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10.29.17 Diddle Arche 6: math10.21.17 Diddle Arche 5: rec anything 2 (electri
10.14.17 Diddle Arche 4: Asia10.11.17 Diddle Arche 3: Musicals/OSTs/films
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Diddle Arche 3: Musicals/OSTs/films

So, we've got 20 left and we're going to lose another 2 which is unfortunate. Already wishing I'd gone for an accumulator style now, but I must learn to be strong. Anyway, this round is music from other medias!
1Damjan Mravunac
The Talos Principle

So, this round is music from other media: that can be films, game soundtracks, anime OPs, songs from musicals (I'm very fond of Legally Blonde myself) - anything like that.

Few rules though
- must be able to find it on YouTube, Soundcloud, Bandcamp, Spotify or Deezer (as before)
- if from a film, tell me the film it's from. Just as a little verification.
- if from a musical (I don't know if I'll get any but I hope so), it probably won't be in the database so double-check first that I've not seen it.
2Jake Kaufman
Shantae and the Pirate's Curse

adr has immunity for this round on the back of that wonderful Moonsorrow rec - this is still SONGS ONLY so no full OSTs please ^ ^

Good luck everyone!!



As far as peculiar time signature usage goes – is this in 13/8 or something? – this track utilises its unsettling properties to great effect. Was expecting something far more futuristic sounding, but instead the bittersweet piano melody made for an altogether more powerful listening, especially along the track’s ‘disjointed’ nature. The choral section on the final reprise was particularly lovely, ending the piece on an intriguingly melancholic note. Makes me want to play the game. 4.0/5.0.
4Les Rallizes Denudes
Double Heads

Les Rallizes Denudes - White Waking (from Space Funeral)


One of the most strangely, creepily beautiful pieces of music I’ve come across in a while. A grimy, ‘radio’d’ production style and bluesy twang guitar creates something that sounds genuinely antiquated, like a wistful reflection on something now long, long passed. Something about the stunted, accented delivery (and the group name) made me think the lyrics were French, but on further inspection they turn out to be Japanese – this is neither here nor there, but an interesting auditory sleight-of-hand. I’ve downloaded Space Funeral, hope it’s as good as this song. 3.9/5.0.
5Motoi Sakuraba
Dark Souls Soundtrack

Gwyn, Lord of Cinder (cover by Isac Saleh)

Astral Abortis

I’ll talk mainly about the original but I watched the Isac Saleh cover, and it’s a beautiful, beautiful classical guitar arrangement. An inherent problem I’m starting to find as I go through these is that, for games at least, music works as an ‘experience enhancer’ more than anything. For a game that I know ENOUGH about to be expecting bombast, synths, drums – I find this delicate piano piece rather plaintive, even sad. A gorgeous piece though, don’t get me wrong. I’m trying to leave specific context out as far as possible until I’ve submitted this, but I’d like to know how this fits in. 3.9/5.0.
6Kow Otani
Shadow of the Colossus: Roar of the Earth

The End of the Battle


This makes great use of short bursts of silence, splitting the string swells that make up a significant portion of the second half. The choir at the start alongside its more ‘modern’ chord arrangement is beautiful, as is the way the track slowly winds itself down as it progresses. Short, but very, very pleasant. 3.7/5.0.
7Jesper Kyd
Assassin's Creed 2

Ezio's Family


I am a little bit of a sucker for a string section, and so I fell for this one, and its equally lovely (if purely musical) vocal line about as quickly; the shift to the classical guitar in the middle third was surprising but not out of place, although I was glad to hear the strings once more. I admit, I was all ready to be disappointed about a minute from the end when I heard the electric guitar peal, but thankfully that was kept to a minimum, allowing it to continue its orchestral path. A couple of occasions I wished for a chord changes that never happened, particularly towards the end, but lovely nonetheless. 3.8/5.0.
8Ryuichi Sakamoto
Merry Christmas Mr. Lawrence

Forbidden Colours (with David Sylvian)


With David Sylvian taking vocal duties this was always going to struggle to be anywhere close to bad, but Sakamoto’s Oriental-influenced backing is the cherry on the cake. While THAT piano theme is heart-twinging in itself, what was particularly great were the rising string stabs as the track approached its climax. What a beautiful piece of music. 4.1/5.0.
9Christopher Young



For the first two minutes or so this felt very much par for the course of Hollywood orchestral pieces – the chord progressions, strings, deep horns – and so I was a little underwhelmed. Little did I know all it needed was some organ; it became a fantastic gothic piece, all ‘intense cathedral’ and vampiric in its approach. Only problem is, it climaxed a little soon for my liking – I could’ve had a bit more of that quite happily. 3.6/5.0.

10Masakatsu Takagi
Ookami Kodomo no Ame to Yuki OST

Oyosute Aina


Pleasant (adjective) - uk /ˈplez.ənt/ us /ˈplez.ənt/ - enjoyable, attractive, friendly, or easy to like:
In a kind of peculiar role reversal, the vocals here find themselves relegated to the back, usurped by lively, effervescent piano and, at both ends, the rhythmic, unflinching ticking of a clock. It works SO nicely. Technically impressive yet structurally simple, there’s just something about this which elicits feelings of nostalgia. Very, very pretty. – 3.9/5.0.
11The Seatbelts
Cowboy Bebop



Monstrously good fun. We’ve got saxophone, walking bass, bossa-nova influence, trumpets EVERYWHERE – I’ve never been to a jazz club anywhere, but this is pretty much what I would want to hear. People (mainly CalculatingInfinity) have been on at me about this for years now, and I think I have an inkling why now. Extraordinary. 4.3/5.0.
12Max Richter
Three Worlds: Music from Woolf Works

War Anthem


Man, this sucked the energy out of me that I got from Tank! like no-one’s business. Beautiful, morose and undeniably moving, when it got to the climax I was on the verge of tears. Sometimes a dynamic swell can kill the mood, but not here – those strings hit deep. 4.4/5.0.

