Theoretical Sounds

In my previous post on Raidou 2, I only gave a passing mention to the music of the game, noting that the first game had a far superior battle theme.  What I also neglected to mention was that one of the boss themes did a good job of captivating the sometimes eerie mood the game had:

However, this isn't a post that merely reminisces about how much the soundtrack of Soulless Army  is as opposed to King Abbadon:  It's not.  Both have admirable soundtrack composed by the same person (Shoji Meguro), and most of the Soulless Army tracks find their way into the second game (Remember what I said about the Arakana Corridor in the previous post being a trip down memory lane?  You'll find the above theme playing their as the regular battle theme). 

Furthermore, while maintaining many of the key themes from the first game, Raidou 2 adds a few new ones that perfectly suit the mood of the game.  For example, there's the foreboding theme of parts of the Tento Caverns, where many of the mysteries surrounding the Tsukigata clan's ties to the supposed deity these woods are named after:

Also, even though I found Geirin's constant use of "theory" "conjecture" and "process" ungodly annoying, well, there's no denying the guy has a pretty catchy theme:

Speaking of annoyance, remember those Fiend battles I mentioned?  The ones that made me put down the game in frustration?  I also mentioned that I came back quickly.  Yes, a better part of it is sheer stubbornness.  The other part is that if I'm going to get my ass kicked in a game and come back for more punishment, it'd better be to a damn good theme:

Of course, the game also does laid back themes pretty well.  One thing that I'm glad remain unchanged between the games?  The theme of the Narumi detective agency, aptly named on the soundtrack "The Lazy Detective Agency":

Whether you're playing the first or the second game, you're in for a musical treat if you play either.  Even if you don't particularly care for Shoji Meguro's compositions, it's pretty hard to argue against the fact that he always manages to find a score that suits the mood of his games.  On that note, I leave you to reflect with this theme, played during some of the more somber turning points of the game:

Considering how bizarre the MegaTen universe is, finding music that suits the mood certainly makes Meguro a musical genius, wouldn't you agree?