Overview

This soundtrack and that of its immediate predecessor, Silent Hill 2, are two proverbial peas in a pod. The similarities are obvious — they both use a blend of ambient tunes and "other" music, a lot of which is rock. The nice ordering of the tracks prevents either genre from abusing the listener's ear from repetition. And it's just some damn fine music.

Body

But there are always changes that come with each new Silent Hill soundtrack. The most noticable addition to this album is the addition of narrative tracks. I'm not speaking of those annoying filler tracks that consist of some old dude speaking Japanese. No, these are in English, and accompany real music. They tell mysterious stories about gods and paradise, and in general they're some of the best pieces. One in particular I like is "Clockwork Little Happiness", which opens with some echoing organ notes, then settles into a rhythm that does indeed sound like clockwork. Haunting voice-like sounds float in and out, and then the female narrator does her thing. Some of the speeches aren't all that interesting, but others are pretty deep. Take "Letter - from the Lost Days", for example. Rather than having a musical part and then a narrative, the narrator sings most of it. It's a song that she sings to her future self, and despite the sad tone of the music, the lyrics are pretty optimistic. I especially love these lines: "No matter how hard it gets, you have to realize we weren't put on this earth to suffer and cry... We were made for being happy." Quite a difference from the despair and horror I usually associate with Silent Hill.

Aside from the narratives, there is a good selection of vocal pieces. After the first track's prelude, track 2, "You're Not Here" is the sort of poppy rock song that was very prominent in Silent Hill 2. "I Want Love" is sort of a sentimental alternative song, not that great until you hear the studio mix version at the end of the disc. That version features a genuine band feel, with good guitar and drum work, and the vocals are just awesome. Just when you think you've soaked in all the good stuff, about halfway through you hear something vaguely familiar... could it be, maybe...? Yes, it's a twist on "Laura's Theme" from the prequel! As if that's not enough nostalgia, the preceding track, "Hometown" is a remake of Silent Hill's first theme with vocals. A strong opening and strong ending tracks... that's Silent Hill in all its glory.

One of the things I've loved about Silent Hill since the second game is the blending of ambient and more traditional musical styles. There are several pieces that demonstrate this really well, such as "Rain of Brass Petals". It begins without any ryhthm or melody at all, but then shifts to a steady beat with an Eastern string instrument playing the melody. "A Stray Child" is another good one, and one of the longest songs on the CD. It has a well-defined rhyhtm, but the melodies and harmonies are anything but well-defined. At least, that's how it starts off... it evolves until it's more of a haunting string symphony. The most unique track in my opinion, is one of the best but unfortunately one of the shortest. It's called "Uneternal Sleep", and it's like a lullaby and a blast of noise at the same time. It's mournful yet bright and happy, atonal and yet contains some beautiful harmonies.

There's too much to talk about, so I'll have to stop myself short. Be sure to listen to the great piano pieces, such as the very dark and deep "Walk on Vanity Ruins" and the ambient-ish duet "Innocent Moon". Also look out for some Parasite Eve-esque opera singing in "Maternal Heart" and tribal chanting in "Prayer".

Summary

If you liked Silent Hill 2's soundtrack, you'll love this one nearly as much, or even more, depending on your taste. I honestly can't decide which I love more, as they are both fantastic but still have their own character. If I were to call the Silent Hill 2 Original Soundtrack the "interesting" series soundtrack, I would have to call this one the "beautiful" one.

Overview

Silent Hill's soundtracks have with each turn become more and more involving. The Silent Hill 3 Origianl Soundtracks continues the trend with the franchise becoming more melodic and less ambient. This time it's all about layering loops of sounds on top of each other. In between them are ambient rushes and some incredible vocal works.

Body

"Lost Carol" is a vocal piece that is very sparse and haunting. This suddenly bursts into "You're Not Here", a full on rock anthem. The vocalist is superb and the guitar work is very intricate but gritty. It's a perfect blend of sex and rage. As the soundtrack introduces its ambient side, "Float Up From Dream" features a keyboard background with a whispery speech over the top, providing a haunting start to the soundtrack itself. "End Of Small Sanctuary" is where the average Silent Hill 3 song comes into play; the layers of guitars continue to build up over an almost trip-hop beat to provide an ethereal but rocky ambient texture. "Breeze - in Monochrome Night" then takes us into an empty ambient place that feels cold and desolate. After a small time the keyboards and clunks are joined but the beats and guitars again to keep that almost never-ending journey feel going. The piano parts in this dramatic piece are exceptional.

