The energetic themes for Yoshimitsu, Paul Phoenix, and Lei Wulong are among the rockier ones, yet their explosive nature seem to have weakened the melodic structures. But the other tracks of his tend to be more upbeat and kicking, notably Forest Law’s theme which might be the most memorable of all with its funny opening and lush ethereal synth section. To start with his weaker theme, it would be Anna Williams’ because of the monotony and lack of energy, which is not ideal for a fighting game. While many of his themes incorporates rock elements, they tend to be more electronic-focused. Nobuyoshi Sano is the main composer with 11 tracks under his belt. #Tekken 3 soundtracks movieThe bombastic techno-rock opening movie was scored by Okabe as well, which is a short but powerful track. The first has a very slick kind of urban undercover spy groove and the second is immensely energetic thanks to the busy bass line and wah-wah guitar. Okabe’s best resides in the themes of Nina Williams and Hwoarang. It is unfortunate that the rest of the track is underdeveloped though. Speaking of funk, Eddy Gordo’s theme has this extremely catchy guitar hook that makes you want to dance just like the character, although Capoeira has not the easiest steps to learn from what I have heard. This track as a whole is mediocre, yet the echo in the percussion is commendable and so is the funky electronic outro. Okabe used an acoustic guitar in the intro of Kuma and Panda’s theme, which then switches to an electric one. It’s not the best theme, yet the bass and drums play a nice groove and the police car siren samples scattered throughout strengthen the urban atmosphere. His other tracks include Heihachi Mishima’s theme, which is not so far from Jin’s style. Okabe is otherwise mainly responsible for the rock-oriented and funky tracks. Also, a cowbell is featured, which fans of the instrument might not want to miss! Keiichi Okabe evidently wrote one of the best themes for the main character. This track is mostly rock-based, but there is a light trance interlude with slow synth arpeggios. While repetitive, the riff is certainly catchy and driving. While guitar-driven like the original from the Arcade, the instrument is muted in this take, letting the fat bass be in the front. The first one to be heard is Jin Kazama’s, one of the remixes. Some of them are actually remixes of their arcade version counterparts, while the others are either completely original or borrowing elements from other themes. The character themes predominate the tracklist. The sound production values are excellent, with a rich and deep sound and polished mix. However, it would be quite fitting and enjoyable to use as training music at the gym, for example. For this reason, the music loses some of its strength when listened to out of context, notably when concentrating carefully on what’s going on. Instead, the compositions are based on rhythms with patterns and short melodic hooks that varies mostly by adding layers and through sound manipulations and effects such as gating, forced syncopation, pitch alteration, and more. Most tracks have a fast tempo, though fans of melodies might stay on their hunger as this is not Tekken 3’s specialty. As a whole, the music is a mix of rock, electronic, and techno, with hints of funk in a few tracks. The latter fits the former like a glove with its high energy and killer grooves. If you never played to Tekken 3, know that you missed out on an awesome game and, more so, a terrific soundtrack. Let’s delve into this hard-hitting urban soundscape… Body Some may argue it is weaker melodically, yet it certainly holds its own on that level and there is no competition when it comes to aesthetics. The soundtrack is also a step-up compared to those from Tekken and Tekken 2. A worthy successor to the series’ previous titles. It was a culmination of every aspect to a higher level, from the engine to the graphics, to the characters to the music. Tekken 3 is arguably one of the best fighting games from the PlayStation era.
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