Go Shiina's "G ~Blast ver.~" and "Arisa" are amongst the album's most colourful fusions. Tekken 4 lead Akitaka Toyama offers several great trance themes on this soundtrack, most notably "Hacked" and "Karma" while "Karma" offers a strong beat and varied development, "Hacked" makes a much greater melodic impact. Three other composers at NBGI offered some impressive entries.
To make this piece particularly aggressive and dark, Takada has added a taunting yet catchy bass in the background, highlighting the concept that something ominous is lurking. Several darker fusions from the composer can be found in "Midtown Roars," "Distorted Arms," and "Congested Rage." "Midtown Roars", in particular, is very string-focused, with lots of heavily emphasised staccato down bow movements in the lower violin part, combined with a gorgeous sweeping melody taking control of the top part of the track. Even "Meeting the Bear," a track which a lot of you will find initially irritating, features some great development and almost becomes magical. "Deep Attack" is probably the best example out of this feature the track starts off with a basic deep synth motif in the background and steady bass beat, which then comes to life with the change of the chords around 0:45, completely changing the feel and tone of the piece. I find these themes particularly captivating through Takada's progressive bass development. "The Destined," "Calm Beginning," and "Deep Attack" are good examples of his cinematic fusions of orchestral and electronic elements. Ryuichi Takada's additions to the soundtrack are much more impressive and greater in stylistic variety, however. The best segment comes in around 1:20 when a plucked string instrument plays a gorgeous short melody over a basic synth loop, while the chanting continues, before Hamamoto then moves into a rock segment once more this section successfully combines all three styles into one defining moment in the score. His best theme, "Rustic Asia", actually fuses this distorted rock and electronica style with Asiatic instruments and chanting. "Nancy" and "Nancy Again" are especially impressive, since synth sounds and loops added through the electronica segments provide a solid foundation for Hamamoto's distorted guitars to run over the top of. What he creates when he blends this power with electronica, however, is much more interesting and effective. "Tunnel Disaster" acts a good example of a heavy rock theme, with its deep bass, eerie background, vocals, and terrorising overlying guitar segments. Rio Hamamoto's tracks mostly feature a heavy rock style in which distorted guitars take the lead, or a sort of fusion which combines the elements of this with electronica. In my eyes, the contributions from the Namco Bandai Games Inc.'s sound team are the best on this soundtrack. The Tekken 6 Soundtrack is a complete three disc soundtrack from SuperSweep featuring all the music from the console adaptation of Tekken 6 and Tekken 6: Bloodline Rebellion. Note these sound teams have changed a little since the publishing of this album, since Takada has now moved to Monaca. Expect material from SuperSweep (Shinji Hosoe, Ayako Saso), Basiscape (Hitoshi Sakimoto, Masahiro Iwata, etc.), Namco Bandai's internal team (Ryuichi Takada, Rio Hamamoto, etc.), and Monaca (Keiichi Okabe, Kazuhiro Nakamura, etc.). Four sound teams united together on this soundtrack to offer an especially diverse cast. Changes or not, I'm still awful at the game! The music is what has changed the most, though, especially on this soundtrack which features a great deal of contributions from illustrious game music artists.
#Tekken 6 bloodline rebellion karma song series
The Tekken series is certainly a childhood favourite of mine, and upon hearing about this game and soundtrack, I was intrigued to see how it had progressed.
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