“Ruin of Silence” is the most abstract Moai stage theme to date - combining Arabian melodies, orch hits, and weird voice effects - but is nonetheless pretty entertaining. “Into the Crystal Cage” ups the pace and dazzles listeners with crystalline synth frills. It has just the right blend of rock, pop, and jazz styles and innocent emotions needed to revisit the Konami sound.įocusing on the remaining stage themes, “Requiem for Revengers” maintains jazzy tones while also motivating the listen to endure through a more challenging environment. Miura gets a motivating groove going before projecting a cheerful yet reflective melody. However, it’s with the first stage’s “Beyond the White Storm” that the old-school Gradius sound is once more recreated. The diversity increases further with the funk-influenced select piece and the short synth rock dogfight theme. Though the treble line captures the tone of a dazzling space adventure, the oppressive percussion line shamelessly recites Holst.
#GRADIUS GAIDEN SOUNDTRACK SERIES#
“Prologue” takes the series in a new direction with an orchestral anthem. Norikazu Miura captures all the emotions of the old Gradius games while sounding more technologically commanded too.
It blends together Gradius‘ opening and first stage themes in an ecstatic remix yet also homages the light rock style that Motoaki Furukawa developed on its sequel. Bodyįans of the old Gradius titles will bring a sigh of relief on hearing the first track on the album, actually an arrangement of the final stage theme of the game. For the most part, he succeeded and created one of the most worthy scores of the series. Miura worked hard to ensure that the score maintained the classic feel of the series while representing the diverse stages, achieving technological advancements, and adding new interactivity to the gameplay.
Nonetheless, the game was wonderfully received by fans and offered many firsts for the series, including 3D graphics. Given it was created for the PlayStation rather than Arcade in a time when Gradius releases were common, the title was labelled as a ‘side story’. Norikazu Miura made his Konami debut in 1997 with the score for Gradius Gaiden.
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