 | Album Title: Gungriffon Original Soundtrack |
| Record Label: Pony Canyon | |
| Catalog No.: POCX-1025 | |
| Release Date: April 25, 1996 | |
| Purchase: Buy Used Copy |
Overview
Motoaki Takenouchi was a versatile and experienced composer, and, like his contemporary Hayato Matsuo, a former disciple of Koichi Sugiyama. Unlike his contemporary, Takenouchi left the game-music industry around the time he finished the soundtracks to two games: SD Gundam Over Galaxian and, more notably, Gungriffon. In many ways, Gungriffon‘s soundtrack is representative of Takenouchi’s signature style: potent rhythms, simplistic melodies, and masterful use of synths and other instruments. The result evokes the atmosphere of piloting a walking, rolling tank through a battlefield. Because the soundtrack features all aspects of his style — even his orchestral side, somewhat obscured in the annals — this very rare CD is a masterful, fitting end to Takenouchi’s discography and marks his departure from the industry in excellent form.
Body
Motoaki Takenouchi has always been a master of dramatic themes, particularly when composing battle themes for a game. Gungriffon, a game based entirely on fast-paced, challenging combat, was more than suited to him. “Do or Die”, the first track on the album, quickly builds suspense, first with radio dialogue and vamp percussion to create the image of impending battle, before the main theme for the game enters. Finally, the battle starts with the introduction of pounding percussion, a pulsating and brisk series of synth lines, and great use of organ and string synths to carry the simple yet powerful theme. Many of these elements are also to be found in “Delirhythm II”: rippling synth lines and bass, coupled with the vamp bass line; all three elements support the angular piano melody. These battle themes both share a similar tension and intensity, though with differences: “Do or Die” evokes a more triumphant view of battle, while “Delirhythm II” focuses on the grave danger and fear of battle. In both cases, these battle themes are stark and unique to the man who wrote them — they also happen to sound great, in and out of context!
While “Stay Alive”, “Red Signal”, and “Spiritual Tensions” work along the principles used in the two more notable battle themes, Takenouchi is also adept at creating less intense, more spacious music. Take “Silent Night”, for example: minimal, albeit active, percussion keeps the same feeling of motion that complements the pace of battle, while accentuating piano chords and flourishes that set the scene for a flute interlude and use of synths. Overall, this whole mix of elements paints an active and brooding image of a battle at night, with angularity and mystery audible within the alleyways formed by violin and piano. “Underdog” also speaks of the night; however, it is even more minimal, focusing on synth lines that enter and leave the piece, though with a steady progression toward a fuller sound. However, I feel this takes much too long personally — the track’s length makes it difficult to listen to completely! These feelings can also be heard on “Collapsed Discipline – Type H”, though this piece is even more contextual, offering an atmospheric introduction to the player’s entrance into a nuclear silo before segueing into a battle theme. This part is supported by a lively synth line as the intensity is sustained throughout your sojourn in the silo, helped by dramatic bells and dissonance.
And after all this has happened, we’ve come upon the true “Theme of Gungriffon”! Takenouchi, himself known for a unique style in writing battle themes and atmospheric adventures, was also skilled with orchestration, a skill he developed when arranging for his own mentor’s albums. In contrast to the other battle themes prominently featured on the album, this track is slower-paced and more focused on a triumphant build-up of synth melody, beautiful backing parts, and active percussion and bass. It also represents the full realization of the main theme of the game, now beautifully concluded with brass bravado and ultimately flowing into “After Conflict”. While “Theme of Gungriffon” is based on slow and steady development, this credits theme simply goes at it: the simple melody is strengthened through a notable guitar lead, synth backing, and well-placed solos and repetition. For what it is, this closing track is a fitting conclusion to the whole musical adventure — when the battle is over and done, it’s never a bad time to celebrate.
The two bonus tracks that follow, nonetheless, offer interesting material. “Bonus Tracks 1” is a series of contextual menu themes used for briefing screens and the options menu, among other contexts. Of course, they’re all well put together. “Bonus Tracks 2”, in contrast, is an unused track that is more morose and orchestral than anything else on the album. Thankfully, though, it’s well-developed and effortlessly describes a depressing scene, perhaps of the destruction that war has caused.
Summary
Throughout the album, all of Motoaki Takenouchi’s versatility can be heard in each of its different styles: the dramatic, intense battle themes; his spacious, more mysterious music; and his orchestral, melody-driven main themes. Overall, each composition has something to offer and is well-placed on the album to ensure a steady progression through the music. Compared to the music of his contemporaries, he stood up well and offered a distinct musical feel to the Gungriffon games. This album is very rare and difficult to get hold of, but it’s an exciting look into Takenouchi’s career and, in my opinion, the best and most representative of Motoaki’s musical prowess.
