Castlevania: Lament of Innocence OST Review by Diplo
|1. Prologue||2:59||4.11 MB|
|2. Forbidden Fate||0:19||469 KB|
|3. Cursed Memories||2:18||3.17 MB|
|4. Traces of Malevolent Souls||2:49||3.87 MB|
|5. Prelude to the Black Abyss||1:51||2.55 MB|
|6. Anti-Soul Mysteries Lab||4:03||5.57 MB|
|7. Stone King Golem||3:02||4.17 MB|
|8. Rinaldos Cabin||1:51||2.55 MB|
|9. Garden Forgotten by Time||3:51||5.30 MB|
|10. Resonance of Malevolent Souls||3:02||4.16 MB|
|11. Fog Enshrouded Nightscape||5:25||7.45 MB|
|12. Death Flower Succubus||3:23||4.66 MB|
|13. Nightmare||2:04||2.86 MB|
|14. House of Sacred Remains||3:59||5.48 MB|
|15. Elemental Tactician||3:48||5.23 MB|
|16. Statues Born of Darkness||4:37||6.34 MB|
|17. Bizarre Room ~Undead Parasite Theme~||2:57||4.09 MB|
|18. Dark Palace of Waterfalls||3:18||4.53 MB|
|19. Water Prison||1:41||2.32 MB|
|20. Melancholy Joachim||3:26||4.73 MB|
|21. Ghostly Theatre||3:41||5.06 MB|
|22. Aria of Nightmare||2:58||4.08 MB|
|23. Snake Head Medusa||3:45||5.16 MB|
|24. Prison of Eternal Torture||3:22||4.64 MB|
|25. Bloodstained Demise||0:12||293 KB|
astlevania: Lament of Innocence's arrival as Igarashi's first 3D game also marked composer Michiru Yamane's return to doing work on console titles. Prior to its completion, she had lent one track to Harmony of Dissonance and a fair number in Aria of Sorrow. Her long hiatus from working on bigger sounds had, I guess, allowed her to come up with the bounty of flavorful ideas evident in this OST. Lament's music is chilling and intelligent, holding its own against any of the heavyweights coming before it or after. While the compositions throb with similar energies from Symphony of the Night, they all take it a step further towards an operatic sheen. Fiercer moods are mixed together with the melancholy and adventurous. It's Yamane at her most confident and daring.
The game begins with a bookish prologue, and just as something like Castlevania 3 solidified its exposition in people's minds, so does Lament with its expository theme. The beginning is regal and vast – later moments show revelation, terror, and grief. It is a delicious taste of things to come, a story in itself. And when Leon enters the castle courtyard, the music greets him in a ghostly fashion. "Prelude to the Dark Abyss"'s ephemeral voice and strings build on the quest's glum beginning.
Most players will set off in the House of Sacred Remains after making their way to the hub room. There, a steady progression of vocals, organ, and bubbly beat initiate the tune. This, in turn, works its way into a sumptuous, enduring melody ripe with flavorful, clean shots of layers. It's a hell of a song. Yamane always produces some of her best pieces for the more elegant environments.
"The Garden Forgotten by Time"'s pounding start and climax matches the more lively scenery of the place, and its attendance of tender moments reminds one of a fragile, but provocative, setting. Another booming song, "Anti Soul Mysteries Lab" is a shuddering fusion between sharp electro synths, undulating strings, and ghoulish vocals. Electronic and gothic sensibilities meshed together make for a standout. Structurally, it's in line with other super-catchy Yamane songs – "Baljhet Mountains" and "Fossilized Wasteland" (from OZ) come to mind. I wonder how well Yamane would do if she were to apply her efforts towards fully electronic content.
One of my favorites off the album is "The Ghostly Theater", whose combination of the delicate, sliding instruments is sumptuous and mysterious. Its opera-like fragments are grandiose, and the mystifying harmonics take me back to Jeremy Soule's work on Secret of Evermore. Maybe I'm a sucker for those contrasting pieces – sensitivity in a dark world. Note how there is no beat: subtly vital to the piece's charm.
"Dark Palace of Waterfalls" is a little different than the others; it's a lot more contained. Simple pats of drums, a subtle bass-line recalling "Crystal Teadrops", fading chords, and a deliberate melody played on a piano culminate in a dripping, abyssal image. The forsaken majesty of the place is spoken in the climax of methodical organ notes.
Seeing as how LoI is a more "cinematic" breed than its 2D relatives, songs were composed for the variety of cutscenes that take place in key points of the adventure. As Rinaldo speaks of his daughter, the music shudders and becomes dreadful; when Leon senses the presence of a figure in the darkness of Joachim's room, the strings play a shrouded tale; Rinaldo and Leon's conversation involving Sara's doom is reflected with distressing pounding.
"Dracula Appears", the long-ish theme that voyages through the meeting of Leon and Mathias, is the series' most stunning cutscene music yet. Mathias' revealing is matched with gloomy shifts of notes; they begin to lunge around as the character makes his claims. Movements from the prologue theme return to draw connections to the beginning and climax of the storyline, and it ends as it began: dismal vocals mingling with one another, concluding in a decisive flash. Not content to be "sound slapped into an intermission," it is smart from every angle.
For the bosses, Yamane decided to make unique themes for every one of them. They are not the highlights of the soundtrack, though they are kind of cute and well produced. "Melancholy Joachim" is slick with the break-beat percussion, and "Elemental Tactician" starts out well enough before exhausting itself. "Death Flower Succubus" and "Dark Night Toccata" are two breathtaking, powerful songs. The Succubus' continues the theatrical nature of the environment in a grand fashion, and Walter's is a blasting, howling mixture of stormy instruments.
An unexpected treat comes in the form of "Castlevania Reincarnation" a mix of "Black Banquet" and "Dracula's Castle", two songs from Symphony. They've both been redone with excellent verve, and it's the only occurrence so far where Yamane has redone Symphony songs, making it all the more significant.
A handful of bonuses come along with the official OST, such as a jazzy rendition of "Melancholy Joachim" and some – I assume – pieces that were cut out of areas. Maybe they were inspired by the game itself. Three of Aria's songs are redone, too. "Requiem for the Dark Souls" is, to my surprise, pretty great; the original was silly and half-awake. Who knew what was really there?
This could be the most "mature" Castlevania soundtrack. It covers a vast space of eclectic ground, and is almost always firing on all cylinders. As a body of work, its cohesiveness is surprising when one considers the variety of stylings present. Michiru Yamane approached this with the game's – intended, but ultimately flimsy or unavailable – import, tragedy, and scope in mind, producing a wealthy string of pieces that keep on giving more than what they were put in to. Oh, the sadness . . . and the happiness.