When I’ve started to compose Wizards’ Duel OST I told it would have been influenced by Nobuo Uematsu . His work in Final Fantasy VI and VII is one of the most inspiring ever made for a game OST. I still remember the chill of surprise for every new tracks discovered during the game… One of the most beautiful things in that work is the amplitude of genres, rhythms, patterns, themes, still with compact and coherent. Uematsu tought us all you can have a
OST with a very large spectrum of sounds and emotions, with no fear for hard contrast and contradictions. How can two tracks like DEBUT and WHO AM I live in the same context without being ridiculous? With mastery is possible.
I own not the proficiency of Mr. Uematsu but sure I know what I know by my music, and how to get it. For long time I neglected exercise in music, but when I started to study at italian conservatory I begin to practice a bit making “original copies” of music I loved. Is like to paint in the style of a painter you like: is all about get inspired and practice his master techniques.
That’s what I tried to do with Crystal Forest Theme. This is one of the earliest track I made for WD, but I never finished. I only had the back bone, inspired to the Forested Temple and You can Hear the Cry of the Planet two of my favorite FFVII tracks.
Gave the fact the Crystal Forest is inspired by Celtic mythology I wanted the theme to feel cold, with flutes and harps. The stage will be full of stones, gems and petrified trees, so I wanted to transmit their sounds with redundant bells and an acoustic guitar with very fast slided arpeggiator on a range of 5 ocatves using a minor pentatonic scale (which is a very common blues scale). The most common foes will be Kobbolds, so the use of two oboe in a low to high dialog sounded perfect to convect the sense of being surrounded by creatures with weird voices.
A very short breakdown with a positive atmosphere gave a break to the cold, like a ray of light in this paralyzed land. But soon clouds come back to hide it and return to the starting section plus a flute solo and the kobbolds oboes.
The breakdown come back again, but this time over the woodwinds a distorted guitar appear with a nostalgic pop rock line inspired by John Frusciante solo albums… But soon its romanticism collapse into an earthquake vibration.
An hard rock drum set appears with a “rubato” to give a sense of suspense. Here the player have reached the top of the Crystal Forest, and slowly the boss head emerge: Skrymir the Titan is awake!
Skrymir is a legendary Jotun from norse mythology, one of the only opponents even Thor isn’t able to defeat. Every smash of Mjolnir is like a leave falling to this Jotun’s head. So has a undefeatable giant he was my first choice as boss for this Earth based stage, and I knew since the beginning that the fight with would have been accompanied by stoner rock.
Pun is intended, but more the stoner rock really has an earthy sounds, especially when is slow and calm and powerfully unstoppable like an earthquake can be. The use of distorted bass was really useful to transmit this sense of boldness tied to the roots of the planet.
I’m very satisfied with this heavy final, especially because I’ve finally putted in a 13/8 tempo, which was so much time I wanted to use. And it sounds so natural, that you can feel something unpredictable is in it, but still very groovy. I’ve never listen to stoner rock that much but I really like the aesthetic of the genre.
The encrease of bpm every time the stoner part reprises underlines the emergency to kill quickly the boss, and finally after a distorted glissato, own his power, which will make you able to destroy and rise walls and mountains in following stages!
Please let me know what you think about this track,
and be patient, because we’re still working hard on alpha release. We’re nerd, but not enough =)
Daniele Lynx Lasalandra – Art Director