Overview

Some composers love to play with their listeners, playing hide and go seek with their musical brilliance as they pop in and out of a soundtrack that, for whatever reason, fails to offer that complete experience. For a great deal of his career, veteran composer Motoi Sakuraba teased me in such a way. Occasional stand-out tracks graced his albums, and all were of generally high quality, but a lack of a solid orchestral sound combined with often writing in a manner that seemed just a little bit off for his material made me unable to give him the elite composer status in my mind that I thought he deserved. Then I played Baten Kaitos. From the opening movie, I knew this was the soundtrack that was going to break Sakuraba into my personal elite. Going further through the game, his music did not disappoint. He found his orchestral sound, and his progressive rock pieces were as strong as ever. And Sakuraba could not have chosen a better game to breakthrough on, the game itself is a real snoozer (although it's worth playing simply for the environmental graphics, absolutely gorgeous).

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In case all this talk of breakthrough has any longtime fans of Sakuraba worried that the core of his distinctive sound might have gone missing, cast that worry aside. There's no doubt that Sakuraba is still at work here, and there's no place it's more evident than in the game's battle themes, all in Sakuraba's trademarked prog rock manner. Thanks to solid composition and live performance, all of the game's battle themes have quickly become some of my favourite video game rock tracks, and really some of my favourite rock tracks in general.

"The True Mirror" is the game's standard battle track, and fits the bill perfectly. From the opening diminished 7th chords to the beautiful yet somehow urgent violin melody to the energetic organ solo full of Sakuraba ripping all over the keyboard producing a wonderfully dirty sound, "The True Mirror" balances a tense battle atmosphere with light-hearted fun that matches the suits the games more menial battles so well.

There's a lot of variety in the game's boss battle themes, with eight tracks dedicated to that purpose. One is a simple but effective re-performance of "The True Mirror" with electric guitar taking the melody from the violin, and being given the solo duty instead of the organ. The other seven are generally high quality pieces, ranging from the organ heavy "Glowing Cloud" to the orchestral "Supreme Ruler of the Nine Heavens" to the almost metallic "Vitriolic a Stroke" and to the distinctive pop colour of "Chaotic Dance". With the exception of "Dark Conviction", that comes off as a very weak orchestral tension piece, each of the other battle tracks on the album is great listening.

The prog rock side of the soundtrack is rounded off by a couple of dungeon themes. The first is "Survival from the Force", the tune that graces the game's final dungeon. The piece is a great fit, with the best synth performance on the album this side of "Glowing Cloud". The harmonies are exciting, the synth sounds are energized, and the solos are incredibly satisfying. The other is "Soft Labyrinth", an enjoyable enough piece, but it is formulaic Sakuraba, and doesn't quite fit as the accompaniment to a dungeon that is entirely made of pink clouds.

Getting a sense of how improved Sakuraba's orchestral sound is doesn't take long. "Prologue Peak," the first theme on the album and first to show up in the game, is a brief example of how much more impressive the orchestral pieces on this album will be compared to previous Sakuraba scores. A lot of it has to do with improved sound quality, but superior composition is apparent as well, especially once we experience "Nadir's Whale," the backing for the game's preview movie. This is Sakuraba at his most expressive, transiting between different moods quickly but without jarring the listener, and though it is a great background piece, the melodic lines are far better than anything similar Sakuraba has done. Many moments in the piece have heavenly moments reminiscent of Valkyrie Profile's "Valhalla", but the impact here is far more powerful as his melodic material works far better with the impressive progressions, and in the less majestic segments of the piece, the melodies still hit well, whether they be creepy or dramatic. "Nadir's Whale" is a strong statement by Sakuraba and offers a good sense of Sakuraba's new orchestral sound, as well as the entire game's emotional pallet.

