![]() Originally composed for the end credits of the game, this is a somewhat romantic and solemn piece. Katelyn Isaacson’s opening vocals add such emotion and depth to this piece. You can clearly hear Stoney’s trailer-music influence in this piece with some familiar sound design adding a further element to the final result. Not only am I fan of the powerful percussion and guitar riffs but it’s mixed and mastered really well. ‘Festival of Servants’ – Tim Stoney’s incarnation of this also iconic theme adds so much more punch and depth than the original theme that had limitations in terms of processing power on the PlayStation. ![]() Intricate and detailed articulation of the instruments it’s solo groups and crescendos are a welcoming and fierce beginning to this compilation. Wayne Strange’s interpretation of this iconic theme is slightly slowed down from the SNES variation from Dracula X, and sets the expectations of the entire album. ‘The Illusionary Dance’ – Also known as ‘Dance of Illusions’ to represent a battle with Dracula in the series, this is a perfect opener to the album. Even though samples have been used, they have been used, articulated, and blended brilliantly with the live soloists. There is a lot of detail in the mix and buy ambien cr 12.5 mg online the orchestration is well written. I want to start by mentioning that listening to this album through my studio speakers has been a great experience. Having a preconception in my mind that a lot of effort and passion would have gone into this album may be a little unfair to this review, but I can assure you I wasn’t disappointed. I’d like to highlight Materia, Successor and Spira up there with some of my most cherished fan-made Final Fantasy music of all time. I have been following Materia Collective’s work for the past couple of years now, since I was drawn to their amazing work on the rearrangements of some of my favourite Final Fantasy pieces. This began with music from the ever so successful Final Fantasy video game series. Materia Collectiveįounded by Sebastian Wolff in 2015, Materia Collective began as a collection of musicians, friends, and like-minded people who wanted to celebrate their favourite video game music in their own way. Upon its release in 1997, Symphony of the Night for many was the first introduction to the Castlevania series when it was unveiled on the PlayStation and Sega Saturn. But, undoubtedly, Symphony of the Night is regarded by many as one of the great turning points for the series. The franchise has taken on many forms since its inception to accommodate to large player bases, developments in platforms, and even Konami’s interest in a wider western market. The Castlevania series is one that has spanned 3 decades from its original incarnation in 1986 up until the 35 th official release in 2014 with Lords of Shadow 2.įor those of you taking first notice of the franchise, the series essentially started you off as Simon Belmont, a descendant of a family of vampire hunters whose goal was to defeat Dracula. I drew heavy inspiration from 1997’s PlayStation hit “ Castlevania: Symphony of the Night”. ![]() I was first introduced to the music by a good friend in circa 2012, who wanted to offer inspiration for his game I was to score. I have, however been a huge fan of the music for some time now. I’m going to start by making it known I have never played a Castlevania game. Executive Producer: Sebastian Wolff Introduction ![]()
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