Perhaps the most memorable feature of the soundtrack is the huge operatic influence, introduced early on in the ‘Resonance’ section. “Waiting for Something to Awaken” seems like a very appropriate title, and the feeling of anticipation is only exacerbated by the fact the theme hosts three of the soundtrack’s other melodies, including the ethereal “Main Theme.” The other track that makes up the ‘Introduction’ section of the soundtrack opens misleadingly with a dainty piano descant, synonymous with an ostinato used in Aya’s theme, before becoming increasingly dark with the subsequent additions of synth choir backing, eerie bell chimes, and a transient music box melody. While there is a refreshing transition whereby the piano adopts a solo, notably introducing Aya’s theme, this only serves to add colour and tension prior to the intense rock-driven conclusion.
With a pentatonic piano ostinato opening the piece, soon a electric guitar enters, playing overdriven riffs, accompanied by aggressive drumbeats and intense electronic overtones. Refreshingly, Shimomura cuts straight to chase on the first track “Primal Eyes,” introducing important thematic material and the first of many stylistic fusions on the soundtrack, while creating a rollercoaster of emotion. Theoretical experimentation isn’t enough composition needs passion and exuberance, and Shimomura provides this in surplus. Shimomura was certainly the best person for the job, with her creative nature being perfectly complemented by her wonderful ability to make practically all her compositions accessible, heartfelt, and memorable. Yet the soundtrack was a modest success in terms of popularity, partly thanks to Square’s effective marketing campaign, and a profound one in terms of critical acclaim, thanks to the composer. Was it a recipe for disaster? It would seem so electronica, synth vocals, and ambience are regarded as a bane to game music by the casual listener, while creating a game of the genre of horror-RPG was an unprecedented risk that failed to guarantee the soundtrack received exposure, never mind acclaim.
With haunting operatic vocals featuring alongside creepy ambient tones, pulsing electronic beats, and melancholy piano work, this was the most intense and unusual soundtrack Square had produced up to that point.
#PARASITE EVE 4 OST HOW TO#
Just like the game itself, Yoko Shimomura’s score for Parasite Eve was an ambitious experiment that many listeners were baffled how to interpret. DigiCube (1st Edition) Square Enix (2nd Edition)