Wild Arms 2nd Ignition Original Soundtrack Pt.4

1-41) Dungeon: Pillar of Hell
Ooh! I love the title here. "Pillar of Hell" sounds so arduous and crunchy. Personally, I've always wondered if the title could be interpreted as "Diablo Pillar" considering that is what these hellish pillars go by in the game but no — it's cool the way it is. When it comes to the track itself its hard not to get sucked into the dark, empty void that looms in one's imagination as the dark notes paint a cautionary tale of trial and error. Still, what's here mainly works because of similar tracks attempting near-identical stunts — like bombastic climaxes — and bungling them or trying to present a complex buffet only to choke on the appetizer. The bombastic climax in "Pillar of Hell" is appropriate to the point where it enhances what comes before it instead of trying to justify it, while the conservative composition remembers to chew before swallowing, leaving the plate (er, slate) clean for the next serving. (7/10)

1-42) Dungeon: Heimdal Gazzo
Rife with struggle, "Heimdal Gazzo" hits the listener with a piece suggesting that conflict and conclusion will be the order of the day. Everything is peachy in that respect except the words rife, hits, struggle and conflict may lead one astray in thinking this track goes all-out like "Ruins Type 2" when it doesn't. The sense of progression provided by the guitar and horns is restricted from flowing too fast and free, this constraint tightening its grip in the last half when the guitar retreats, allowing the horns to relay that while the day will be won, it won't be won without sacrifice. However, at its core the success enjoyed here really belongs to "Ruins Type 2" that grew this brand (of composition) in the first place, "Heimdal Gazzo" merely being another flavor of said brand. Even though one is more likely to discover this as they listen, this piece is able to dodge the negativity associated with rehashes due to its lovely subtext. (8/10)

1-43) Dungeon: Anastasia's World
Just about every instrument in "Anastasia's World" feels symbolic of the character reflected in the title in one way or another. The interesting thing about this is how the performance that carries the composition somewhat changes between the soundtrack and the game itself; on the soundtrack the heartbeat like bass line propels the track forward as it characterizes Anastasia's love and longing for Filgaia. This is really up for grabs in the game (and mono televisions) as the angelic female harmonies and sobering piano work on much more even footing with the aforementioned bass. As such, it may seem ideal to pick an instrument to follow as the piece progresses but this is the last thing you're meant to do, the hollow feel created by their cooperation being the main draw. It's true that "hollow" sound is nothing new to the score by this point, but its how Naruke accomplishes it despite the deep bass and lack of flute that make it worth note. Alongside "Dungeon: Mystery," "Anastasia's World" fulfills its dual purpose very well, more than any of the other Anastasia related tracks. (8/10)

1-44) Dungeon: Spiral Tower
A composition that aspires to sound as busy as the hum of electricity, "Spiral Tower" is not afraid to let it all hang out. It should be with that antagonistic atmosphere heard in "Dungeon: Horror" making its return. The main difference between this track and the form of energy that best represents it is while electricity is bound and focused in its effort to energize something, the elements that make up this piece are not, failing to govern one another. To put it another way, "Spiral Tower" wants it all and ends up with very little, hopelessly juggling everything including the kitchen sink. The other area where the track fails is the climax, where the same four note motif is repeated multiple times in an effort to prove this track's worth. Naruke's attempt is in vain, the track only being memorable for its overgrown sound. (5/10)

1-45) Dungeon: Center of Filgaia
Not to be confused with track 2-22 "Center of Filgaia," "Dungeon: Center of Filgaia" finds Naruke revisiting the style that made "Pillar of Hell" come alive a few tracks earlier. "Heimdal Gazzo" pulled this same stunt with "Ruins Type 2" not too long ago, but this time the difference is not a change in subtext but rather an increase of intensity in the current subtext. The bad news is it comes at somewhat of a price: the climax. As mellow as this serious piece is, going from this to such a bold segment in the fraction of a second feels forced even if the hair trigger sense of despair does embody the peril of Filgaia to a tee. I can appreciate what was trying to be accomplished here (hence the high score), but a bit more build up could have been applied without diminishing the message; in fact, if implemented in a clever enough manner it could have pushed the drama beyond where it stands now. (7/10)

1-46) Castle
Considering what was said about this track was back in the "Formal Ceremony" section of the review, it's understandable how one would expect "Castle" to be an unremarkable piece of music. Well, nothing has changed since then, this track being so typecast by the environment it plays in there are simply no surprises. This isn't a good thing, especially if a composer wants to keep listeners on their toes, but in the vein of "Natural Type 2" it avoids the bigger, less attractive stereotype associated with its surroundings; namely that overbearing regal sounding stuff. It's true that "Castle" does come forth with this tone but it is diverted from consuming the track due to the peaceful interlude of the flute, a reminder that while kings and queens are important a kingdom is nothing without its people. Regardless of how much a difference this small deviation from the formula used in "Formal Ceremony" makes, it won't be at the top of any of your playlists. (7/10)

1-47) Guild Galad
"Guild Galad" marks the return of the flute that has allowed numerous to define their sense of being. However, to say this alone is what makes this track so alluring as opposed to a piece like "Separation" is unconscionable because the spirit captured here is the result of a strong, homogeneous mixture rather than one instrument carrying the bulk of the load. You have the nutty and kooky sound effects commenting on how life in Guild Galad (and the world) has been made easier by the technology developed here. This is all done without giving into that brainless theory that a technologically advanced location has to have a techno/electronica based theme, or is it? As rustic as "Guild Galad" is there this mysterious sensation that the aforementioned styles (present in the sound effects) are right in your face, yet are so engraved in the composition that they are almost translucent. A great experimental track that barely feels experimental, the only hitch here is the calming nature can get monotonous if heard for a prolonged period of time. (8/10)