There aren't all that many pieces in the game for full orchestra, but in general the game's pieces which rely on acoustic instrumentation are a step beyond anything Sakuraba's offered before. "Between the Winds" is an intimate composition, principally for harp, that captures the atmosphere of islands made out of clouds very well. The main line is beautiful, and sweeping air sound effects are present as well to create a sublimely peaceful atmosphere, that also touches the main character's melancholy. "Limpidly Flow" is an emotional and atmospheric piano and violin duet that occasionally calls upon choir and sound effects to accent the already established mood. The piece flows as its title suggests, but there is a chill to the piece as well, as a river frozen at the surface, with water continuing to travel beneath. Another intimate emotional portrait is offered by "Soul Poetry" which features some truly beautiful singing (both choral and solo) atop textural piano and harpsichord parts, along with a low string accompaniment that appears towards the piece's conclusion. The emotional side of the Baten Kaitos score is some of Sakuraba's most honest and direct writing, and when combined with the exceptional musical performances it helps create some very powerful scenes in a game whose voice acting and dialog couldn't accurately depict the emotional states of its characters.

Though the game's incidental pieces for full orchestra aren't nearly as exciting as the works in smaller ensembles, there are still some very interesting pieces that use the full orchestra. One of the most impressive is the string dominated "Supreme Ruler of the Nine Heavens" which is one of the game's two final battle tracks. The track has an intense 10/8 rhythm that is dominated by almost perpetual sixteenth notes. Woodwinds and brass play a background role but their presence creates a foreboding mood underneath the active strings. My biggest complaint about the track is that the orchestration is pretty much static throughout, I would have liked to see the musical ideas transmitted through the different instruments a bit more, but the piece is so effective as is that it's tough to really whine about that. The orchestra is also in full force in "Imperial Dynamics" although the effect is not nearly as memorable or affecting. A majestic melody floats above an obnoxiously obstinate brass rhythms and arbitrary percussive flourishes. It's a shame the piece falls so short, because the string glissando and percussion crescendo which opens the piece is very colourful. It is still a nice piece and adequately covers the majesty of an imperial capital, but isn't nearly as interesting as some of the other tracks on the album.

There are moments when Sakuraba does falter, even with his great new orchestral sound. "Awakening Disaster" with its dramatic vocals, spastic harpsichord playing, and chugging strings fails to really grasp the feeling of imposing doom. "Twisted Time and Distorted Sky" is a better version of a similar atmosphere, but still feels as if it's trying too hard to be impressive and ends up feeling more like a midget sticking his chest out at a giant than an awakened god stepping through the sky.

Summary

Though it has occasional faults, Baten Kaitos possesses one of the finest video game scores I've encountered to date. Anchored by seven remarkable battle themes in Sakuraba's traditional electric rock vein, and augmented by a fabulous variety of acoustic ensembles. Covering bouncy folk themes, intimate emotional statements, and impressive imperial tracks, Sakuraba has created a musical setting that breezes live into Baten Kaitos' already varied and beautiful landscapes, as well as providing the window into the souls of the characters that the voice acting failed to provide. Beyond the tracks I've discussed in this review, the Baten Kaitos Original Soundtrack covers a wide musical scope, very rarely disappointing as it drifts between often very contrasting ideas. There are few soundtracks I would recommend before this one, and even for those that are not familiar with the game, this album is a source of a great deal of musical joy.

Overview

Role-Playing game releases are certainly not a common occurrence on Nintendo's Gamecube console. It was to the relief of many Gamecube owners when company Namco announced two forthcoming games that would take that very format. Even more intriguing was that one of these games was to be developed by those responsible for the Xenosaga series, "Monolith Software'. Understandably, this generated hype, particularly in Japan, where RPGs are considered mainstream, and the feeling was only amplified when Namco unveiled their other title as Tales of Symphonia.

Baten Kaitos, the product of Monolith Software's work, is centered in endless sky where huge landmasses float on which people live. The seas of the earth below are but legend in the existence of these people and have become a subject of some cynicism. Amongst all this, a plot to destroy the floating continents and eradicate all memories of the ancient seas is afoot; a corruption into which Kalas and Xelha plunge into for their different reasons, and end up trying to prevent it.

The game is noticeably stunning visually, which is commented on by game composer Motoi Sakuraba in the soundtrack liner notes. His music score would need to be diverse indeed if he wanted to encapsulate the world to which his music would accompany. This is quite possibly why he was selected in the first place — though many would claim that his soundtracks all sound similar, it is generally because he has experimented with most kinds of music already that innovation has become more difficult for him to establish anew over his years as a composer. Something about this project managed to inspire Sakuraba however; this was no mere rehash of one of his "tales" scores; quite the contrary — Baten Kaitos is a work that deserves to be mentioned in the same sentence as Star Ocean and Valkyrie Profile; a video game score of considerable quality.

