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feeling: oh my heart
listening to: Maou OST - LiVE/EViL
Second post in one day! And it's Maou AGAIN! Just some interesting info related to the soundtrack this time though, saved more for my own reference than anything. Mostly Wikipedia excerpts, so feel free to skip.
EDIT: Ok, so I caved and turned it into a review with just summarized versions of the Wikipedia excerpts for background. Not a very in-depth review or anything, mostly just the stuff that came to my mind in the time frame that each song was playing; when one song ended, I stopped and started typing about the next. Went back to edit some later, though. Anyway, on to the babbling!
Maou Official Soundtrack - review
You know it's going to be a long, heart-gripping 11 weeks when you watch the first episode of a drama series and already start to think, HOLY CRAP, I want this soundtrack. And of course, in an ingeniously evil move, they didn't release it until just before the final episode aired. And it was SO worth the wait. The Maou soundtrack is a masterful blend of musical styles, from symphonic to industrial to hard rock/metal, with some spatterings of opera, goth, and even dance - all integrated together so smoothly that it's like the album creates a genre all its own. The overall mood of the soundtrack is dark, haunting, tense, and dangerous; from start to end, it's a dramatic ride that grabs your heart and beats it to a pulp in the most amazing of ways. Just like Maou itself.
And in an interesting touch (knowing that "maou" means the devil), most of the tracks are named after demons or other demonology-related concepts. A few of them were names I'd never heard of, so I had the idea to do a little research and find out just who or what they all are, and include summaries in my track-by-track reviews. (I'm still not sure, however, why they all seem to make such random use of upper and lower case letters...)
Schlaflied
The title is German for lullaby (right?), but this haunting operatic piece really sounds more like a dirge. It's an appropriate sound though, strangely, all piano and a single smooth female voice singing verses I can't understand (note: confirmed that she's singing in German, but seems even German speakers are unsure what she's saying) - like an angel singing for one who has fallen. Beautiful, intriguing composition to open the soundtrack.
LiVE/EViL
Ah, yes. This is the song we all think of when we think of Maou. The one that starts out fairly quiet and then explodes into a dramatic symphony of strings and percussion, and repeats these two in a cycle for almost four minutes. Mild one moment, booming the next, but heavy and tense and expressive throughout - this song is definitely Maou.
BeeLzeBuB
Regarded in popular culture as one of the Principal Infernal Spirits ruling Hell, Beelzebub's name likely originated with the pagan deity Ba'al Zebûb of the Philistine city of Ekron. Later Beelzebub came to be recognized as a demon entity, and the name is now often used synonymously with Lucifer, the adversary of the Christian God, or sometimes referring to lesser devil.
The best description I could give this song is just one word: danger. Actually, that describes a lot of this soundtrack, but while many of the other songs embody quiet, unseen danger, BeeLzeBuB is clear and present, RUN FOR YOUR LIFE danger. With its quick tempo, blazing electric guitars and percussion, there's an obvious heavy metal influence mixed in with the industrial-ish style that's so prominent throughout the album. There's even an interesting vocal part that seems to roar in chorus while managing to remain musical and harmonious. Very effective mix of rock, industrial, and almost gothic symphonic elements.
RequieM
An appropriate title for another slow, intense symphonic number. This one begins with a few somber strings, then adds some more strings and layers, then keeps adding more and more until they all... suddenly stop and are replaced by a piano and a low brass tone. Then just as suddenly the strings come roaring back along with a rising percussion riff and vocal chorus.
LuCiFer
Latin for "morning star," the name Lucifer is frequently given to the Christian devil, Satan. This usage originated with a particular interpretation of a passage in the Bible (Isaiah 14:3-20) describing someone with the name "morning star" as being a fallen angel, once seated in Heaven but hurled down to Hell when he contrived to overtake the throne of God.
Another of the definitive Maou pieces, this song is 100% tension. It's building up to something, from the strings in the beginning to the electric guitars in the middle to the cellos and brass toward the end, all layering on each other along with sizzling percussion in a driving rhythm that simply smolders from start to end. The kind of song that makes you want to walk purposefully down a dark street with a glare in your eyes that could melt souls. Another amazing blend of industrial and symphonic.
