Musical Montage of the Hedgehog Kind

Speak your mind, or lack thereof. There may occasionally be on-topic discussions.
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Black Rook
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Post by Black Rook »

DackAttac wrote:I don't feel that Senoue's power-chord-based riffs sans melody that surfaced in SA2 are appropriate either, but the synthy jazz-tinged pop numbers in SA1 were the closest they ever came to the 16-bit music.
And they should've stayed there instead of giving more control to Senoue so he could write more love letters to his guitar.

Anon
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Post by Anon »

Black Rook wrote:And they should've stayed there instead of giving more control to Senoue so he could write more love letters to his guitar.
Fucking signed. I like a few tracks that Senoue's released post-SA1 (Pyramid Cave and Final Haunt come to mind), but most of the time I find myself asking "Is it over yet?" Not that I'm giddy for everything pre-SA2, but hearing him churned out more tunes in that general style would be epic.

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Opa-Opa
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Post by Opa-Opa »

Majestic Joey wrote:they should just use the tunes remixed on OCRemix.

iMushroom is the coolest remix in the history of everything.
I myself prefer Kanjika'd Secluded Stronghold and Breathtaking Vision. So, so epic...

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Ritz
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Post by Ritz »

Come to think of it, SoundTeMP would work wonderfully here; say what you will about the game, but Ragnarok Online's soundtrack had some totally bitchin' gems here and there (Though it also had it's fair share of insipid J-pop, so tread carefully if you decide to check it out on GH or something).

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DackAttac
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Post by DackAttac »

Black Rook wrote:
DackAttac wrote:I don't feel that Senoue's power-chord-based riffs sans melody that surfaced in SA2 are appropriate either, but the synthy jazz-tinged pop numbers in SA1 were the closest they ever came to the 16-bit music.
And they should've stayed there instead of giving more control to Senoue so he could write more love letters to his guitar.
Exactly, the problem is that you can't write Senoue off entirely, though, because he's written some of the most fantastic hooks when in that syrupy style (Emerald Coast, Rumbling Highway, Follow Me) and a few in the grungy gritty one he loves so much (Eternal Engine, which, let's face it, has enough material to make two songs out of) but as soon as the melody goes missing, it's worse than silence. I stopped caring about Heroes as soon as I got to Rail Canyon. The pits have no bottom, and the riffs have no hook. (Nail, meet coffin; that's the last one—let's get this bitch in the ground.) I just find it impeccable a man so good at penning a melody has so little idea how much it means to his music.

But hey, that's just my opinion. I listen to Fountains of Wayne and shit.

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