Go Ichinose
Universe of my dearest music, a thanks to all composers...
[translator's note] Ichinose's last sentence mimics Tarragon's lines when acting as Canari through the Holo Caster, with a heart emoji in the corresponding colour.
Minako Adachi
Arrangements driven by the zeal of all my fellows...
Shinji Hosoe, from SuperSweep
Thoroughly— for the game's very sound, its very worldview...
There it was, the most difficult [philosophical] question.
You can't do your job with zero care, nor can you with too much care. Strong in the Rain...
That being said, the background and commentary I was provided in advance were quite in-depth, which smoothly shaped the image [of each track] in my mind— well, no, what actually happened was like, you know, a "the-whole-piece-just-came-to-me" moment. (I'm not saying I could hear the final version; just the overall feel)
Those who are familiar with my compositions may feel a sense of "This [song] sounds like that [song]". I wouldn't, however, simply let my style end there for this work— I've thoroughly enhanced my sound to match the very worldview of the game itself. I'd be happy if you felt a sense of... "That's electric!" during unexpected moments during your gameplay.
[translator's note] Strong in the Rain is a poem by Kenji Miyazawa. The original Japanese title, Ame nimo makezu is a negative sentence ending with -zu, which would rhyme with the preceding sentence. It was purely a rhyme choice, not a reference.
Ayako Saso, from SuperSweep
Compositions beyond the norm, with the original's essence...
Among the tracks I worked on, most of them explored new approaches, while also incorporating elements from the previous titles; I was even asked to expressly deviate from the original. I was like, "Is it really... really fine to go this far?" when composing.
After the game's release, a niece of mine was watching a gameplay video, pointing out correctly, "That track is by Aya-san, isn't it?"— I kinda had a wry smile at that moment, [realizing] "Ah, my sound patterns must've crept in to a great extent". That being said, I hope I've hyped up the game a bit.
Takahiro Eguchi, from SuperSweep
Trial and error towards an appropriate sound for Jacinthe-sama...
Battle! (Jacinthe): Lots of trial and error to ensure [the theme of] a gorgeous, elegant battle. I implemented a great deal of progression, to provide continued excitement throughout each phase of the fight. I [vividly] remember suddenly rewriting it all when nearing completion, feeling "It wouldn't be on par with Jacinthe-sama's image without a much stronger sound." How would you like it, Jacinthe-sama...?
Battle! (Team Flare Nouveau) and Battle! (Lysandre): It was tough work to arrange such exceptional tracks. Both really are excellent, and many have an attachment to them— leading to a sense of pressure like, "Is it [really] okay if I work on this...?" I boldly arranged them so that sections of the original which once conveyed a sense of madness would now sound auspicious, while also paying much respect for the original work. I hope you'll like 'em!
Carlos Eiene
The great experience of breathing life into a Lumiose five-years later...
For Lumiose City (Day), I expanded the beautiful 49-second-long original by Shota Kageyama into a 4-minute-ish jazz arrangement— also playing five instruments to arrange it for each District! It was a monumental experience for me to breathe life into the city five years after the events of X and Y. The motif of X and Y's title theme is also used to convey the city's development, and a sense of nostalgia. Just listening to Lumiose City (Night) always makes me wanna dance!
I'm really happy to have contributed, especially with my saxophone and other instruments. I'd be overjoyed if you all liked it.
Rei Murayama
A wish for AZ's ideal Lumiose...
I composed Decisive Battle! (Hyper Rogue Ange Floette) which concludes Legends: Z-A, with the theme of AZ's fleeting memories from throughout his life— watching the heroes battle from a distance, recalling the scenes of war from 3000 years ago and his resolution in Ange— this was the image I wanted to convey, and in the end, depicts an ideal Lumiose City with a focus on beauty.
It became so wild almost before I knew it; is it any closer to AZ-san's ideal city?
[translator's note] Murayama was not actually credited in-game for sound. Given his credits as part of the official soundtrack, this appears to have been an error.
Shota Kageyama
Moved by arrangements of my past compositions...
My overall goal for the sound was a grand ballad of string ensemble and pianos; I think the final melody has turned emotional and warm, with acoustic and electric guitars. Since Lumiose City is the stage of this game, I also spiced it with elements from the city's music. I'd be happy if it stayed with you on your recollection of your journey in this game.
I was so moved by a sense of [both] freshness and nostalgia, with my compositions back from X and Y being newly arranged for this game. Please enjoy to your heart's content with the soundtracks.