"Sickness Unto Foolish Death" starts off with evil and haunting sounds and then begins to enwrap itself in a mean bass line and heavily distorted drums. That combined with the soft but haunting sound of an electric piano makes it a sickly sweet but evil song. The added strings and swirling distorted vocals finish off this piece perfectly. "Clockwork Little Happiness" begins with daunting church organ music before using various monstrous noises to give a percussion beat in a track that's very cleverly put together. "Please Love Me... Once More" is a sombre guitar-based track that is peppered with nifty drums loops inside drums loops. The result, which is seen through the soundtrack, makes the music sound much fuller. "A Stray Child" gives us the return of those tormenting sirens that plagued us during the first two games with fear; soon enough empty sweeping pads of sound fill up the speakers to give us a down tempo piece to make sure we stay depressed. It's dramatic and great music, so we don't mind!

"Innocent Moon" begins with what sounds like an underwater radar system going wild before a piano takes up the tune is a subdued tone. It leads into "Maternal Heart", which revolves around various distorted sounds held together by the now familiar drum beats while an operatic male voice giving this song some distinction. "Letter - From The Lost Days" is the next vocal track; it's less riff rock and more alternative pop rock. This sound is more haunting and scary. The nearly whispery vocals of the chorus are angelic but you know they are more spiteful than they let on. The closing part of the song is perfect whispering, "We were put here on this Earth, put here to feel joy". Not scary in their own, but in the context, its chilling. "Dance With Night Wind" has an almost tribal percussion to it, with a solemn violin and piano playing in tandem. "Never Forgive Me, Never Forget Me" is a cold as ice keyboard piece with a piano embellishment that is something that you'd expect from Ico but is an excellent variation for ambience.

"Prayer" is pure evil, with screams, moans, awkward noises and a demon chanting. This is what we expect from Silent Hill! Excellently unnerving. "Wait On Vanity Ruins" is a dramatic piano and drum piece with a distorted speech that delivers a sense of real urgency. It leads fittingly into "I Want Love", a good vocal theme and a short and far more sparse and depressing version of the actual song that appears at the end of the album. This version is not as good as the real version as it lacks any kind of hit to it, but the superior song writing skills of Akira Yamaoka still shine through. "Heads No. 2" follows with ambient rumbles and thuds before "Memory Of the Waters" picks up the pace with what sounds like a heartbeat and various machinery interconnected by a keyboard synthesiser to make a random ambient track. "Rain of Brass Petals" brings the part full circle with a disturbing chord arrangement that suggests pure darkness. The rocky ambient textures and creepy undertones keep this track alive until its last chord.

"Flower Crown of Poppy" uses some evil chilling ambient noises to create the background for what is a very bass-dominated song with excellent use of some of the classic Silent Hill sounds. "Sin" begins with the best monologue on the album (there are many throughout) about God. Note that they call God female! "Uneternal Sleep" is a bitter peace of ambient waves and sirens. It leads into "Hometown" that is actually a vocal revamp of the opening theme of Silent Hill! This surprise song is done in the Silent Hill 3 fashion (looped drums, organs, and little guitar until the end). The male vocalist is a taste that's a little hard to acquire at first listen, but the more you listen to, the more the whole B-Movie feel he has. I can see many fans disliking the revamp but it definitely has its own legs to stand on. "I Want Love (Studio Mix)" is the superior version of the song, in full rock mode and some superb vocal and guitar work.

The closing track is a bonus one called "Rain Of Brass Petals - Three Voices Mix". It takes the meanest chord-involved song on the album, pumps it full of guitars, and gives it death metal vocals! The lyrics are evil, the voice too, and it's a dark and devilishly wicked way to end an epic album. Note that this is not available in the European release of the Silent Hill Original Soundtracks.

Summary

Silent Hill 3 Original Soundtracks is an incredible piece of art. Many will feel that the ambient roots have been largely ignored, but they have merely taken a more backseat approach while the songs take on a more accessible root. The rock songs are nothing but pure classy music and the way in which it feels like a whole new journey again is inspired. Put simply: it ends the trilogy of music with another piece of perfection.

