Music

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Eh. Like the rest of the game, the music lacks oomph, alternating between heavy, stomping, almost clumsy rhythms (“Sealed Away”) and featureless melodies (“Lenna’s Theme”). A lot of the tracks simply blend together as an indistinct lump. Not only that, but just listen to “The Dawn Warriors” and “Library of the Ancients” and tell me you’re not hearing the “Imperial March” from Star Wars and “Mission: Impossible”. There is, however, at least one truly memorable track: the epic rush that is “Clash on the Big Bridge”, Gilgamesh’s theme song. Apart from that, a few other tunes stand out of the ambient mediocrity, namely “Home, Sweet Home”, a lovely, wistful melody, somewhat like a lullaby, which plays in Lix; and “Pirates Ahoy!”, the theme music for Faris’ pirate hideout, with its swaggering lilt, which has since benefited from a rather snazzy remix as part of the Dear Friends compilation. The game also features one of my favourite chocobo themes in the series, “Mambo de Chocobo”, which gives the now-familiar tune a nice little groove. It’s also the first game to introduce the moogle theme, which, here, is incongruously dubbed “Critter Tripper Fritter!?” (don’t ask…). Another amusing tune is “What?”, which plays when characters are baffled by something. “Ahead on Our Way” and “Sorrows of Parting” are two other noticeable tracks: the former opens the game and has a refreshing drive to it, while the latter punctuates tragic occurrences.

But then there are things like “Harvest”, which serves as the theme for a bunch of towns. I like Irish music, and this one is, technically, a decent little jig, but…why is it so strident? Other prominent offenders are “Musica Machina”, the theme from the Lonka/Ronka Ruins and the Ancient Base/Catapult, an industrial-sounding, discordant mess; and Exdeath’s theme, appropriately named “The Evil Lord Exdeath”, which sounds like something straight out of a cheap horror flick.