1-48) Valeria Chateau
If I was to choose one word to describe the music that is "Valeria Chateau" it would be reprieve. This isn't without reason, the Valeria Chateau being the base of operations for ARMS and where your characters rest after missions. The thickness of the acoustic guitar drives home several ideas that are expressed and tested in the game like friendship, trust, courage and perhaps most important of all, unity. The quirky interjections throughout may seem to clash with the seriousness of the above at first, though it acts more as a counterbalance to the pain these ideals cause the characters at times and how they will be confronted with strength and resolve. As significant as these concepts are to the game's storyline, they musically disallow the forceful, regal flavor found in "Castle" and "Formal Ceremony" which is a blessing here — a pompous "home base" theme would have made for a terrible piece of elevator music. (8/10)

1-49) Live Reflector
Without a doubt, "Live Reflector" is one of my favorite tunes on the Wild Arms 2nd Ignition Original Soundtrack. One reason is it simply thrives despite its simplistic nature, leaving previous pretenders like "Heading far From the Sea" in the dust. However, that's a pretty superficial reason to enjoy something. Digging deeper for a real reason I'd have to say what really attracts me to this hybrid of hope and sorrow is how each emotion is tied to a single instrument: the solitary flute filling the air with a concave sense of sadness as the harp chimes in sporting a touching yet cautious sigh of hope. Neither instrument bullies the other, almost as if they've come to some sort of mutual musical agreement and it just makes me melt when I hear it. Reading about it does is no justice but it is powerful stuff, even if with the track only playing once before the fade. Do yourself a favor and check it out. (10/10)

1-50) Guardian
Warm and soft, "Guardian" contains that majestic feeling one would associate with a higher power granting your request for assistance, whether its imparting a fraction of their wisdom upon you or maybe even something a bit more tangible like aid in battle. Despite my fears of how ill-fated such a composition would turn out earlier, Naruke is able to present the ying (light and mystical) to "Natural Type 2's" yang (deep and earthen) without it seeming too textbook. It does its job confidently enough but lacks that extra something that other, similar half a minute tracks seem to have. (7/10)

1-51) Tim and Colette
More of a musical extension of "Hidden Village" than its own separate entity, the opening of "Tim and Colette" is ridiculously predictable for a love theme. This isn't to say the rest of the song escapes such a label either, utilizing the instruments found in other Tim related numbers, but it does garner a little more respect. Probably the most attractive aspect of this piece is what Naruke doesn't do, that being using a variation of "You're Not Alone" to depict this couple's love. Maintaining this distance is crucial for several reasons, among them to avoid encroaching on the pivotal role of Ashley and Marina's relationship within the storyline with one that is interesting but not as deep and complicated. Additionally, the last thing we need is another rendition of "You're Not Alone" to add to the already extensive catalog of reprises, something that will become an issue in just a short while. I'll give it to Naruke for knowing when enough is enough, but I still tend to view this track as mediocre. (6/10)

1-52) Operation ARMS' Theme
Blah! Why couldn't "Operation ARMS' Theme" fall after "Odessa's Theme" in the tracklisting? Now I have to talk about the latter (spoiling what's ahead) before I can dissect the former. Anyhow, as much as I will scold "Odessa's Theme" for its lack of internal contrast, the close proximity and usage of these tracks proves there is a reason for this, being the contrast is meant to come from the opposing track rather than within. This plan works on the simplest level imaginable yet there are issues that challenge its effectiveness. As impossible as it is to mistake the icy chill associated with Odessa for the elements and emotions revisited here from "Valeria Chateau," even when taking the switch from the acoustic guitar to the bass guitar into account, the comparable tempo fleeces them of some of their individuality. "Operation ARMS' Theme" does have a few weapons that gives it a bit more pop than its counterpart, be it the rumbling earth sound effects at the beginning (personifying ARMS' progress as the world's progress) or the climax that's similar in style to that in "Spiral Tower" without seeming like a desperate cry for attention. All in all, it's a track with a sufficient amount of processing power. (7/10)

1-53) Odessa's Theme
As pointless as such a comparison seems I often think of Nobuo Uematsu's "ShinRa Company" from Final Fantasy VII when confronted with Odessa's Theme. Beyond some of the obvious differences — an upbeat number versus a moody, drawn out one — that oppressive reign of tyranny runs rampant in both. However, when it comes to their one-dimensional quality working for them instead of against them, "Odessa's Theme" runs into a snag due to the presentation of the villains in the game. Many of the higher ups in the ShinRa were as soulless when they met their unapologetic ends as they were in the beginning of the game, if not more so. On the other hand, while the members of Odessa's Cocytus appeared to be as hopelessly sick and twisted as their acts of terrorism, they became more human with each defeat, the veil surrounding the noble ideals gone awry slowly withdrawing. It's this "sadness of insanity" that Naruke fails to explore and the track feels stunted because of it. Again, this has a lot to do with maintaining contrast with "Operation ARMS' Theme" but it's my opinion that Naruke missed the bigger prize; a subdued refrain like those found in "Battle Robot Jack" near the end that could have reflected the above and given this track so much more life. While there is no excuse for the actions of these characters, the continuous, unbridled sense of insanity is inappropriate on the whole. (6/10)