Overview

When I had the opportunity to review a Silent Hill album, I immediately thought it would be a fun challenge. All of the Silent Hill albums produce, in my opinion, the most natural sounding rock arrangements found in most game scores, while still bringing a delicate, artistic touch to the atmospheric work required to give the suspenseful events of the game their unique edge. The balance on this album builds on what began with Silent Hill 2, and expands it to include vocal work of two different types (which I'll talk more about later). Together, these pieces come together to create a score that is truly unique, where the music becomes a real commanding force of the game, both while playing it, and in the view of the general public. In other words, the score identifies the game as being part of the Silent Hill series, not the other way around. In this review, I'll be looking at some of the tracks which really stand out, and which help to bring the score its own unique edge. However, I will exclude the atmospheric tracks from my review, simply because (to me at least) they all sound the same — creepy, yet suspenseful, with low bass sounds and eerie instrumental rifts; perfect for their placement within the game, but difficult to elaborate on through writing.

Body

Let's start with two tracks which really bring something different to the score, which you don't see very often. "Float Up from Dream" and "Sun" is two tracks which give epic (pseudo-biblical?) accounts of fear and sorrow through spoken word. "Float Up from Dream" acts somewhat like a prologue, foretelling the possible futures of the game's protagonists. Among the spoken words, are synthesizer chords which help to create the necessary mood of foreboding. "Sun" on the other hand, is a direct spoken line, detailing the emergence of a female God into the world, as well as her death. The track is only accompanied by light synthesizer in the background, which never becomes strong enough to drown out the spoken passages. This is a good thing, as part of what makes this track so interesting is the choice for the vocals. Mary Elizabeth McGlynn, one of two vocalists in the Silent Hill series, offers her low, soothing voice, which is what really defines these tracks. A higher voice, or a voice with an accent, may not have been able to pull it off as effectively.

Now, I'd like to turn to the rock pieces I spoke of in my introduction. Many of the rock pieces in the score for Silent Hill 3 involve a standard rock ensemble: drum kit, electric guitar, and bass. However, these instruments are combined with synthesizers to give atmospheric pieces a beat, and to provide a driving force for each track. "Please Love Me... Once More" demonstrates this nicely. The track features synthesizer whole notes, which provide a hint of a melody, while a jazz guitar offers a recurring melodic pattern. The drum kit in this track in particular provides enough of a beat to push the track, without becoming overpowering. Slight syncopated rhythms in the snares also help to create the illusion of movement. "Dance with Night Wind" expands on this, with the introduction of piano melodic segments, which are supported by synthesizers. Violins also help to create a flow, which is further enhanced by the syncopated drum kit. The kit is what really makes this track stand out, because again, it isn't overpowering. It supports the melodic segments throughout the rest of the track, and provides the necessary push that otherwise, if it wasn't included, would make the track repetitive and dull. "Walk on Vanity Ruins" builds on this track, by focusing on piano to provide the melody. The sweeping strings are accompanied by a house drum rhythm, which perhaps isn't the best choice for the track, but still provides an interesting variety to the score as a whole. McGlynn's spoken vocals also permeate the later half of the track, speaking of conflict and death.

On that subject, it's time to look at the tracks which really make the Silent Hill series unique: the vocal pieces. Perhaps one of the most identifiable tracks of the Silent Hill series (besides "Laura's Theme"), "You're Not Here" comes out strong with guitars blazing. Perhaps not the traditional rock sound, the track encompasses all of the instrumental styling found throughout the rest of the album, combining a strong drum kit rhythm, a prominent guitar counter melody, and soaring lyrics (even if they don't necessarily make sense in the context of the game). McGlynn's voice comes out strong during the chorus, while backing off during the verses, matching the instrumentation perfectly. Perhaps the mote interesting use of this song was not in the game itself, but within the movie version of 'Silent Hill.' "You're Not Here" played during the credits of the movie, matching the scenes perfectly as the camera moved its way through the catacombs of the deserted city. In the game, the song doesn't have as interesting a back-drop: during the opening, it plays with random cut-together scenes from the game. A different version of "You're Not Here" can be seen in the game DDR Extreme, where the song is accompanied by a full motion video capture of the game's main character, Heather, singing the song.