--WINNER!-- :D
13Kevin Penkin
Made In Abyss Original Soundtrack



Been meaning to get around to watching this series at some point – I’ve heard very good things about it. This piece was gorgeous too (this round has been wonderful so far it seems). That music box-like melody at the start was the perfect way to introduce something which sounds, largely, incredibly grandiose and bittersweet - like being lost in the middle of something huge and life-altering. In a way I wish it didn’t end as loudly as it did, but it offered a great sense of finality. 4.0/5.0.
14Shoji Meguro
Persona 5 Original Soundtrack

Life Will Change

tacos N stuff

Never expected to get light Gridlink vibes at the start of this, but – here we are (listen to the start of Constant Autumn. I’m probably just hearing things). OH MY GOD the funk; that bass is UNREAL, and the disco strings are unbelievably good fun. I expect if Jamiroquai had a female vocalist and was singing about a (misleadingly) post-apocalyptic world, it’d probably sound like this. Is the rest of the OST this good? 4.1/5.0.
15Joe Hisaishi

Sonatine III (Be Over)


Ooh, non-Ghibli Hisaishi. The first half of this, with the synth, piano and bass was all very nice, but around the 2 minute mark there was a little piano flourish, and from there I was putty in Mr. Hisaishi’s hand. Slight oriental influences in the synth chord progression give this a subtle Japanese flavour without resorting to traditional ingredients, and that bass was infectious, if a little morose. Sounds like the soundtrack to the best visual novel ever. 4.2/5.0.
16Soundtrack (Anime)

Psycho-Pass OST


Pulsing and certainly keeping with (what I can assume is) the series’ industrial aesthetic; however, the theme’s strongest features lie in its idiosyncrasies – namely, the synths towards the start and PARTICULARLY that tin whistle, which proffered an almost ‘natural’ feel within its primarily synthetic shell. The breaks-influenced backing offers a sense of chaos too, which seems appropriate. Entertaining listen. 3.9/5.0.
17Angelo Badalamenti
Twin Peaks: Fire Walk With Me

Pink Room


Well, this was pure sleaze. The production used on it is kinda… gritty, I think, which fits in very nicely with the constant, revolving bass presence and helps make the other components bleed into one another a little bit. A part of me wishes for some vox and it doesn’t move out of its self-imposed gear, but very effective nonetheless. I’m gonna take a shower. 3.8/5.0
18Edward Artemiev
Solaris, The Mirror, Stalker



Holy shit, this is uncomfortable. Long, cresting swells of knife-edge synths, rising choral sections and a distinctly ‘off’ feel throughout make this kinda like what I imagine Penderecki-led dark ambient to sound like. Passed EXTREMELY quickly given its 7 minute run time – maybe it could actually have been longer, considering that the piece itself didn’t do a huge amount beyond its swelling modus operandi, but decent. 3.7/5.0.

Main theme


This was bizarre. The main synth melody on either side of the track I wasn’t all that taken by – not due to any compositional error, but I far prefer how 80s synths sound to those in the 1970s a lot of the time. However, the mid-section, a kind of bouncing, prog-rock interlude, was really cool. Again those synths took centre stage, but the rhythm section gave it a much needed lift and to be fair it created a kind of kooky atmosphere. The chants and ‘witch’ repetitions though – oh boy. Those were really neat. This is a horror, right? 3.6/5.0.

20Curtis Mayfield

Little Child Running Wild


A sterling lump of funky, hard-hitting Chicago soul, Little Child Running Wild is as much about the meaning in Mayfield’s lyrics (concerning growing up in projects) as it is about that engrossing, horn-laden, muted ‘chock’ guitar that’s so integral to the style. I don’t really listen to a lot from the style beyond what I used to hear on the radio but this sounds pretty high-tier. 3.8/5.0.
21Gyorgy Ligeti
Requiem / Lontano / Continuum



Lontano is actually, for all its modern classical quirks, odd notes and experiments in dissonance, incredibly beautiful. Parts of this sound like an ascension to heaven – not quite as seraphic as one might imagine, but euphoric all the same – while others are far less obvious. For example, that part around the 2:50-3:00 mark of ( merges both a searing whistle note and a gut-churning contrabass to create a really quite interesting dynamic effect. Nice. 4.2/5.0.
22Mike Oldfield
Tubular Bells

Tubular Bells


I DO know of this – I think basically everybody does – but beforehand not well enough to make a judgment beyond the primary theme. There’s more than enough to talk about – the stabs of piano, the that flips between wriggling and complimentary to drawn-out and melancholic in a moment – but that pan flute(?) is the true star here. Surprisingly moving, it twinged the old heartstrings more than I ever expected it would. May have to listen to the whole lot. 4.1/5.0.
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