Awesome Music / Little Tail Bronx

Spoilers Off applies to these pages. You Have Been Warned.

Given the series' heavy obscurity, it's possible that the musical themes for the Little Tail Bronx games are some of the only things people otherwise unaware of the series know about it… and that's just as well, given how Chikayo Fukuda's compositions (be they accompanied by Tomoyo Mitani's voice or not) typically range from "good" to "absolutely unforgettable".

Tail Concerto

• The opening theme, For Little Tail, a very beautiful song that perfectly fits the opening animation. Makes it extra sad it was not used for the English release. LieN's cover for the Perfect Soundtrack is equally beautiful, turning it into a more mysterious and somber piece (even if it does somewhat clash with the whimsical tone of the rest of the soundtrack).
• The credits music, which is a longer and more elaborately arranged version of the main theme. From the Perfect Soundtrack, "Floating Islands Story", an exclusive vocal theme by LieN, takes the staff role melody and transforms it into a beautiful ending song befitting to Little Tail Bronx as a whole.
• The music that plays when you view your photo album is the very definition of "short and sweet".

Solatorobo: Red the Hunter

• "And Then, To CODA", the main theme, is a foreboding and ominous, yet somewhat hopeful song used to introduce you to the fantastic world of Solatorobo. Even the odd lyrical choices manage to give the sense that a tragedy is coming ("the winds will envelop you someday"), with the singer claiming that they'll do their best to protect the subject of the song. Each half of it is used for each opening sequence.
• "Re-CODA", the ending theme, is an incredibly emotional and uplifting capstone for the adventure of Solatorobo, with the singer proclaiming that now "the star of hope is watching over us" as they wish to embrace the subject of the song. If "And Then, To CODA" is a song about facing tragedy, then "Re-CODA" is assuredly a song about overcoming it.

Fuga: Melodies of Steel

The Fuga games in general feature war-like marches juxtaposed with more innocent and jaunty melodies, given the situation the main characters are in.