AstArOth
In demonology, Astaroth is a prince of Hell in the first hierarchy of demons. The Grimoire of Pope Honorius names him as one of the three Principle Infernal Spirits, alongside Lucifer and Beelzebub.
Now we have an interesting twist. This song makes me think of opening night in the newest goth nightclub to open up in Hell. It still has that dark intensity and combination of strings and persussion and chorus and twisted synth melodies, but with a moderate dance beat and some distorted vocals added to the mix.
fLEurEttY
The Grimoire of Pope Honorius names Fleuretty as lieutenant commander of Hell, one of the Superior Spirits under the three Principal Infernal Spirits, Lucifer, Beelzebub, and Astaroth.
This track returns to the almost twitchingly tense melodic style of the first few tracks, this time driven by percussion and synthesizers until the strings pound their way in near the end. Another song that you know is building up to something, that you know must have been used in scenes where something was about to go down...
pSYCHOMETRy
This song... buzzes. Appropriate considering it's the theme for the moments in Maou when Shiori used her psychometric power, which was always accompanied by jolts of electricity and similar effects. It's an interesting layering effect, though, with the searing lightning-like sounds joined by an operatic female voice chanting a dark, haunting melody.
aGaLiaRePT
Agaliarept is said to be a grand general of Hell and commander of the second legion. He possesses the power to discover all secrets and is especially good at stirring up enmity and distrust among men. He is one of two demons directly under Lucifer; Satanachia is the other.
Slow, dramatic, and centered around piano again. The beginning seems smooth and deceptively peaceful, but then a bit of discord starts to show through in the middle - a subtle and very interesting expression of change in atmosphere without drastic changes in volume or instrumentation.
GracE
Maou's equivalent to a love theme. The beginning is all harmonious piano and sweet strings, which slowly, slowly builds up to a dramatic burst of orchestral climax in which you can actually feel something tremendously emotional slamming into your heart, but it's wonderfully ambiguous as to whether that something was good or bad.
sAtAnAchiA
Satanachia was mentioned in the list of the principal demons established by the Catholic Church at the time of Council of Braga. He is a general of Hell, a commander-in-chief of Satan's infernal army, who has control of a Legion of the Spirits as well as the Grand Dukes of Hell.
This song is an interesting mix of a mid-tempo, almost danceable synth-driven melody with rock-inspired percussion and guitars. Until the latter half or so when those symphonic strings come back to create a smooth, passionate harmony, just edged by an element of danger in the synth riffs and powerful bass line. Yet another successful variation on Maou's own blend of industrial, symphonic, and rock.
luciFUGE
According to the Grimoire of Pope Honorius, a demon named Lucifuge Rofocale is in charge of Hell's government as its Prime Minister by order of Lucifer. He could only assume a body at night and he hated the light, as his name indicates - "[he who] flees the light" in Latin.
Another take on LiVE/EViL, but even more dramatic, if that's possible. It opens with heavy, pounding drums, soon layered with the usual strings, before dipping briefly into another riff of tense synthesizer and then building into that familiar climax of strings, made even more intense by the doubly explosive drums and slower tempo. Electric guitars and increasing layers of strings add to the dramatic effect in another amazing blend of musical styles.
saRgaTaNAs
Barlowe's Inferno details artist/author Wayne Barlowe's imaginary journey to Hell. The narrative explains that Barlowe has made a deal to be taken on a tour of the Pit by Sargatanas, the Revealer of Hell and one of the Demons Major, Hell's ruling class. A third canto to Barlowe's original Inferno, God's Demon, sees the Lord Sargatanas leading a campaign against Beelzebub in order to lead demons and souls alike back Home, to the gates of Heaven itself.
Ah, this is the song that makes me want to sit in a dark room with a single red light on and formulate some kind of evil scheme. Slow and quiet and eerily sensual, but tense and dangerous, this song is driven by a hypnotic mingling of percussion and synthesizers. It's dark and creepy and electric and sharp and absolutely breathtaking.
