 | Album Title: NieR:Automata Original Soundtrack |
| Record Label: Square Enix | |
| Catalog No.: SQEX-10589~91 | |
| Release Date: March 29, 2017 | |
| Purchase: Buy at CDJapan |
Overview
It’s still hard to believe that seven years after the first NieR we were getting a sequel, given that the game wasn’t a critical smash hit. One thing that did stand out was the music by Keiichi Okabe and his team (Keigo Hoashi, Kakeru Ishihama) at MONACA. It was generally well-regarded and really accentuated the atmosphere of the game. I can only imagine the pressure they felt when composing the soundtrack for this game, as they certainly had big shoes to fill. Okabe and Hoashi return and this time are joined by Kuniyuki Takahashi, who debuted in the world of game music with his work on Drag-on Dragoon 3, also directed by Yoko Taro. Does their sequel live up to the lofty expectations set by fans of the original soundtrack?
Body
The album opens with the first title screen music, “Significance – Nothing,” featuring an atmospheric backing track, piano, subtle vocals, and some electronic elements. It immediately indicates that, to some degree, the music in this game will differ from the original. The second title screen music, simply “Significance,” features a richer sound and a slightly more prominent use of vocals—although quite subtle compared to other vocals on the album—and continues with piano. Another such tune, “The Color of Depression,” is tense, darker, and features some industrial tones, while “Widespread Illness” adds ethereal synth but is largely forgettable. Slightly better is “Fortress of Lies,” which provides a similar electronic ambiance but has an atmosphere that is more beautiful than other purely electronic tunes on the album. Overall, I feel that the more atmospheric tracks are an afterthought: while they work well in the context of the game, they fail to stand out when listened to in isolation.
Of course, there are some fan favorites that return with new arrangements. Both “Faltering Prayer ~ Dawn Breeze” and “Faltering Prayer ~ Starry Sky” prominently feature the melody in “Dispossession” from the first NieR soundtrack, with the former featuring atmospheric synth, piano, and vocals by Emi Evans that give it a haunting touch, while the latter is more melancholic due to the music-box rendition. “Grandma ~ Destruction” takes the poignant original and adds a dramatic flair by incorporating choir, forgoing the original vocals; however, due to how it is mixed on the soundtrack, when the vocal aspects are removed it lacks the impact and power the choir brings. Similarly, “Song of the Ancients ~ Atonement” is reminiscent of “Song of the Ancients ~ Fate” from the first soundtrack, although less rich in sound. The string accompaniment on this tune is also a bit lacking. The melody itself still works as well as it does in the original, thanks to the retention of the original vocals, but like the arrangement of “Grandma,” when the vocals are removed the tune becomes much less powerful. On the flip side, “Emil ~ Despair” is similar in style to “Grandma,” but the power is kept a bit better throughout the tune, even when vocals are absent.
Many of the area themes also incorporate vocals and capture the essence of the area fairly well. “City Ruins – Rays of Light-” features acoustic guitar, piano, and progresses from a softer sound to a more dynamic and lush arrangement featuring vocals by J’Nique Nicole. The overall atmosphere has a haunting quality befitting a ruined civilization. These elements are also present in “City Ruins – Shade-,” which features a richer yet solemn sound, vocals by Emi Evans, and is a bit more engaging overall. The same dynamic flow is also incorporated as the piece progresses. “Wretched Weaponry” is actually split into two separate tracks, rather than fitting all three versions into one theme. The first, “Wretched Weaponry: Medium/Dynamic,” incorporates the more action-oriented renditions. The vocals in this piece are by Emi Evans and accompany a beautiful melody. The accompaniment itself is a bit simplistic at first, primarily strings and piano, although there are some light industrial touches as well. As the piece progresses, it becomes more march-like and sounds colder due to the addition of industrial elements. The “Quiet” version is a more ambient, piano-driven rendition with wispy vocals; it is more a cappella-like and is reminiscent of “Wretched Automatons” from the first NieR game.
“Peaceful Sleep” is the theme for a small outpost in the game and this mix features a nice progression displaying the various elements in the track. It features evocative vocals by Emi Evans and acoustic guitar, lending a rustic touch. The piece itself is simple and relaxing, but it loses a bit of its impact when it becomes more instrumental as the melody starts to wane. The piece ends with a music-box rendition of the theme, which helps bring it back to a more melody-focused tune and closes out on a higher note. Another town theme is “Pascal,” which incorporates acoustic elements, clapping, mechanical sound effects, and mallet percussion, in conjunction with a blend of children’s vocals and processed vocals to give a sense of innocence. The piece may not be for everyone, but it has its own charm. While not exactly an area theme, “Emil’s Shop” is a quirky vocal tune with a march-like approach. Included in this version are the Japanese lyrics and the “gibberish” version. The melody is catchy, but the tune certainly feels out of place, especially during the gibberish sections, which is unfortunate. In some ways I wish the English version of the lyrics were included, as they add a comedic element that is lost to non-Japanese speakers in this rendition. The desert area theme, “Memories of Dust,” features vocals by J’Nique Nicole that give it an exotic flavor and make it quite powerful. There is plenty of Middle Eastern instrumentation that helps add to the desert feel of the piece. As the piece moves on, the vocals are replaced by instrumentation, similar to when the game is more exploration and less combat. It’s an interesting progression and one that works, but I feel some of the vocal-less aspects are a bit mediocre.
