Overview

Few anticipated the choice of Hitoshi Sakimoto to score an instalment of their famous spacey shooter series Gradius, externally developed by Treasure. Given the previous music for series from Konami Kukeiha Club et al was characteristically light, old-school, and melodic, it seemed unlikely that Sakimoto would maintain this in favour of something more modern and personal. This was not an arrogant move by any means — as interviews reveal, the early Gradius scores were among the biggest inspirations for Sakimoto to enter game music — but reflects that Mr. Sakimoto stays true to his stylistic inclinations in the bulk of the music he creates. Contrary to popular belief, the rip-roaring electronica, percussive madness, and electro-acoustic fusions that are featured throughout the score are among Hitoshi Sakimoto's earliest trademark, though this is nonetheless the most electronically-oriented of all his CD works. The consequence for Gradius V players is an energetic, intense, and unusual accompaniment to the game, but to what extent does it appeal on a stand-alone basis?

Body

"Opening" exemplifies what most elements of the soundtrack are about. Introduced by Star Trek-esque ethereal strings backed solely by a soft celesta and grungy electronic noises, there is a slight crescendo into a loud and sudden brass-dominated chord before the track undergoes a cinematic buildup in a style many will find familiar in Sakimoto's Final Fantasy XII soundtrack. With the acoustic elements fully introduced, the track gains further momentum and briskly transitions into a section featuring oppressive electronic beats, arpeggiated synth lines, and gliding distorted melodic fragments, all of which are skilfully implemented. Belligerent low brass melodies, repeated and heavily accentuated string discords, and bombastic timpani rolls add progression and interest to the piece while reinforcing the track's percussive emphasis before there is a brief and incomplete recapitulation of the initial sci-fi progression. The track is left looming on a suspended chord after gaining tonnes of potential energy to unleash at the listener in subsequent tracks. Despite losing points for originality (particularly with the direct sampling of an easily recognisable from Vagrant Story), it firmly sets the tone for the soundtrack while vibrantly interpreting one's spaceship's ascension into space. A marvellous fusion of sound.

There are eight stages in the game, each depicted with an impressive theme. "Universe -Stage 1-" represents the first level, and it is through the increasing depth in the harmony and electronica rhythm that this track finally gets going. It certainly becomes intense, with a variety of different synth instruments entering in a sporadic fashion. Another strong track is "Cell -Stage 4-" with its two-tiered structure. The first part consists solely of an enforcing drum rhythm and ambient synth noises, but the overall effect is to create a strange sense of action and suspicion. As for "Impregnable Fortress -Stage 7-", the progressive bass line and central techno beats depict just the timbre needed for such a setting. Other tracks, including "Something Green -Stage 6-" and "Fortress -Stage 3-" are more reminiscent of Radiant Silvergun for the way they integrate dissonant orchestral parts to yield a more intense timbre. Finally, "Battleship -Stage 2 & 8- is near-enough identical to "Opening" except it loops the electronic section and omits the recapitulation; regardless of the strength of the original, the complete lack of contrast here has a slightly detrimental effect to the soundtrack.

Interestingly, Sakimoto revisits the series' routes during the boss themes. He interprets the classic boss themes from the first three Gradius games in the "Bigcore" themes, combining the distinct chord progressions of the originals with his own hybridised musicality. "Teto Ran" is even better, since it is based on Salamander's completely infectious boss anthem. Also enjoyable are "Elephant Gear" and "Demo", two thematically related themes that feature military orchestrations and electronic soundscapes respectively. "Last Enemy" is a two minute representation of turmoil against a robotic multi-legged being. The track isn't as dark as the title suggests, and instead motivates listeners with military trumpets and strings. This has a rousing effect in the game and is a refreshing departure from the dark mood of the rest of the soundtrack. With a history of excellent ending themes behind him, Sakimoto hardly disappoints with "Staff Roll". The sampled orchestra proudly presents the melody here, free of the electronic influence, closing the soundtrack on a suitably majestic note.

Summary

Overall, Sakimoto maintains his flair with shooter soundtracks in Gradius V, a finely implemented, invigorating, and experimental experience. It is an excellent accompaniment to the game and largely captivating on a stand-alone basis, made particularly notable for its fusions, percussiveness, science-fiction references, and technological manipulation of electronic sounds. The soundtrack lacks somewhat in the field of originality, often sounding like Soukyuugurentai's little known score taken to space and remastered, and its sampling of other works and direct reuse of "Opening" only exacerbate this issue. Digging deeper beyond the superficial, however, reveals a lot of thought and inspiration has been channeled into the work's production in order to make it sumptuous, effective, and often original. But to what extent is it accessible? Those who enjoyed Sakimoto's past shooter scores should love it, while those who have some appreciation of complex electronica in general may also find the score appealing.

