 | Album Title: Super Stardust HD Original Soundtrack |
| Record Label: Ari Tunes | |
| Catalog No.: N/A | |
| Release Date: June 15, 2007 | |
| Purchase: Unreleased |
Overview
Super Stardust was originally a game released in 1994 for the Amiga and Amiga CD32 platforms. Thirteen years later, it was reimagined for the PlayStation 3 as Super Stardust HD. Taking one part Asteroids and one part Geometry Wars, the game creates a frenetic, destroy-everything-on-the-screen shoot-’em-up. As the player controls the ship, destroying enemies and asteroids that collide with the planet, the background music is extremely fitting to the overall setting. Ari Pulkkinen, the composer behind the PC game Shadowgrounds, utilizes two types of styles on this soundtrack. The first, used in single player, opts for an organic/electronica fusion, while the second, used in team mode, opts for a very Hollywood-esque orchestral sound. Are both halves equal or does one outshine the other?
Body
There seems to be a general unwritten rule when it comes to shmup games, whether it is the manic bullet shooters produced by Cave or more user-friendly shooters such as this. The rule is quite simple: produce a first-stage theme that is extremely catchy and, oftentimes, one of the best things on the soundtrack. I don’t know if Ari Pulkkinen intended to follow this rule, but to me the first piece is one of the best on the soundtrack and my personal favorite. “Starfighting Across the Universe” utilizes a techno-driven bass line, incorporates a bouncy, futuristic synth and some brass accents to create a catchy and ultimately engaging stage theme. The melody is one of the strongest on the album and never bores throughout its duration. In the solo expansion, there is a remixed version of this piece too. In addition to keeping the core melody and overall sound, the remix, entitled “Starfighting Across the Universe (Epic Japanpop Remix),” also incorporates some nice electric guitar work in the form of riffs and melody. While both versions are excellent, I find the remix to be slightly better, if only because it’s much longer and incorporates a bit of edge into the music with the electric guitar.
Fortunately, each theme has a distinct sound that separates it from the others. “Jolly Good Jungle Adventure” is a nice take on tribal electronica. Incorporating a heavy techno bass line with a melody that has a nice exotic flair, it gives the sense of impending danger but at the same time helps to craft one of the more interesting pieces on the soundtrack. While it doesn’t have as much focus on organic instrumentation as some of the other themes, when present these instruments do accentuate the overall mood of the piece. “Thou Shall Be Fire and Brimstone” is another great piece. Fusing together an industrial sound with the more futuristic soundscape heard throughout the album, this piece is perhaps the “grungiest” of them all. As such, this piece also focuses more on the bass line rather than on the melodic content. It gives a great sense of impending doom and creates a tense atmosphere throughout.
“Hyperspeed Mr. Spåck!” is most similar in style to “Starfighting Across the Universe.” Featuring heavy brass accents combined with the futuristic synth, it’s a much more epic theme. The electronic sections are more intense while there is a stronger focus on the use of brass and strings. Fortunately, it doesn’t lose any appeal by using more organic instruments, but rather helps create its own unique identity. Out of all the stage themes, if I had to choose a least favorite, “Super Ice Ice Baby” would be it. That’s not saying it’s bad—far from it—but it’s the one that I don’t find as entertaining as the others. While heavily electronically focused, there are some nice ethnic influences heard throughout, mainly of the Asian variety. It adds another unique feel to the soundtrack. Bubbly and highly energetic, the final stage theme is very entertaining.
The last highlight on the soundtrack is definitely the boss theme, “Wrath of the Pingu.” Starting with an ominous beat and string/choral accents, the mood for this piece is set. As the piece progresses, the orchestral and electronic focuses tend to switch places at times, creating a very chaotic, frenetic piece of music. It works wonders in creating a sense of danger. The highlight of this piece is easily the bass line, as it sets the pace for the entire piece. It’s a fantastic way to end every planet!
My review of the team expansion will be much briefer. The highlights of this soundtrack are easily the single-player pieces, because they bring so much depth and energy to the soundtrack. Unfortunately, the orchestral arrangements, while very well arranged, are the weakest thing on the soundtrack. Translating electronically-based music into orchestral form is a feat in itself, and I think that Ari Pulkkinen does a fantastic job in doing so. All of the grabbing features in the melodies of the originals are retained, and the replacement instrumentation is fitting. Every theme, from “Heroes of Lave” to “Heroes of Segomo,” still manages to be catchy, even without the bubbly, futuristic synth or the industrial soundscapes. As for the instrumentation behind this, expect to hear lots of percussion and brass. Both are used to craft a very epic feel for these pieces. There are also some string and choral accents to add a bit of depth to the pieces. In the end, the orchestral arrangements are pleasing, but the true stars of the soundtrack lie in the electronic variety.
Summary
While video game music by Western artists is a territory I seldom cross, on occasion I find myself venturing over. Most of the time, I stand unimpressed; however, on rare occasions, I do find that diamond in the rough. The soundtrack to Super Stardust HD is one such diamond. In fact, I think it very well may be my favorite score by a Western artist. I think that Ari Pulkkinen did a fantastic job in melding together futuristic, spacy soundscapes with more down-to-earth instrumentation, and while the orchestral arrangements aren’t as energetic and catchy as their original counterparts, they still retain key features from the originals to satisfy the listener. Even though I haven’t ventured into the game mode that features these pieces, I assume it helps craft a very immersive experience. Unfortunately, there is no commercial soundtrack release for this game at the moment, merely an unofficial soundtrack endorsed by the artist, but I do hope one comes eventually. When it does, it is definitely worth the purchase. There is something here for fans of orchestration, fans of electronica, or fans of both.