Fortunately for residents of Europe, merchandise giants 'Toys R Us' in a special promotion gave away a free sample soundtrack CD to anybody who pre-ordered the game, featuring some of the most notable tracks from within. This was an unusual decision indeed, as video game music has never been celebrated to a large extent overseas, with only a few select countries getting concerts in its honour. As a matter of fact, Sakuraba's work on Star Ocean Till the End of Time was also promoted on the back of the PAL game box; maybe companies believe that he more than any other game composer suits the aural needs of the English public, with his mix of progressive rock and film score compositions?

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In an appreciated move by Namco of Europe, "Brave Fish Below the Heavens" is the first track on the album, and the mediocre title music from the game is left behind. Opening with some ominous tremolo strings, the track proceeds at an alarming pace with its dynamic structure fluctuating regularly — at one time you hear a courageous string and brass melody before it cuts out to be replaced with a gentle harp, which consequently shifts to a frightening choir section. The track never stays in one place, not lingering about one theme for any lengthy period of time. To fully appreciate this piece, I recommend viewing the opening FMV to which it accompanies; that Sakuraba was able to convey so many feelings in one two minute long piece is no mean feat. His use of the orchestrated music is really quite remarkable, and gives a great first impression of what he has to offer us on the rest of the soundtrack. 

"Star-Sprangled Journey" is somewhat typical of Sakuraba. It opens with a harp melody, the instrument having become a common feature of his scores, playing a rendition of the main theme. His skill is evident, but it is when the strings — particularly the leading violins — and the powerful horns enter that the piece really takes off. It suddenly becomes much more powerful and quite beautiful to listen to. It is very well-placed on the album, offsetting the aggressiveness of "Brave Fish Below the Heavens" and establishing a good central theme for the game. Since this soundtrack only contains eight tracks, and the ending theme "Addressing the Stars" is not present, this piece manages to be one of the most moving tracks featured. 

"The True Mirror" is the first of Sakuraba's battle themes on the soundtrack. This one is the main piece that plays in the basic monster encounters. Its purpose seems to be primarily centred on being catchy and not so obtrusive that it draws unwanted attention to itself. A violin shadowed by a rock organ leads the piece and the upbeat synth adds interest to the background — at no point does it attempt to convey power, as it simply blends away with the battle screen and is calm enough that you would not get too bored hearing it in the game. Sakuraba realises the importance of battle themes, and since the card-based system used in Baten Kaitos is not incredibly fast-paced, the music doesn't attempt to 'pump' the listener as many of his other similar pieces have in the past. The use of the violin actually interlinks the battle music to some of the more beautiful pieces on the soundtrack, thus creating a more coherent feel and a sense of place. It is quite unique and might not impress all, but I think it is very successful and fits its context perfectly.

The run of good tracks continues with "Soft Labyrinth," which takes on a decidedly quicker pace. This was a good choice, as it is nice to break up the slower, evocative pieces to prevent loss of interest. With the electric guitar and drum playing in the background, the strings take centre stage once more, with the horn complimenting the melody at times. Although parts of the track sound quite serious, the upbeat sections make me think that this was intended as a way of creating a sense of anticipation, escaping the more atmospheric roots the tracks of before had taken. I think it is a good follow-on from the previous pieces, in that it gives a broader view of the overall score, being an area theme, creating a balanced sample of the overall work.

Sakuraba gives us an even better example of a location piece with "Flighty Spirits"; while not entirely original style-wise, overall the piece is more successful. For a start, it flows well and certain interludes borrow from the "Imperial Dynamics" theme; since that piece did not make the cut for the promotional soundtrack, it seems like a nice varied choice of piece. It is well-composed in the way that the original Sakuraba styled synth rock with the frenzied wave instrument and the accompanying bass seamlessly integrates with the epic string and harpsichord passages with neither taking anything away from the other, actually both adding to the piece making it feel more wholesome and well-developed. Undoubtedly this is one of the best upbeat area themes on the soundtrack, succeeding melodically and in its expansion where the previous track fell short. 