• "Flower On The Trails", the main vocal theme of the game and the track that plays throughout game's story-critical boss fights, is said by many to be on par with Solatorobo's opening theme, if not outright better. The song's tragic tone — and its lyrics about holding on to hope and one another in the midst of war — makes it the perfect theme for these climactic battles, reminding you that these are children fighting, and any one of them can die at the wrong moment, instead of pumping the player up for an epic showdown. While only the first verse and chorus play during most of the game, the complete song plays during the final boss, as if to bring everything full circle.
• CyberConnect2 managed to get both a Japanese and French youth choir to contribute their vocals for the game's music:
  • "Elegy Of Winds" is a very tragic piano piece about the struggles of war and loss, which makes it perfect for the story's most heart-wrenching moments. The full version is available in Japanese or French.
  • "Ensemble", by complete contrast, is an almost angelic-sounding song about the children vowing to stay together even in the worst of circumstances, and is equally perfect for the game's most hopeful and even triumphant moments. Once again available in Japanese and French versions.
• The title screen theme, "Fuga: Melodies of Steel", is a short piece that starts with a calm piano and violin, before crescendoing into a militant and dire track, a perfect representation of both the silence and suspense brought forth by war.
• The first chapter's battle and route theme, "March in the Storm", is a militant track with a low, foreboding piano, booming percussion and strings that nearly become frantic. It's arguably a parallel to the kids' own confused and desperate mental states as they first begin to fight against the Berman Empire, but either way, it does its job at getting the player in the right mindset for the game's many battles to come.
• The three unique battle themes for the game are each great in their own way:
  • "Dance with the Bullets", the Normal Route theme, is a catchy and surprisingly jaunty tune with very Celtic-like instrumentation, as if to say the kids, scared as they are, are ready to carry on through the war fight by fight. On the other hand, the steady background percussion plays off like a war march, reminding you of the danger of the situation. The track coalesces into a juxtaposition of faith and suspense — a perfect representation of what Fuga itself is all about.
  • "Steady Progress", the Safe Route theme, is an appropriately steady tune with an oddly melancholic tone, possibly referring to how the kids are trying to escape from the path of being completely overwhelmed by the Berman forces, but are nevertheless still motivated to proceed on like the player is.
  • "Crescendo of Emergence", the Dangerous Route theme, is a far more dire track than either of the other battle themes, with more urgent instrumentation and more prevalent percussion, hammering in that this is your battle with some of the most ruthless of the game's enemy forces — a battle fueled by momentous uncertainty, and one where you'll surely pay the price for making any mistakes.
• "Beyond Our Sight", the game's secondary boss theme, seemingly takes elements from all three of the normal battle themes: the steady tempo of the Safe Route, the resolve and instrumentation of the Normal Route, and the suspense and direness of the Dangerous Route. What results is a climactic track where the kids' fighting spirit faces off against their own lingering hopelessness, in the face of the most elite adversaries the Berman Army has to offer.
• The Intermission theme, "Our Steelclad Home", is arguably the most calm and relaxing track in the game — a piano and wind piece playing an appropriately simple melody, allowing these little soldiers a moment of reprieve that to just be the kids that they are.
• For the "intervals" between chapters, we have "A Brief Moment's Warmth", a peaceful, calm-after-the-storm tune that nevertheless manages to have an element of jauntiness to it to remind you that you still have more challenges looming ahead.
• The game's ruin expedition theme, "A Thrilling Little Adventure", is an unfortunately short piece nevertheless backed by a passionate and energetic war march, alongside strings that give a mood of discovery and suspense.
• The event theme "Who Stands in Our Way" is frequently used prior to serious fights with Berman foes and bosses, in order to pump up the player for confronting and taking down their foes.
• Regarding the route themes for each chapter between battles:
  • "Children of Change" is the route theme for the second and seventh chapters, contrasting "March in the Storm" through being driven by a calmer tempo and strings, giving off a mix of melancholy and hope, as if to infer that the children are slowly coming to grips with their new lives as soldiers fighting off the Berman Army. It returns when the children are traveling through Mau, possibly as a means to bring things full circle with the arrival of Britz as the last party member, or as a reminder for the player to hold on to hope as they prepare to storm Blutwurst's prisoner camp.
  • "Claws of Steel" is the route theme for the third and sixth chapters, with steady instrumentation that mixes the usual war march with sounds of clanking metal, giving the vibe of a xylophone or toy piano. Intentionally or not, a sense of mystery and confusion lies overhead with this track, fitting for how the third chapter involves the children traveling through Dale to find clues as to where their families are, and how the sixth involves the children's excursion to find out what happened to Wappa's village.
  • "Magnificent Flag-Bearer" is the route theme for the fourth and ninth chapters, having a more fast-paced and frantic war march and strings that give off a sense of proactivity. It fits within the fourth chapter following the revelation of where the children need to go next along with the introduction of Sheena and the situation surrounding her people, and hinting that there are more things that the Berman Army has to answer for besides just abducting the children's families. And with the ninth chapter being the last one before the children finally reach Lhassa Apso, this track acts as a means to give the kids one final push.
  • "Chasing Wind" is the route theme for the fifth and eighth chapters, being more determined and straightforward than the somewhat frantic "Magnificent Flag-Bearer", alluding either to newcomer Jin's determination towards making the Berman Army pay for their crimes, or to how, following the defeat of Blutwurst, there's now nothing left to slow down the children before they make their last push forward to Lhassa Apso.
  • "Dark Threat" is the route theme for the tenth chapter, another war march with quieter percussion and a foreboding tinge, as both a reflection of the kids' anticipation towards reuniting with their families and a warning of what warfare the Berman Army has in store for them within their Lhassa Apso stronghold.
  • "Fire of Hope" is the stage theme for the eleventh chapter, being a piano piece completely unlike the war marches heard throughout the game prior. While it reflects the serene nature of the limestone caves the Taranis travels through, along with the atmosphere of there being something lost to time, it also acts as a calm-before-the-storm for the upcoming final battle... or rather, the upcoming clash with Britz.
• "Flames of Delusion" is the theme for the rematch against Flam Kish and juxtaposes her burning wrath and hatred with a tearful violin and piano (just in case you forgot that these games had the same developer and composer as Asura's Wrath). The track hammers in how she's squandered whatever was left of her heart and soul in their quest for vengeance, along with the pitiful awareness of how she's doomed to fail once again.
• "Black Stronghold" plays in the cutscene prior to the Climax Boss against Hax and the Tarascus, with an Ominous Pipe Organ and choir backing it to give you the feeling you're about to fight something supernatural, if not infernal. And even among those who find the boss fight itself disappointing, "Terror of Onslaught" is anything but, being a dark piece with booming horns, strings and percussion, with the more innocent and Celtic-like motifs of the children's usual battle themes popping in and out, as if the children are struggling to not be overwhelmed and silenced by their new adversary.
• "Burn, City of Flowers", the final chapter's route and battle theme, is a pumped-up orchestral variation of "Flower on the Trails", with Ominous Latin Chanting to boot. The message is clear: this is the final stretch, nothing else matters, and it's up to you to put an end to this war once and for all.
• "Decision of Life", the Normal Ending theme, is a sad guitar melody, representing how the children's quest is over, how the peace they desired came at a great cost, and how they're all now left to live their lives for those who can't.
• "Echo of Triumph", the Golden Ending theme, is one of the longest and most emotional tracks in the game, and an appropriate celebration for the war's end.
• "Memories of the Earth and Skies" is the epilogue and credits theme for the game, as a counterpart to "Flower on the Trails" driven by piano and vocals. The song's lyrics tell a story about how, despite the scars felt by the earth and sky, the world is still here and life goes on, a fitting way to cap off the game no matter what ending you got. There's also an unused piano variation found within the game's files.

