The final track is a snippet of the 70 minute long piece from the sequel title, specifically, its first melody. The soprano in "prime #9973" gives the piece an ethereal and utterly spellbinding feel, though the bombastic finale feels entirely out of place. The downward sloping motif used in this track is especially striking. "prime #233" is another quirky piece filled with intelligent chromaticisms. Just active enough to not be plodding and graceful enough to not be boring, this piece, too, is the product of a fantastic arrangement. The soft and soothing "prime #5" serves as an excellent contrast to its preceding. "prime #919" receives a fantastically powerful arrangement, featuring quite excellently placed brass. The oboes and strings combine to form an effective, dark opening for "prime #59." The strings continue, outlining the beat of a waltz that sounds quite gorgeous. "prime #457" is more mysterious in nature, the strings in the bass providing brilliant bedrock to their higher siblings, sounding akin to a frothing ocean. The mostly soft and entirely quaint "prime #61" follows with what can almost be called a sparkling arrangement, an adjective likely brought to mind due to the effective augmentation performed on the harp. This piece is juxtaposed quite well with "prime #313," which delivers another graceful, yet at times quirky, and well orchestrated melody to the listener.
"prime #101" sounds dark and morose, with patches of brilliance striking out at times, creating a wonderful piece, and its followed by the flitting, staccato and silly antics pervasive in "prime #19." This latter piece might come off as a little irritating, and, while it receives a stellar arrangement, the plethora of quick staccato notes is a rather polarizing feature. A greater variation in timbre is offered here compared to the relatively stark options open to the string quartet of the original, not to diminish the quality of the work there, and Sakamoto uses it to great effect.
#Echochrome 2 prime 4507 full#
The beautiful melodies of the originals are back in full force, and sound glorious performed by an entire orchestra. The meat of the soundtrack is the arrangements from the echochrome series, and "prime #3 ~ prime #5" start this section off fantastically. The piece is melodically striking and Ito's orchestration sounds superb. The more graceful "World to Come" serves as a very fitting segue into the soundtrack's second portion. The timbre varies depending on the section as well, though typically each starts off softer and concludes with a bang. Every section is notable in this 8 minute long orchestration, and the transitions are handled well, though it's always rather obvious where one section starts and ends. The track opens with a flute playing a beautiful melody at an almost whisper, and soon expands into a more complex piece. The chromatic rises of the track, buffeting the more starkly melodic sections, creates a rather impressive atmosphere, even if the general rambunctiousness might turn some off.Ī lengthy piece, "Dungeon Medley (The Beginning Is the Usual Dungeon ~ The Dungeon Is Superb ~ Afternoon Hero ~ There Is no Tomorrow for Heroes ~ The Sleeping Demon Lord ~ Evil Triangle)" is also featured in this section, and appears to be the highlight of this first collection of pieces. "Final Gathering!" is more boisterous yet more melodic than the previous. The chromatic notes and chords might well be off putting to some, as would the reliance on bass, though the piece still manages to impress. "Although Pleased by Everyone," a march, receives a rather heavy arrangement. The track is short and sweet, and serves as an effective opening. The silliness of the original track shines through, and sounds rather striking with the austere coat of orchestral paint granted by arranger Keisuke Ito. "The World in my Palm" opens with a bang, and soon settles into a sweeping melody. The album opens with a collection of five arrangements of pieces from No Heroes Allowed (aka Yuusha no Kuse ni Namikada 3D). How do these arrangements compare to the originals, how do they stand on their own, and considering the variation in styles, how do they juxtapose together? Body Sakamoto himself provides the arrangements for the former, while fellow composer Keisuke Ito arranged the latter. It features a complete arrangement of pieces from the first classically oriented echochrome title (and a snippet of the only track from the second) and a smaller collection of tracks from the jazzy and upbeat No Heroes Allowed. The growing popularity of composer Hideki Sakamoto, specifically with regard to his beautiful works for the echochrome series, has resulted in the release of an orchestral soundtrac.
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