“Lamprey (Tower Boss)” is a crazy 8-bit out of control rock boss music that is really good, but is, unfortunately, too short.Īs the game isn’t very big, at least location wise, “Stereo Blindness (Bonus Track)” is the first of the necessary bonus tracks needed to pad out the album, and is pretty sub standard. The track goes all out rock at 1:30, which I love, and the track as a whole is reminiscent of the higher quality style that A Shell in the Pit produces at his best. At 0:23 the music picks up with a synth riff and rock drums interspersed with the echoing guitar riff at the beginning. “Narwhal (Tower)” is a section of the game I only spent a short time in, so I presume I missed the narwhal?! (What’s with the fish naming theme anyway? Did I miss something?) Anyway, the music starts in an echoey, mysterious way that reflects the dank, misty tower very well. It’s short, plinky-plonky, and ever so slightly annoying, at least as music in its own right. “Poot-yan (Minigame)” is exactly what the name says, mini game music that follows in the great tradition of the genre. While I did not find the music offensive while playing the game, I feel it is too bland to actually listen on its own, not on a regular basis at least. Although the music does not specifically reflect the surrounding, no rustling sound effects or blowing wind, it actually works well in-game. As the name suggests, this is the garden/forest section of the castle. “The Grim Outdoors (Forest)” is the second track I know the most, as I have spent a lot of my time here. The melody is nothing special and maybe could have done with an addition to make it more interesting. A pounding beat and bass comes in at 0:20, continuing the menacing feel. The track winds to a start with an offbeat rhythm that continues throughout the track. I only ventured into this section of the castle by accident, and usually died within seconds, but the music suites the black/dark red color pallet used here. “Broadswide of the Broadsword (Dungeon)” is, surprise surprise, the music used deep in the dungeon. It’s because of this that A Shell in the Pit felt it necessary to add an extremely misjudged, very loud, and very piercing violin at 00:47 which, for me, spoils the entire track! Shame there was not an original version like “Trilobyte. The track stands up on its own, mostly due to a strong melody, but can get a bit repetitive. It’s good, a medieval style guitar and pizz strings piece that gives a feeling of safety when compared to the rest of the game. “SeaSawHorse (Legacy Select) ” is used when selecting a character and levelling them up. It’s not particularly listenable on its own though, as there is no melody to speak of and is less than a minute long. “Pistol Shrimp (Castle Boss) ” is good, exciting boss music that keeps the tension suitably high during the fight. The original is also included at track 19. So, for me, it’s a welcome addition to a good track that I ended up listened to over and over again while playing the game. Not that the in-game track is bad, it works extremely well, and I believe that this remix would have been too overbearing in-game. It’s clear that McGladdery thought that the original lacked the oomph to work as music in its own right, and I have to agree with him. However, at 0:17 the orchestration and structure departs from the original by including a new guitar riff. It starts out the same, with the, again, very distinctive and visceral A Shell in the Pit percussion and synth ostinato. “Trilobyte” is the first piece you hear as you enter the ever shifting castle, and it is with this track that we see changes from the original in-game music. The music reflects the exciting hack and slash Castlevania style gameplay that works perfectly as an introduction to the game. The “Rogue Legacy Main Theme” is really great and is composed by Tettix, aka Judson Cowan. At 00:34 the very distinctive marching percussion that A Shell in the Pit, the artist name of composer Gordon McGladdery, uses throughout the game comes in with rousing effect. I found myself humming along quite happily. It starts out with a nice harp ostinato and an almost Japanese style riff on the guitar that repeats throughout the whole track, which is not a bad thing. Like I said, I have not completed the game so I never got to the end credits, which is a shame, because the music is lovely. This is made obvious by the fact the end credits music is the first track, and I think this works well. Unlike the Super Mario 3D World OST, some thought has gone into the placement of each track on this album. So this review will be partly informed by my knowledge of the game and partly in the dark as to where the music was used. I’ve only actually killed 2 bosses and it has been a while since I last played the game. Like Minecraft, it’s the type of game that I can easily dip into every now and then. I think it needs to be said that I have not completed Rogue Legacy.
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