Fuga: Melodies of Steel 2

• "Wherever the Wind Takes Us", the vocal theme for this game, is a beautiful and oddly suspenseful track that comes off as more confident and resolute than "Flower on the Trails" did — whereas that song was all about holding on to hope in the midst of war, this song is about the children proudly declaring that they're set to go to wherever their path leads while continuing to fight hand-in-hand, making it a perfect fit for this game's boss battles.
• The title screen music, "Begin Anew", is a short string piece that crescendos into a short orchestral arrangement of the above-mentioned "Wherever the Wind Takes Us", as a perfect yet foreboding note to start the game on.
• The first stage's theme, "Captured Comrades", is a darker and more worried variation of "Big City Pharaoh" from Solatorobo: Red the Hunter, turning the bell sounds of the latter song from steady to suspenseful, given the massive destruction seen throughout the city and the mystery behind the rogue Taranis.
• The three battle themes of this game, just like the previous one, proceed to make their mark as great music pieces:
  • The currently-unnamed theme for the Normal Route is much more militant than "Dance with the Bullets" was, arguably closer to "Crescendo of Emergence" in terms of tone, but still having a steady pace and percussion, along with a strong violin being there to back it. Between the children maturing in the time since the last game, and this game itself being a harder trek through Gasco, it fits.
  • "High-Spirited Advance", the Safe Route theme, instead seems to take some elements from the original "Dance with the Bullets", being a very catchy and energetic tune with a mix of Celtic instrumentation and a lively tambourine to match with your, well, high-spirited advance.
  • "Resolute Charge", the Dangerous Route theme, exceeds the previous battle themes in pure militancy and urgency, as if to tell the player that they're really going to bite the literal bullet if they screw up, but has moments of respite in-between, as if to reassure the player that they can still succeed.
• "Cursed Fusillade", the battle theme for Chapter 1 and the secondary boss theme for the overall game, is a tense and pulse-pounding track that highlights the struggle against the esoteric Berman Geists, and — intentionally or otherwise — its already suspenseful tempo becomes even more fitting should things go far south enough for the Soul Cannon countdown to start.
• "Grotesque Titan", the theme of the Belenos, is a track with a heavy organ and Ominous Latin Chanting, hammering in that this tank isn't the same protector and warrior as the Taranis was, given Jihl's less-than-savory intentions of using it to produce more Berman Geists and wreak havoc… and the fact that the tank itself is shown to not exactly be safe for him, either.