The forest area theme, “Forest Kingdom,” references “The Incomplete Stone” from NieR and uses it as part of the accompaniment. The piece starts out calm with piano and ethereal synth before adding similar-style vocals by Nakagawa, which help give the piece a mysterious air before percussion adds dynamism and a richer sound. “Copied City” is a beautiful piano/strings-driven piece with ethereal vocals which really capture the atmosphere of the dungeon with its pristine whitewash. There is a haunting atmosphere to it as well, giving it a dramatic flair and adding some tension. Similarly, “The Tower” is a blend of ethereal, ambient electronic tones featuring both Emi Evans and J’Nique Nicole on vocals; the latter adds a very powerful element to counter the softer aspects of Emi Evans’ voice. As the piece progresses, it gets darker due to the addition of percussion, and there is even some 8-bit influence in the piece. It’s certainly one of my favorite area themes. Perhaps the strongest on the album is “Amusement Park.” The piece is extremely mysterious yet playful, with its carnivalesque sound—thanks to the accordion and mallet percussion—and boasts an excellent melody. Beautiful strings and vocals by Emi Evans help add to the piece. Of note is how the piece progresses: it moves from a “medium” tempo to a softer piano-driven section, then to more action-oriented passages where the sound is richer, the strings really get a chance to shine, and the carnivalesque accompaniment is retained.
Of course, there are plenty of boss battle themes on the album, of which there is a variety, reminiscent of the original game’s soundtrack as well as more unique to the universe. “Birth of a Wish” features male chanting and interesting rhythms while also adding some Middle Eastern sounds later in the piece to help tie it to the desert area in which it is first played. The piece is reminiscent of “Blu-bird” in style in some ways. Absent from this version are the sound effects from the game—such as “We Cannot Continue” or the Japanese equivalent—that are constantly played throughout the battle; those effects certainly make the piece more interesting. My absolute favorite battle theme, and subsequently my favorite tune on the soundtrack, is “A Beautiful Song,” the boss theme to accompany the enemy found in the Amusement Park area. The piece, which features vocals by all three major vocalists on the soundtrack, is extremely powerful yet retains a haunting melody. Female choir, heavy percussion, and strings blend together to form a fitting backbone for the piece. Perhaps the pinnacle of the track is J’Nique Nicole’s powerful voice, which gives the piece mysticism and certainly packs a punch. It’s an excellent tune fitting for an equally excellent battle.
The “oddball” among the battle themes is certainly “End of the Unknown,” a heavy electronic piece in the vein of Tekken, to which Okabe has contributed in the past. The vocal samples help give it an exotic touch, and while it may seem out of place, it fits within the confines of the game, where this battle takes place on a 2D plane similar to a fighting game. The resultant tune is intense but also features a catchy melody. “Dark Colossus – Kaiju” captures the spirit of “Dark Colossus Destroys All” from the first game by incorporating the bombastic original with minimal changes in instrumentation, choir, or melody, although it is more intense in nature. However, the slower organ sections lend a sobering, Castlevania-like, almost religious tone. “Dependent Weakling” is one of the more dramatic tunes and serves as the final boss theme in some playthroughs. The melody is haunting, accentuated by violin and vocals. The end result is enjoyable and fits the battle, but it lacks some of the impact that “Shadowlord,” which in some ways this mirrors stylistically, had in the first game.
As with the first game, the ending vocal, “Weight of the World,” comes in a variety of flavors, each one played during a different ending credits roll. The English version, sung by J’Nique Nicole, is the first rendition you’ll hear in the game. The tune features a blend of acoustic guitar, percussion, and strings and boasts an exquisite melody. The atmosphere of the piece has a bit of a Disneyesque pop sound, but the excellent lyrics and powerful performance truly make the piece shine, particularly in the latter half when powerful variations of the chorus complement the softer aspects of the piece. The Japanese version, “Weight of the World Kowaretasekainouta,” sung by Marina Kawano, adds a wispy element. The progression is largely similar; whereas J’Nique Nicole’s version offers power and hope, Kawano’s adds a tinge of hopelessness and sadness as the climax of her piece is extremely emotional and distraught. The third version, “Weight of the World Nouveau – FR Version,” sung by Emi Evans, immediately stands out for the more solemn strings and electronic elements that open the piece, as opposed to the piano in the other two versions. This mirrors the overall performance: Emi Evans’ vocals are more melancholic and poignant, and her vocals are highlighted with light accompaniment that accentuates the overall feel.
Lastly, “Weight of the World – the End of YoRHa,” the music that plays for the final ending credits, is perhaps the strongest of all versions, if only due to how it is executed. Opening with an 8-bit rendition of the piece, it offers a glimpse into some of the gameplay before moving into the chorus of the English version, sung by J’Nique Nicole. As the piece progresses, vocals by Emi Evans and Marina Kawano are incorporated and all mingle and transition seamlessly. It really ties all of the versions together. In addition, there is a backing choir consisting of the entire development team, which adds an extra layer of musical texture. Although this version isn’t quite how it plays out in the game, it is an extremely representative way of piecing together all of the elements of the truly progressive and interactive ending credits. In comparison to “Ashes of Dreams,” it isn’t quite as impactful, but it certainly fits within the game and creates an entertaining listen.
Summary
While the NieR:Automata Original Soundtrack is sure to please fans of the original, aspects of this version aren’t as ambitious or as powerful as the original soundtrack. There are certainly high points that surpass the original, but they are sometimes countered by pieces that fail to elicit any response when taken out of context. There is still plenty to enjoy on the soundtrack, and the vocal-forward sound that made NieR shine is still in full force, with additional singers who really manage to add their own flair. Recommended for fans of the original game’s soundtrack; however, if you weren’t a fan of that soundtrack, there isn’t much to entice you on this one.
