“High-Color Evolution” showcases a clearer J-pop influence then the Chirpy Chips. IT’S A LIE) predominantly feature on 5 of the game’s most stunningly creative and just flat-out awesome tracks. Shiho Fujii’s baby is clearly the Squid Sisters. There’s an elephant (Octopusaphant? Tentacelephant?) in the room. (Look to the right.) I think these four tracks are the most easily forgotten of “Splatoon”, and that isn’t just because they were released later as part of an update. Yet, it’s hard not to find yourself bobbing along to the powerful key-presses of the piano in “Hooked” and the (oddly) melancholic tone of “Sucker Punch”. “Hooked” and “Sucker Punch” are absolutely all over the place. I’ll put it this way, “Jazz Piano mixed with Alternative Rock”. The other band that have their music playing during Turf Wars is “Hightide Era”, and I actually cannot pin-down what to call their music. With their adorable scatterings of 8-bittiness and pop-infused guitars, it’s hard not to get a goofy grin when listening to the Chips. J-Pop has its fingers all over these two tracks, “Friend List” and “Quick Start”. This band is one of Shiho Fujii’s main contributions and it shows a completely different style from Minegishi’s. While “Metalopod” is ultimately still my favourite of the battle tunes, any of the Chips songs are a plus. So, basically, the Chirpy Chips are my favourite things in existence. I’ll attest, I have a super soft spot for chiptunes. I don’t see this as a negative though, it works wonders in battle, as it should.
This is no more apparent then how it doesn’t have anything resembling a chorus. It does have a deliciously upbeat tone that dials the fun of the previous songs up to 11, but it’s noticeably more scattered and unfocused. If there’s one song of the Squad’s that I’m not particularly fond of, it’s “Kraken Up”. The latter track projects genuine confidence, for a lack of a better word.
“Ink or Sink” has more in common with a harder, progressive-rock style, and “Metalopod” (My personal favourite from the band) is straight up metal. The band makes a high use of a Western-sounding rock style and it doesn’t just stick to a “summer on the beach” kind of sound. The nonsense-singing that accompanies the track makes it even more catchy, as if the “lyrics” are inking a mark on your brain. Synths and percussion abound, it’s immediately memorable. The playful guitar jams along in such a way that it almost feels like you’ve stepped onto a Californian beach. It’s an uproariously catchy song and it oozes with style. “Splattack” is universally considered to be the “theme song” for Splatoon. The Squid Squad are the main band for the game’s main feature: the online multiplayer. It’s a brilliant touch, and also gives “Splatoon” the unique edge of having a multitude of different genre’s to dip it’s creative tentacles in. It’s such a minor detail, but because of it, Minegishi (who solo composes the bulk of the songs) has created tunes that make you go “Oh yeah, that one’s by the Squid Squad!”. A good chunk of the songs are by bands in-universe. The best way to actually talk about the music in Splatoon is to play along with the game’s own creative decision. In a way, it feels as though the album has come right off the store shelves from the game’s own Inkopolis City. Rarely do I take the time to compliment something as trivial as this, but it’s just charming and puts a smile on my face.
#Splatune album download full
The inside booklet is chock full of artwork, and some of it has never even seen the light of day until the album’s release. It’s such a needlessly aesthetic touch, but it works wonders. The album comes with a multitude of eye-catching, adorable album covers that you can swap out with the official one. Something to appreciate right away with Splatune is its presentation.
Two of Nintendo’s in-house composers, Toru Minegishi and Shiho Fujii, have crafted something that only they could have made. Yet oddly poor choices made with the way the album mixes its song selection prevents Splatune from perfectly reflecting its game’s creative heights. Its soundtrack was eventually released by Enterbrain as a two-disc set, Splatune. Drawing influences from both Western and Japanese musical styles, Splatoon‘s sound design is an ink-credible triumph. It’s a bold statement to make, but rarely does a game soundtrack become so heavily remixed and cited as a modern day classic. What is the true essence of a squid or a kid? Is it the tentacles that dangle freely from the body of a cephalopod, or the innocent nature of a human child? Regardless, Nintendo’s Splatoon has one of the most uniquely memorable soundtracks in recent years.
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