Those were certainly some fitting qualifications for this project. It should also not go unmentioned that he has world class competency with the guitar. Once this approach had been decided upon, it seemed completely appropriate that Yasushi Asada take on the role of composer.Īsada-san is dexterous in his treatment of genres and someone you can trust will invest tremendous effort in his work. Whose decision was it to offer Asada-san the role of arranger on this soundtrack? HS: In our first meeting, the formula we came up with for this project was "orchestral gothic horror meets rock." Naturally, this concept had been informed by long-running traditions of the series. In that sense the challenges were of a different kind. While it was less difficult to dive right in, providing the needed variation between each track was where the difficulties lay. By contrast, Castlevania: Judgment was working with a comparatively consistent musical concept. It was an eclectic mix, including everything from techno and funk to bossa nova and classical. To put it another way, the hurdles placed in front of me on 428 may have been more numerous, as it involved composing various styles of music. However, both as a director and as a composer a concern for maintaining the highest possible quality on each track remains the same, so these roles do share some commonalities. In that sense the responsibilities were quite different. How did your responsibilities on the production of this title differ from your role on Castlevania: Judgment? HS: For 428: In a Blockaded Shibuya, I participated as a composer, while for Castlevania: Judgment my role was as music director. Castlevania judgment ost series#Personally, I have always been a tremendous fan of Castlevania, so the idea of Asada-san writing original tracks and arranging familiar classics from the series brought with it some trepidation, together with a great deal of excitement.Ĭastlevania: Judgment OST track list Sound samples courtesy of Konamistyle GYou served as a composer on the Wii-exclusive sound novel " 428: In a Blockaded Shibuya," which is one of few games to have received a perfect score from Famitsu Magazine. The offer was extended by this individual, which greatly motivated me to have it be a success. How did it come about that Noisycroak was invited to contribute to the development of Castlevania: Judgment? HS: To start off with how we joined the Castlevania: Judgment project I should mention that a certain person at Konami has been very supportive of Noisycroak since the company was founded. This is our first time hearing about your supervisory role on game productions. Hideki Sakamoto Previously you have shared with English-language readers details on your compositions for Echochrome and Yakuza 2. Hideki Sakamoto, Noisycroak Music Director: Good to have the opportunity. Sakamoto-san, thank you for joining us for this conversation on the subject of the Castlevania: Judgment soundtrack. This discussion centers on an artist's personal rock music signature, an approach to the challenge of unifying selections from the long-running adventure series' musical timeline. The familiar melodies are a reminder of past encounters with Simon Belmont, Maria Renard, Shanoa and Dracula. With a score directed by Hideki Sakamoto, the game features remixes from prior titles in the series for such game consoles as the 8-bit NES, Super Famicom, original Playstation, and Nintendo DS, arranged for the Nintendo Wii by composer and guitarist Yasushi Asada. Joining us for a discussion of this auditory history are two members of Noisycroak, the videogame music studio responsible for original compositions and rock arrangements found on Konami's Castlevania: Judgment soundtrack. Since its inception in 1986, the Castlevania series has witnessed its fair share of lasting musical creations.
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