Overview

In 2008, Castlevania's lead composer Michiru Yamane left Konami after 20 years. During her first year away, she produced an autobiographical album that featured original compositions and Castlevania arrangements in a range of styles. The resultant release was included in the series' gigantic box set and was also given a stand-alone digital release. Here she reflects that, while her work is defined by the Castlevania franchise, her musicality actually encompasses much, much more.

Body

The album opens with the original composition "Ballad for a Gorgeous Heroine". A mix of familiar and novel influences, the emotional string and piano writing featured through this arrangement are characteristic of some of Yamane's more intimate work on the Castlevania series. The composition differs, however, in its lounge jazz focus and has a far more relaxing sound than anything on the Castlevania series. While the accompaniment can drag, the piano improvisations from the 2:00 mark will surely touch most listeners. This ensemble returns to portray an entirely different arrangement, "Dance of Pearls", later in the album. This track will be a delicious treat for those looking for a much-needed orchestral performance of one of Yamane's classically-oriented greats. However, the sheer majority of the commemoration actually takes another direction...

Those looking for something totally different will find it in "Cross of Fate", a radical heavy metal arrangement of "Ruined Castle Corridor" from Castlevania: Aria of Sorrow. While the track starts off in an apocalyptic manner, Satoshi Yamada's vocals generally have an enpowering effect, in no small part thanks to the fitting lyrics penned by IGA himself. The whole track is strongly inspired by the visual kei movement, rather than true heavy metal, and will be certainly divide Western consumers. Another contemporary track is "The Vampire's Stomach", based on one of Yamane's earliest compositions from Castlevania: Bloodlines. Here Yamane experiments even further by blending the modernist orchestral passages of the original with various electronic pulsations. It stays more faithful to the original than the aforementioned, but reflects more unexpected diversity from the composer nevertheless.

There are two performances by the big band Informel 8 as well. "Tahismystic Construction ~Beginning~" transforms Castlevania III's "Beginning" into a nine minute jazz performance. The chord progression of the original piece lends itself quite well to the trumpet leads and string bass accompaniment. However, the track is mostly a free improvisation that deviates strongly from the source material. This won't appeal to all fans, though it's a respectable accomplishment nonetheless. "Metamorphosis ~Vampire Killer~" is an equally expansive transformation featuring even more impressive command of the jazz group. In certain ways, this track reminiscent of Jacques Loussier's transformations of J.S. Bach's equally gothic greats — complete with excellent bass and piano solos — and that is certainly no bad thing.

"The Legend of the Moon" is the second original composition on the album. Here, Yamane blends the characteristic gothic features of the Castlevania series — including lyrical harpsichord passages reminiscent of Castlevania: Lament of Innocent — with a light hip-hop vibe. The hybridised timbre and groovy rhythms are pretty enjoyable here, having more in common with Parappa the Rapper than Kanye West. However, most Westeners may be alienated by their inability to understand the Japanese lyrics. Yoko Aramaki's performance is nevertheless impressive, both in the rapping parts and balladic conclusion, and the mixing of the various instrumental elements is also solid. Though once again a divisive track, it's an entirely unexpected highlight of the album.

One of the most emotional contributions to the album is the solo piano adaptation of the music from Castlevania: Order of Ecclesia, Yamane's last score for the series. The piano writing is very elegant, bringing out the melodiousness of "Chapel Hidden in Smoke" while adding a more sentimental perspective. It leaves one to contemplate what a piano collection for the series might sound like. Finally, "Requiem for the Nameless Souls" from Castlevania: Bloodlines closes the album with a string quartet. Once again, Yamane's maturity comes across with the refined writing and deep nuances here, and the bittersweet aura exuded throughout seems to reflect something personal for her. Coming around full circle, it's a great way for Yamane to commemorate one of her earliest masterpieces in the classically-oriented style that she inspires most with.

Summary

In an era where executive direction or fan expectations generally dictate the content of an album, it's fantastic that Michiru Yamane appears to have had complete freedom when producing her autobiography music. After so long creating music for a creatively limiting franchise, it appears she used this album to reveal new artistic inspirations and take new directions. The final album certainly isn't a cohesive or satisfying tribute to the Castlevania series, with its radical and controversial directions. However, it is an enjoyable achievement in its own right and reflects quite a lot about Michiru Yamane's multifaceted personality.