though the theme is better known in recent years for its anthemic rock and orchestral arrangements. While this arrangement will be too poppy for some, Sano manages to offer a breath of fresh air using electronic harmonies and slightly industrial beats. It doesn’t do anything over the top or out of the ordinary, but is likely to get listeners moving.
“Calling from Heaven,” by Manabu Namiki, definitely conjures up images of Deathsmiles. It features a gothic tone with an electronic, almost dance-like beat. Though not one of the arranger’s greatest, I really like a variety of elements in this remix. The subtle harpsichord arpeggios serve as a wonderful harmonizing element, while the distorted violin and more prominent harpsichord in the melody line help accentuate the atmosphere of Castlevania. In addition, I find the haunting choral and brass harmonies that support the electric guitar melody to be strong as well. There’s also an unexpected music box melody section that serves as a nice bridge between the more beat-intensive themes. It may not be as crazy as some of the other remixes, but I think Namiki managed to capture the Castlevania atmosphere while transforming it through his experience with shooters.
“Divine Bloodlines,” by Yousuke Yasui, demonstrates his respect and love for retro music. The original theme is transformed into a chiptune remix with some organ and synth support. It definitely manages to show the charm of chiptune music as well as the strength of the original’s melody. I’m also a fan of the different atmospheres it portrays throughout. The A section is more action-oriented, while the B section, with its slower tempo, has a more uplifting and airy sound to it. The solo elaboration after the second loop is nicely crafted and manages to incorporate the original melody quite well.
Another experimental and controversial remix is by Masafumi Takada. His version of “Slash” is definitely reminiscent of his recent work on Vanquish. It features a variety of electronic manipulations, and for the majority of the remix, the melody is only hinted at in bits and pieces. Those looking for a full-on rendition of the original will be sorely disappointed, but those willing to look past the experimental nature of the remix will find a hidden treasure, I think. Through his electronic manipulations, I think Takada manages to capture the more suspenseful tones of the Castlevania series, albeit in an unconventional way.
Yoshitaka Hirota’s “The Wolf Revealed” definitely caters to his Shadow Hearts style. I love his use of distorted industrial tones, bass guitar, and solemn, haunting piano. The electronic beats incorporated also go well with the overall atmosphere. Of particular success are the various tones the piano creates during the remix. At times, it’s haunting and mysterious; at others, it’s more uplifting. It’s a fantastically dark remix that really captures some of the more sinister moments of the Castlevania series.
“Dance of Illusions,” by Mitsuhiro Kaneda of Basiscape, is another fairly straightforward and potentially disappointing remix. His remix incorporates a sinister electronic accompaniment to the dramatic orchestral tones of the original. While it is pretty simple for the most part, I do enjoy the small flourishes and elaborations that Kaneda places in a few of the sections, particularly the airy, uplifting string sections. Overall, it’s an enjoyable remix, but may leave a bit to be desired for some.
Another remix that seems to be on a lot of people’s favorites list is MANYO’s “New Messiah.” This theme features a variety of musical tones and instruments. There are some wonderful, frenetic violin passages that combine nicely with the pop style of the guitar and drums. In addition, the more progressive rock elements, with some unique synthesizer work and keyboard accompaniment, really go well together. Another element of the remix that I enjoy is the more ambient sections that feature a big brass sound. Throw in a great guitar solo and it comes together as a very well-composed arrangement and a departure from what I’m used to hearing from MANYO.
The album closes with Tenpei Sato’s rendition of “Voyager” from the original Castlevania. With this remix, the Disgaea artist manages to demonstrate his mastery of emotion and strings. The string passages are enchanting, romantic, and dark and support the haunting vocals quite well. As the arrangement progresses, a full choir, which I suspect includes Tenpei Sato, is introduced and brings a bit of a darker tone to the remix. It’s truly one of the most touching renditions of a Castlevania theme I have heard. In the end, this is a beautiful way to end the soundtrack.
Summary
In the end, remixing many iconic themes from a very enduring and popular series is bound to be a gamble in terms of overall enjoyability among fans of the original music. Ultimately, I do think that this album, which focuses on the idea of “theme of the hero,” manages to express many of the more action-oriented themes in a variety of intriguing ways. Yet while I enjoy the album very much, there are remixes that listeners may find lackluster or controversial. The score does not reflect my enjoyment but rather reflects the reception the album has received so far. I definitely recommend this album and most of my friends enjoy it, but of course, due to the variety of styles, it may turn a lot of people away.