"Brave Way" is probably one of the more appreciated tracks on the Baten Kaitos Official Soundtrack. It is the first widely likeable brass composition on the disc, and there is a good reason for that. For one, the melody, though typical for a Baten Kaitos track, is awe-inspiringly heroic, suitably using the horns and strings. Sakuraba paints an image of the heroes' departure for the final area of the game where the final enemy lays rested waiting for the final battle. If you imagine this scene when listening to this track, I guarantee your emotions will run wild in the composition's epic glory. Besides a few other tracks, "Brave Way" is presumably the most developed track on the disc, but if it were compared to a more complex track, its simplicity and straightforwardness prevents it from winning over its competition. The piece itself is split up into three movements: the beginning, the middle, and the end, all of which impact differently and lead into each other perfectly. For example, the beginning is heroic in nature and transfers effortlessly into the second movement which is aggressive though serene. Regardless of what type of music you like, you just can't turn your back on "Brave Way." This is Sakuraba at his best.

"Survival from The Force" is the second battle theme on the Official Soundtrack. It contains crazy organs and powerful synthesizers and they work well together, creating a rather rushed atmosphere. The composition feels fresh and original, yet borrows styles from "The True Mirror." This is not a problem since Sakuraba manages to arrange the piece in the most enjoyable style, so chances are you won't recognize the reappearances. As most know, Sakuraba loves his solos, and in this track, he doesn't disappoint, leaving only a total of a few seconds for the main melody. Compared to the other battle theme, this one may feel a little calm, but it does set the mood right for the following conflict theme. "Survival from The Force" is a deliciously active addition to this album, and I'm glad such a piece could be included. 

Tohru Iwao takes the honor of performing Sakuraba's "Violent Storm" which is a step above the previous battle tracks and also, surprisingly, manages to combine both composers and guitarist's token styles into one fierce composition. The energy level is sky high during the track's playtime, being more active than any other theme on the entire soundtrack. This is due to the creative guitar work by Iwao, who, in a bold move, evidently enforced his methods from Guilty Gear. But Iwao isn't the only person who gets all the fun, as Sakuraba is indeed a highly necessary part of the track. He obviously plays the synthesizer and organs and proves to Iwao that electricity-based guitars aren't the only way to form incredible fighting tracks. Compared to the guitarist, Sakuraba doesn't have as big of a role, but the quality of his contribution is astounding, presenting to us smooth solos and interesting harmonies with the guitar. "Violent Storm" can't be anymore incredible than it is, verifying it as one of Sakuraba's best battle compositions in history.  

Summary

To be fair, the limited edition Baten Kaitos ~Eternal Wings and the Lost Ocean~ Official Soundtrack is a very good sample of the work that Sakuraba has created for the world of Baten Kaitos. "Brave Fish Below the Heavens" and "Star-Spangled" journey give a good indicator as to what to expect from the cinematic themes, as do "Soft Labyrinth" and "Flighty Spirits" on behalf of the upbeat area tracks. The choice of battle pieces was strong, with the popular "The True Mirror" making an appropriate appearance, and the ferocious "Violent Storm" taking the crown of best track on the album. "Survival from the Force" was a more unusual choice, considering the various other boss themes on the full soundtrack, but makes an impact nonetheless.

It is unlikely that, if you missed the European release boat, you will be able to easily obtain a copy of Namco of Europe's limited edition CD. The only place, in fact, that you could hope to find one is on eBay, but it is likely that there will be fanatics out there bidding wild amounts that are likely to deter you. Fear not, however, as this CD is not really worth having as long as you have the ability to import. This offer was a nice one, no doubt, and it is especially nice to hear that Namco of Europe actually published a video game soundtrack, but the Baten Kaitos soundtrack to get is the easier to find complete version published by 'Team Entertainment'. Not only does this contain the eight tracks from the promotional CD but also every other piece that was used in the game; featuring more great battle themes, more grand epic tracks and an overall atmosphere to die for. All things said, this is a nice novelty item if you were fortunate to get a copy when they were actually on offer — it may have even inspired some to go out and buy the soundtrack (I can certainly say that I would have been checking it out after hearing this desirable line-up). But there is no way that it is worth going out of your way to buy now; it would be simply foolish to choose this over the complete edition.