"Letter - From the Lost Days" is another prominent vocal piece which also appeared in the movie version of Silent Hill. In contrast, it's a very slow piece, with light synthesizers and a brush drum kit to add a little beat. McGlynn's voice is washed out while she speaks of meeting her future self, and the troubles that await her in life. In the game, this piece is very appropriate, as it creates a back-drop to Heather's past. As she recalls her family's history in Silent Hill, there's a real sense of grief in Heather deciding to return to her hometown; a sadness which matches the song perfectly. "I Want Love" provides a mix between these two tracks, with a heavy electronic beat in addition to a brush drum kit. While this particular arrangement of "I Want Love" isn't my favorite, since it becomes slightly repetitive and a lot of the melody in the lyrics is lost, it still has the correct mood to match it's placement in the game. "I Want Love (Studio Mix)" is an upbeat version of this track, and more closely matches "You're Not Here" in style. It accompanied a special promotional video clip for the game. This version really showcases McGlynn's vocal talents, as it allows her to break into a hard rock vocal range — complete with voice straining and long held notes. This is by far my favorite of all the Silent Hill vocal tracks.

Finally, we come to an arrangement of the opening theme from the first game in the series, "Hometown". I find it to be a... confusing track. The vocals are provided by Joe Romersa, whose vocal style resembles that found in heavy metal/screamy rock bands. The theme itself doesn't necessarily demand this over-dramatic vocal style though, and so the track sounds out of place with the rest of the album.

Summary

Overall, the Silent Hill 3 score is impressive. The tracks work perfectly with their surroundings, and most importantly they make sense. They have the correct sound without betraying the mood and atmosphere of the game, and they make use of a rock ensemble without creating a style that otherwise would be found in the popular music scene. The vocal work of Mary Elizabeth McGlynn especially produces some of the best and most natural sounding vocal work seen in games to date. The only down-side to this album is the variety. Yes, there is a great set of rock tracks, but in a way they all sound the same — some type of beat, with synthesizers. But, for the most part, this can be overlooked. It's a great album, and deserves any and all praise.

Overview

Two years after Silent Hill 2, Silent Hill 3 shows up and enjoys a fair amount of success. Konami chose to link this game to their original in several ways. One way was to give ambience a bigger role in this soundtrack, so Yamaoka had created a great number of ambient themes which helped in giving Silent Hill 3 a more terrifying dimension of realism. Sadly very few of these themes made it on the soundtrack CD, but what's on there is still worthy of mention.

Body

The first track to grab one's attention is "You're not Here", which accompanies the opening FMV. Mary Elizabeth McGlynn gives an amazing vocal performance while Yamaoka's composition shines with the electric guitar. The song itself is comprised of well-thought lyrics and they flow perfectly with the sequences in the FMV. "Float up from Dream" is the title theme, which bears similar qualities to the one on Silent Hill 2. There is a narration telling of some cryptic apocalypse about to occur, which is annoying at first, but you get accustomed to it in time.

With respect to ambient themes, "Breeze - In Monochrome Light" has the organ playing an eerie melody, backed up by metallic effects, then a steady backbeat moves the piece until it is accompanied by a light piano. The piano itself, while being beautiful, also hides deceptive qualities, as the track plunges further into a sorrowful tone. Another track that really stands out is "A Stray Child". It starts off with the creepy SFX you'd hear in the abandoned mall basement. In-game, you'd hear eerie howls but instead we get a backbeat/organ piece, which has occasional sound effects here and there; while the theme is simple, it complements the vision of being powerless, stuck in a dark and dreary nightmare. A violin joins in and adds more emotion of fright, depression and loneliness as it progresses.

The most disturbing track is by far "Prayer", which has male chanting, metallic sounds, and buzzsaws cutting away followed by a howl. This entire collage of sounds is enough to get one paranoid while listening. "Flower Crown of Poppy" is another industrial noise-based track, with constant metallic clanks, which soon has an eerie spiritual chant. I don't know where this plays in-game, but I hope I won't be there long, as this theme really freaks me out. "Uneternal Sleep" is the last ambient track, which has some loud *honk" noise going every now and then... The third noise is accompanied by sounds that something is closing in on you as it closes.

The soundtrack has two more vocals. "Hometown" is sung by Joe Romersa, whose odd voice is an acquired taste. The piece itself is a faithful arrangement of the Silent Hill opening track, for which Yamaoka uses the mandolin, along with the acoustic guitar. The final track is a second vocal by Mary Elizabeth McGlynn, which was used during the game's promotional trailer.

Summary

So here we are, while Silent Hill 3 doesn't quite surpass Silent Hill 2, there is still a lot to love on this soundtrack. Like Silent Hill 2, it's readily available from online shops, but chances are you got it with the game as a bonus.

