The first time I heard orchestrated video game music was through a special edition Super Smash Bros Melee CD that Nintendo Power gave out to its fans more than a decade ago. Hearing the articulate music that piped out of my speakers that Fall was some of the most thrilling audio moments that I had experienced, especially the Legend of Zelda track. There is something about the music of Zelda that always captures me, pulling me into other worlds.
[pullquote_left]This is a big-budget version take on video game music[/pullquote_left]
Orchestrated music generally has that effect, and thus far producer Tommy Tallarico and the team behind Video Games Live have delivered the same over the years. Their latest album, Level 3, has as its goal to continue putting us on journeys into game worlds. After nearly a decade of producing some incredible stage shows and recreating memorable music, it’s easy to assume that more orchestrated versions of the same songs would be get repetitive. On the contrary, Tallarico and VGL have managed to not only refine some of their favorite songs but also to iterate and innovate in them. Level 3 leans heavily on the innovation found in some of the biggest music in video games, and yet manages to mix in new, bold tunes.
This is a big-budget version take on video game music — a blockbuster of gaming soundtracks — and it can often leave us tingling.
The album opens on epic role playing sounds, kicking off with Uematsu’s “Liberi Fatali” from Final Fantasy VII and instantly throwing us into one of the most recognizable tracks in gaming. The version is heart-pounding, building up from a soft trot into a baffling crescendo midway through. From there we move to the under-appreciated Crono Cross soundtrack, with Yasunori Mitsuda’s “Scars of Time” pushing us on a pirate journey, and into Skyrim‘s Nordic “Dragonborn Theme” to remind us that viking war horns can be just as melodic as they are threatening.
While we’ve heard Tetris orchestrated to the nth degree in the past, “Tetris Opera” is a clear sign of Tallarico’s drive to innovate. The incorporation of vocals based on the poem “Korobeiniki” by Nikolay Nekrasov adds a bold new dimension to the theme. “Opera” is an apt term, as the entire track seems to tell a story and allow us to imagine a stage full of energy and singers reenacting a scene.
And then Zelda. Arranger Laura Intravia’s take on “The Zelda 25th Anniversary Overture” doesn’t break the mold, instead opting to showcase the craftsmanship that Koji Kondo originally brought to life. It’s not about making Zelda sound epic; it’s meant to say tell us that every note is expertly placed, that even a more slightly more controlled take on the theme is welcomed if it weaves instruments together like a tapestry. The effect transports us into the intimate taverns of Hyrule, not its overworld.
[pullquote_right]the inclusion of Journey‘s main theme was a wonderful, emotional surprise[/pullquote_right]
The joy found in the big budget tracks is complimented by new additions to the Video Games Live artillery. Themes from Beyond Good and Evil and DOTA 2 are expertly arranged, and the inclusion of Journey‘s main theme was a wonderful, emotional surprise. The appearance of Silent Hill 2‘s “Theme of Laura” is a little jarring, considering it’s more of a rock-y tune compared to the symphonic work that surrounds it, but it’s no less well produced.
And let’s face it, closing on a live version of “Still Alive” is always a mean way to leave us hanging and wanting more.
It’s difficult to not like orchestrated game music. There’s a massive history of sounds to examine, and Tallarico hand-selected some of the biggest of them as well as the most surprising. Level 3 is yet another triumph for Video Games Live, reminding us that the well of great video game music waiting to be reimagined is far from dry.
This review was based on a digital copy of the album sent to SideQuesting by the producers.
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