Hitoshi Sakimoto is a composer who is best known for his orchestral soundtracks, and is thus associated with that particular style by the majority of game music fans that are familiar with his music. What most of those fans aren't aware of is that his career was in fact founded upon techno and progressive electronica; an orchestra wouldn't appear in his music until 1993 when he was hired onto Quest's Ogre Battle project. Gradius V emerges from the highly-acclaimed series' extensive history eleven years later, bringing with it a score fused with both orchestral and, more importantly, the electronic style that Sakimoto's profession was originally rooted in. Here he commandeers a palette of strong bass rhythms, heavy percussive backbeats, and catchy techno licks around and through his majestic orchestral music, blending the two dimensions with unparalleled technique and precision.

While the opening track could very well have been the main theme to Star Trek, it suits the hyper-space world of Gradius just fine. An orchestra begins the piece with a noble horn and trumpet melody, and after the theme is stated in its completeness a quick-paced rhythm cuts in with sweeping sound effects and panning pizzicato chords, fitting perfectly into the image of an open field of stars and space. The energy keeps up as the orchestra rejoins during the electronic passage until the piece ends in the same grand manner that Sakimoto always does with the conclusions of his central themes. The airy string harmonies and eclectic bass line of "Select -Weapon Array-" make for a smooth follow-up to the expositional "Opening", effectively adjusting the mood of the game to a relaxed yet upbeat motion. The first stage music defines the general flavor of the soundtrack in its introduction, but shortly breaks into a blazing rave motif that quite distinctly separates it from the others. Most of the stage themes, though retaining a related feel, similarly deviate in their own separate direction which brings a unique atmosphere to each level of the game while still retaining the Gradius style as a whole. Whether it's the hypnotic soundscapes and electronic swells of "Cell -Stage 4-", the metered drum'n'bass grunge rhythm of "Meteor -Stage 5-", or the trance-dance fusion beats and heavy prog-techno phrases of "Impregnable Fortress -Stage 7-", each stage track is discernable and built of its own theme while still incorporating various elements of its brethren. This connective methodology seamlessly links together the scattered segments of the game into a single, smooth, and consistent flow.

Tracks like "Elephant Gear" will be instantly recognizable by Sakimoto enthusiasts for its penetrating string phrases and heavy low brass foundation, as well as the very stylized horn melody at the end of the piece. "Demo", "Game Over", "Something Green -Stage 6-", "Stage Boss" and others likewise contain features of his notable orchestral styling (some to a greater extent than others), but that's not to say there's nothing new to hear. Quite the contrary in fact, as demonstrated by tracks like "Intermezzo" which is decidedly the hybrid result of fusing a lively, spirited eurotrance verse with fortissimo tympani rolls, suspended cymbals, and countermelodic brass. The "Bigcore" variations are further evidence of the creative blending of styles seen in the soundtrack, displaying enormous sound vistas, massive orchestral chord passages, and vigorously pulsing percussion.

The glorious "Staff Roll" doesn't fail to live up to Sakimoto's standard of finishing strong. A full orchestra reclaims the stage, and all shades of electronica have been purged while the proud melody is passed from the shining bell of a trumpet to the lithe strings of the first violins and eventually finds its way to a solemn and stoic salutation to the ending of the game.

It's a treat to hear Sakimoto's now-established signature orchestral style merged with his electronica talents, though I should make it clear that the latter dominates the mood of Gradius V. To make a comparison, Breath of Fire V, which also combined both of these musical genres, had a comfortably equitable distribution of either dimension, neither holding clear dominance over the other. As for the programming, the electronic sampling is of outstanding quality as is evident from the wild percussive sounds down to the throaty bass hits. The orchestral samples too derive appropriate and accurate timbres, whether it's from the brass, strings, or concert percussion.

After all is said and done, this soundtrack will be a very new listen for those who haven't heard anything besides Sakimoto's orchestral work. I would definitely say that it won't be in everyone's taste, but to its credit Gradius V isn't your average electronica soundtrack. It melds a variety of the subgenres of that area, and creates its own sound and flavor. More importantly, this soundtrack proves that Sakimoto's talent doesn't lie solely in one musical spectrum, but rather several. I would recommend this album to anyone who wants to hear him speak in a voice he seldom uses these days--especially if you don't feel he is versatile as an artist and/or incapable of straying from the orchestra. Either way, it's an enjoyable listen and, while nowhere near his best work, is nonetheless tangible evidence of the expansive imagination, ability, and dedication of Hitoshi Sakimoto.