Overview

Silent Hill 3, the series' second game on the PlayStation 2, was the first game in the series with a female protagonist. Its plot is directly tied to the first game as a sequel, dealing with the town's resident cult once again. Akira Yamaoka retained his position as sound producer and composer, but took on the role of producer as well. The game was well-received, but some criticism was voiced regarding the lack of changes to the gameplay. In music, however, it underwent the series' biggest change to that point: the addition of vocals.

Body

Aside from Muranaka's song for the first game, "Esperandote", the series had featured no songs until this score, and aside from a few samples, no vocals of any kind. Silent Hill 3's score opens with an a capella vocalise from Mary Elizabeth McGlynn (who was credited as Melissa Williamson on the original release), which sets the tone for the music to follow. The voice takes on a prominent role throughout, in contrast to the previous scores; in addition to the McGlynn songs, of which there are three (plus the aforementioned vocalise and an alternate version), Joe Romersa sings the ending, "Hometown". The voice actress for the game's character Claudia, a fanatical cultist, recites some of her lines and other bits from the game between, and at times during, certain tracks. Furthermore, the bonus track at the end, remixed by a Swedish band called Interlace, features vocals as well. Clearly, the soundtrack has an entirely different focus from its predecessors.

The first of the album's McGlynn songs, "You're Not Here", immediately follows the opening vocalise, "Lost Carol". The song follows an odd ABCA structure, fading out on solo guitar and vocal interjections over the chords of the initial A section. It feels a little imbalanced. As per Yamaoka's usual, the guitars echo heavily and vibraphone supplements the texture. More traditionally structured, "Letter - from the Lost Days" is a trip-hop song, sung from the perspective of a girl writing to her future self. The majorty of the vocal is put through a filter, as if it were on the other end of a telephone line. "I Want Love", the other McGlynn song, is presented in two very different versions. The one in the middle of the soundtrack, is overdubbed with electronic elements and a drum loop, while the longer "Studio Mix" is in a straight rock style. McGlynn sings with passion throughout all of the songs, even if the lyrics are at times awkwardly written.

The rest of the score is structured in discrete pieces, as opposed to the merged tracks of the first two games. These are also more individually developed than before, with clearer harmonic progression, so less of the score is "ambient" as such. "Sickness unto Foolish Death" opens with a distant rumbling. A lo-fi drum loop starts up, then an electric piano melody. A sampled flute joins in before the rhythm is replaced with staccato string chords and acoustic guitar. Just as everything returns, the harmony takes a sudden turn to the major before closing in a clear cadence in the minor. The flute closes out quietly over the remnants of the jumping bassline.

"Maternal Heart" develops slowly out of an electronic rhythm track that is disturbed by synth chords in a different key, which then give way to a texture dominated by synth choir and voice. At the end, it is reversed, and the synth jabs reappear. "Rain of Brass Petals" repeats an ostinato bass and piano chords with a sitar-like instrument playing melody. Later, strings take over the primary role, and instead of simply repeating the sitar's material, they provide new material that brings the track to a close.

There is more traditionally ambient music as well. The slowly moving chords comprising "Float up from Dream" never settle down into a clearly defined key, and the echoing synth of "Memory of the Waters" is slightly out of step with its underlying rhythm. "Prayer", the most immediately frightening track on the disc, is a collage of gutteral chanting, odd choral interjections, screeching, and scraping that begins and ends suddenly. The synth chords in the background of "Sun" are used simply as background for the recitation of the cult's creation myth. Finally, the restless falling lines of "Uneternal Sleep" seem as if they would turn into melodies if not for the harsh melange of scrapes and moans surrounding them.

The ending song, "Hometown", is an adaptation of the first game's opening theme, "Silent Hill", emphasizing its trip-hop rhythm. Romersa's performance feels ill-matched to the music, but perfectly suited to its strange lyrics. It's more odd than terrible though, unlike the bonus track "Rain of Brass Petals - Three Voices Edit", the lyrics and vocals of which seem ripped out of the worst of gothic metal. The remix destroys the original's balance, adding distortion and emphasizing the rhythm more than necessary.

Summary

Silent Hill 3 marked another milestone in the series, introducing the vocal talents of Mary Elizabeth McGlynn. She has continued to be the voice of the series in future installments, and indeed has continued to work with Yamaoka even since he has left Konami. The soundtrack doesn't have the same continuous quality of its predecessors, nor the subtle dramatic arc of 2, but the music is of good quality nonetheless, and it took the series in a new direction. Just as the game did with its female protagonist, the soundtrack brought a new perspective to the series, developing its musical style further.