Cliche
Somehow appropriately titled, this is the slow, balladic, almost "normal" song in the Maou collection. Another love theme? (In which case, THANK YOU, whoever named this song, for dubbing love plotlines as "cliche" ♥) Simple, mostly comprised of soft, flowing strings, it's also the only song on the soundtrack with vocals that aren't used just for operatic or chanting effects. English vocals, in fact. Slow and smooth and pensive, maybe even nostalgic.
LiVE/EViL (Guitar)
An interesting take on the definitive Maou BGM, this time expressed through a mellow acoustic guitar with only light spatterings of the tense, hypnotic percussion that defines much of the rest of the soundtrack. None of the dramatic build-ups or climactic explosions of sound that characterize the other versions of LiVE/EViL, but that's what makes it such an interesting twist.
gEHENNa
The name Gehenna is derived from Gehennam, the name of a burning garbage dump near Jerusalem which has been metaphorically identified with the entrance to the Underworld. The name appears in the New Testament to represent the place where evil will be destroyed. In both Jewish and Christian writing, Gehenna as a destination of the wicked is different from Sheol, the abode of the dead.
The longest and, as such, most varied song on the soundtrack, gEHENNa opens with a weighty, intense rhythm of low piano notes and eerie sound effects like haunted voices carried on the wind. Then comes the hypnotic percussion and synth, along with some trippy rhythmic sounds that I honestly can't even describe, as amazing as I think they are. Eventually there's barely any melody left and it's all just a symphony of sound, while somehow still coming across as music and not a chaotic mess. I think the best way to describe this song is a nighttime walk through some very dark, lonely, unwelcoming place - perhaps a ruined alley, perhaps a post-apocolyptic wasteland, perhaps the depths of Hell itself.
GracE (Guitar)
This is probably the most surprising song on the soundtrack. A guitar remix of the drama's powerful love theme, surrounded by all these murderously intense tracks and following immediately on the heels of a walk through Hell - and now suddenly we're taking a peaceful stroll down the boardwalk? Strange in comparison, and I honestly have no idea where it was supposed to fit in the drama, but on its own it's an interesting acoustic rendition, and of course, beautifully performed.
neBirOs
In demonology, Nebiros is the most valiant Marquis of Hell, and has 19 legions of demons under his command. Nebiros is depicted as a raven or a three-headed dog, which has caused him to be associated with the Greek demon Cerberus and is thus commonly considered the same entity.
Now we're back to the deceptively quiet, eerie compositions that define much of this soundtrack. Hypnotic and driven by mild percussion notes and artificial sounds, this is another one of those melodies that makes you want to hide in the dark and concoct some evil scheme. Catchy, too, for a song of its nature.
Oblivion・Male・Expiation・Nightmare
Another interesting and unique addition to this collection, utilizing acoustic guitar again but in a much darker, more intense melody. It actually threatens to blend in a bit of country western flavor in the beginning, but that quickly changes. Overall it's driven largely by sound and quiet but powerful percussion beats that are so deep, they seem to resonate more as sensation than sound.
666
Dominated again by deep percussion and tense, electric synth sounds, this song simply radiates danger - quiet, unseen, but deadly danger. It's the kind of thing I'd expect to be playing somewhere, somehow, when Something Very Very Bad is happening in the world that nobody is supposed to know about.
LiVE/EViL (Orchestra)
The final rendition of Maou's characteristic main theme, this time performed solely by strings and winds and minimal percussion. And like the other versions, it's an emotional ride, this time starting out quiet and fairly mild but then building to the dramatic climax, driven by tympanis and trumpets. Then suddenly it's just a single, subdued piano tapping out an utterly simple, utterly quiet, utterly heart-wrenching-without-knowing-why conclusion. Well played, Maou.
Schlaflied (Chorus)
A reprise of the dirge-like "lullaby" that opened the soundtrack, but this time with a chorus backing the solo female vocalist instead of a piano. Heavy and dramatic in its simplicity; a good choice to wrap up the incredible musical journey that is the Maou soundtrack.
comment! (0)
dragged from Becky's stream of consciousness at 9/16/2008 04:33:00 PM
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