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“Home -en route to Resembool-” is jaunty and happy while “Home -a house on the hill-” is warm and nostalgic even if a subtle hint of sadness lies underneath it all. Scattered amidst the ambient doom and gloom are a few delightful tracks like the “Far East Suite” which bring out the scope of FMA:B’s epic odyssey similar to the feeling evoked in Joe Hisaishi’s Princess Mononoke score. “Fanfare for the Brave” takes on a different form of badness because initially, its melody inspires, but as it keeps on progressing towards glory and redemption, it becomes painfully evident that the piece intends to leave us hanging by not delivering any sort of payoff at the end that would clinch it all and leave us in awe.
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The same goes for “Fifth Laboratory,” which heaves in the bombast and crescendos it further without tossing in much variety to keep the listener interested. Tracks like “Mist” bore me out of my mind because it repeats a bland melody that fails to grab my attention in any way. While it works well in context, I find my attention wandering rather than focusing upon the music without the visuals to accompany them. Starting around “Fire in the Sky,” Akira Senju moves away from the distinct melodies that characterize his past works and aims towards building ambiance. It’s a strong start, and because of that, you’re not quite prepared for the drop in quality when it materializes. “Laws of Alchemy” follows that with a rigid-sounding violin melody that highlights the unforgiving nature of alchemy and the horror inherent in its backlash should anyone cross that forbidden line. The orchestra builds its tension slowly, and once it hits its peak, the chorus takes over with the orchestra in accompaniment and together, they bring a sound that mixes in both majesty and sadness in showing a long road, filled with little reprieve from tragedy and suffering, that will take the brothers to hell and back. “Main Theme ~The Fullmetal Alchemist~” opens up with an ominous tone, depicting the extent of the monumental struggles that the Elric brothers will face throughout their journey.
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The pieces featured early on carry the hope that once again, Senju will deliver a memorable score. Whatever the reasons are, FMA:B should have been a good fit with Senju’s compositional style since the show’s plot centering upon the physical and emotional trials and tribulations that Edward and Alfonse Elric must undergo isn’t unlike that of Red Garden’s, and yet, Senju doesn’t draw out those poignant emotions as well as he normally does. Perhaps he’s just going through a phase where his creativity isn’t as high.
#FULLMETAL ALCHEMIST BROTHERHOOD SOUNDTRACK DOWNOSD SERIES#
Was the sheer immensity and scope of the project just too much? He’s done a quality job for the 51-episode Victory Gundam series which also featured a three-disc soundtrack, so that can’t be it. It’s far from a fall from grace, but it’s riddled with enough inconsistencies to raise a few questions.
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With such lofty expectations, it’s a matter of time before he’d let us down.įullmetal Alchemist: Brotherhood’s soundtrack is that letdown. His previous works, from Arete Hime to the fantastic Red Garden soundtrack have shown us just how good he is at writing music that brings out not only that upwelling of emotion associated with loneliness and suffering that the characters experience, but also the wellspring of hope that the characters draw from to see them through to the very end. Review: When Akira Senju is scoring any anime, it’s not unreasonable to expect nothing short of greatness, but that’s unfortunate baggage to be carrying around when he does finally stumble. Happiness ~Requiem from ”The Blind Alchemist”~ Hologram (TV size) / NICO Touches the WallsĢ8. Akira Senju, YUI, SID, NICO Touches the Walls, Miho Fukuharaġ6.