It needs to ebb, tease, shift, and flow together in a cohesive fashion. For a soundtrack to become an engaging experience, the music needs to be more than just a collection of cues. Part of the problem lies in the lack of development. It’s not as overbearing as it was in the first soundtrack, but it’s still there. The ambience continues to make up a large portion of the album and all too often, pieces build up in a repetitive fashion and peter out without ending conclusively. No more, and no less.Īs I went through the second soundtrack for FMA:B, the same standard litany of complaints that arose when I reviewed FMA:B’s first soundtrack comes up once more.
Whether Senju’s just overworked or the demands that the producer or director placed on him didn’t give him much wiggle room, the soundtrack does not inspire. Trying, being the key word here because a critical component seems to be missing, thereby keeping this soundtrack from being on par with his previous works. Though I haven’t heard his other works beyond the magnificent soundtrack to the Lord of the Rings trilogy, whenever I listen to Akira Senju’s efforts for FMA:B, I feel as though Senju is trying to evoke the atmosphere contained in Shore’s music. Review: In an ideal world, Howard Shore would be scoring Fullmetal Alchemist: Brotherhood. Golden Time Lover (TV Size) / Sukima SwitchĢ9. The opening also begins with Ed lying on his back in a grassy field reaching for the sky, and ends in that same shot, as if the sequence in between had just been a daydream.FULLMETAL ALCHEMIST Original Soundtrack 2Īkira Senju, Sukima Switch, Lil’B, Chemistry, SCANDALġ. The editing is a strength of Golden Time Lover the placements of certain characters' shots draw contrasts (Kimblee and Scar, Father and Hohenheim, etc.). The camera pans out and swerves, revealing General Olivier Mira Armstrong atop the tank, sword out and commanding it to fire. One spectacular scene transition stands out after a shot of Buccaneer and Miles standing side by side, a tank barrel enters the frame from the edge. It does so deftly indeed, the most memorable part of the sequence is the spotlight of the newly-introduced Fort Briggs characters. The third Brotherhood OP is Golden Time Lover by Sukima Switch, and the sequence plays before Episodes 27-38. By this point, Brotherhood had gone in a completely different, manga-accurate path to the first anime like Undo, Golden Time Lover has the burden of introducing plenty of new supporting characters.
The shot of the Homunculi is very similar to Melissa’s Envy and Gluttony lunge at the camera followed by a close-up of Lust, misleadingly painting her as the main villain. The very last bit is a rapid montage alternating close-ups of Ed and Al, played over the concluding drum beat. Winry sometimes shows up, emphasizing her friendship with the brothers, while Armstrong, Hawkeye, Hughes, and finally Mustang also receive successive hero shots. There are many shots of the Elrics running together, emphasizing the faster pacing. RELATED: Fullmetal Alchemist: 5 Characters Alex Armstrong Could Defeat (& 5 He'd Lose To) Before the music picks up, the opening begins with a Neon Genesis Evangelion homage (Ed and Al's bodies floating up and down along the sides of the screen, like Rei and Asuka in The Cruel Angel's Thesis). The song and animation alike are faster-paced than Melissa, while also better elaborating on the character’s personalities. The second Fullmetal Alchemist opening, set to L'Arc-en-Ciel's Ready Steady Go, plays in front of Episodes 14 to 25.
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