2011 Archives - The Greatest Game Music

The Lost Angelic Chronicles of Frane: Dragons’ Odyssey Soundtrack – Review

The Lost Angelic Chronicles of Frane: Dragons’ Odyssey Soundtrack, Jordan Steven, 2011

With the rise of mobile gaming, one of the most popular genres of the 16-bit era made its triumphant return: 2d JRPGs. Given that these games often came with amazingly varied and ambitious soundtracks, the resurgence of these sorts of games heralded good news for game music fans. One of the best retro-styled JRPG scores of the new millennium turned out to be The Lost Angelic Chronicles of Frane: Dragons’ Odyssey.

Intriguingly enough, there’s not a huge amount of information on the game out there. Dragons’ Odyssey is the localised version of a Japanese mobile RPG called Lost Memory of Angel Story Frane 3. A PC version was released on Gamersgate (which is not available anymore at the time of writing in 2018) and a planned Steam release never materialised. The available screenshots suggest a fairly generic product but give no indication of whether Dragons’ Odyssey featured strong gameplay or not.

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8-Bit Rally Soundtrack – Review

8-Bit Rally Soundtrack, poisoncut, 2011

Despite the album title, this is not one of the many retro exercises in NES-style chiptunes. Instead, composer poisoncut’s work here makes full use of contemporary sounds and production techniques. At the same time, he subtly alludes to the music of the games that inspired 8-Bit Rally – the Lotus and Top Gear franchises. In a way, poisoncut is in a fortunate situation. The Lotus and Top Gear soundtracks never really developed an unmistakable signature sound, despite some recurring stylistic features. This means that poisoncut doesn’t need to mimic particular musical gestures. Instead he is free to work within his own style of melodic, high-octane electronic music. And in the end, that is enough to maintain consistency with 8-Bit Rally’s musical inspirations.

The 8-Bit Rally soundtrack differs most obviously from the Lotus and Top Gear scores in its melody-driven nature. One listen to opening track “Renegade Racer” confirms that poisoncut is much readier than Barry Leitch and Patrick Phelan to hit listeners hard and fast with catchy melodies. Combine this tendency with heavier beats and 8-Bit Rally’s music is deliciously in-your-face and fuss-free. poisoncut’s melodic chops are evident throughout the album, as he serves up both memorable hooks and more long-winded melodies. The latter are also introduced on “Renegade Racer”, as a measured synth melody powerfully unfolds on top of pumping beats. It’s a perfectly judged combination of contrasts. Insistent, beefy beats deliver the necessary speed rush, while the determined melodies tell players that they are still in control of the frantic racing action around them, ready to capture first place.

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Alpha Squad Soundtrack – Review

Alpha Squad Soundtrack, Stemage, 2011

On the Alpha Squad soundtrack, Stemage – founder of metal band Metroid Metal – faced the same challenges as many artists who made their name in the game music arrangement scene and now embarked on their first original soundtrack. No longer able to rely on other composers’ works, can the new material still meet heightened expectations?

Alpha Squad was a deliberate throwback to the top-down arcade-style shooters from the 80s and early 90s. Stemage’s metal chops certainly marked him as a fitting candidate to score the action-filled mayhem. Developer Dragon Divide had acknowledged that much when they contacted Stemage to write music for Alpha Squad. At the same time, his soundtrack would need to strike a significantly more upbeat note than his Metroid Metal output to match the game’s tongue-in-cheek approach and no-frills gameplay.

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Dead Space 2 Soundtrack – Review

Dead Space 2 Soundtrack, Jason Graves, 2011

“The Same. But Different. Yet Better.” According to Jason Graves, those were the words that he stuck above his monitor when composing Dead Space 2. Considering the success of Dead Space’s aural aspects – two BAFTAs and a degree of media attention few game scores ever achieve – Grave’s goal was no doubt an ambitious one. Then again, no matter how ferocious Dead Space’s soundtrack was, there was room for improvement. Graves’ breakthrough work was the equivalent of a horror movie that tries to scare its audience with jump scare after jump scare. And at some stage, watching monsters leap at the protagonist for yet another “boo!” effect gets old.

Fortunately, Graves fixes this and other issues on the Dead Space 2 soundtrack. It is still unmistakably the soundtrack for a very scary game. But at the same time, through a more varied approach to creating unease and immersion, Dead Space 2 clearly surpasses its predecessor. It delivers a surprisingly multi-faceted exploration of the dark corridors of both a haunted space station and of its protagonist Isaac Clarke’s disintegrating mind.

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