LogFAQs > #953974512

Fairfrozen: Selicy's Theme
Rose-Killing Carmilla
Anistar City

Fairfrozen always struck me as maybe the most immediately catchy track on the OSFE soundtrack, almost candy-like in its appeal. The instruments shine and snap, like fresh ice. This is among the most straight-up fun tracks I've heard of HAGANE's, while still carrying a lot of that classic HAGANE flair-- it reminds me of his interlude-ideal album, maybe Usual in particular (though the title track really feels like an OSFE track as well).

Weight of the World: now in ENGLISH. There's been some discussion about what version is preferred overall; I think they all cut in slightly different ways, and I like this one well enough not to say I'd definitively prefer a different one. A number of the parts that hit me hardest are actually the instrumental breaks, anyway! I love the way the strings quietly carry emotion at 2:00, for example, and their more overt appearance at 3:47. This is just a well-executed ballad through and through. NieR series (and Drakengard) end-of-game vocal tracks do this really well, I think-- they're often straightforward but win me over with how pretty and evocative they feel.

One thing that immediately bugs me about Carmilla is that it feels loud the whole way, even during the parts that seem like they'd be quiet, and it's distracting enough to detract from my enjoyment of the track! It kills the feeling of dynamic variation within the track, like everything's trying to shout over each other. That aside, the way this track introduces itself is really neat-- Noriko Mitose singing a high-energy track in 11/8, brings back SPHILIA memories-- and the repeating synth (when I can hear it) playing in the verse is cool too. I don't dig the chorus as much-- it feels strangely constrained in composition and range. It's a track I have more mixed feelings about than I'd initially expect, whose lasting impression on me doesn't match the first one.

Professional Problem goes for an overtly strange and disorienting feel, and a somewhat frantic one. I can appreciate that aspect of it, but what strikes me is that my own feeling stays fairly neutral throughout. I think there's a couple of reasons for that-- the drums enforce a certain control that feels counter to the strangeness of it, and that a lot of the strangeness is evoked only by sounds and textures within that structure. There are moments like 1:04 that seem to want to break out of that, but not fully.

Amidst a set of tracks brimming with energy and sheer volume, Anistar City feels like almost a balm. It's not the most extensive composition, and its expression of 'timekeeper city!!' is not exactly subtle, but it nails its sense of calm and slight mystery. I especially like the section that starts at 0:35. It really hits a certain "jrpg town theme" vibe that appeals to me.

Avian Animosity's intro is very cool-- it's my favourite part of the track, really. It's got a sinister vibe and I love the main synth and the filters on the percussion. I don't mind the track once its Animosity gets up close and personal-- it's got a pretty infectious energy that I can bob along to-- but I find myself always recalling that intro before anything else.