Fate/stay night [Réalta Nua] Soundtrack Reproduction

Liner Notes

Writer: Wada Jou

What This Release Is

TYPE-MOON's first commercial work, Fate/stay night, was released in January 2004 on CD-ROM and in March 2006 on DVD-ROM. After that, it was ported to home console with the release of Fate/stay night [Réalta Nua] in April 2007 for PS2. With that version as a basis, the PS Vita edition of Fate/stay night [Réalta Nua] has reworked music and openings. This package contains the soundtrack for that version. A majority of the music is based on the PS2 version of Réalta Nua, but it also contains the arrangement EMIYA #LEGACY new to the PS Vita version, and the newly recorded medley Unite ~ Fate/stay night [Réalta Nua] Suite. In addition, some of the music has been remastered.

The Musical Characteristics of Fate/stay night

Fate/stay night's BGM is studded with a variety of compositional styles, and the musical character differs between each. But in terms of the overall direction, the soundtrack unmistakably underlies the dual structure of the modern Japan setting and the Servant activities of the Heroic Spirits. To that point, the everyday scenes chiefly develop in the daytime, while the magi and Servant battles are performed at night. There is a stark contrast between the light, poppy daytime music and the dark, club-like nighttime music. It's well known that the importance of "nighttime" is not particularly limited to this story, but to all TYPE-MOON works. There are a great deal of pieces composed and used for night scenes in this game. Examples of the tones that represent "night" are metallic sounds like celesta and glockenspiel, synth pads that seem to calmy envelop you, and solid, abundantly groovy beats.

While there are symbolic pieces like Excalibur's theme, Sword of Promised Victory, or Lorelei for when Illya appears, it's quite interesting that not every character has a well-defined theme, and that few leitmotifs are used. The heroines' characterizations are essential in a romantic novel game, so it'd be natural for each of them to have theme music. On the contrary, Fate allocates more musical resources to the momentous battle scenes than to the characters. You could say it has a stronger tendency to emphasize the scenes and story than works from other companies.

The Pedigree of Fate's Battle Music

Battles with giant monsters and super-powerful beings beyond human comprehension are an indispensable ingredient in the world of games. Japanese games have come up with various ways of using music to demonstrate an enemy's incredible strength and terror. For example, the Dragon Quest series uses thrilling orchestration drawing from the Late Romantic period. The Final Fantasy series takes it a step further with the addition of prog-rock complexity and a tight band sound. The Megami Tensei series consistently uses heavy metal guitar to depict enemies' might and ominousness.

In Fate/stay night too, influences from these great predecessors can be seen in some of its music. In particular, it could be said that pieces like the classical Sword of Promised Victory, making use strings and snare drum, and All the World's Evil, which exudes a gothic sound with its pipe organ and chorus, fit right in with the conventions of "boss battle BGM" from more traditional games.

Conversely, there are many elements that are unique to this game. The nu-metal-ish music often used in battle scenes consists of club-style sounds like drum-and-bass, big beat, acid house, and ambient techno, with heavy guitar added on top.

The original PC version of Fate was released in January 2004, but if you look what was being done in the years prior to its release, it was arguably a pioneer in the gaming industry in its use of club music and nu-metal. Particularly in the case of novel games, which chiefly relied on fusion, rock, and classical music, TYPE-MOON stood out as nonconformist.

Fate/stay night turned the conventional wisdom of novel games upside-down with the grand scope of its world and impressive volume of text. But the strong intention of trying "something fresh and out of the ordinary" can be felt even in its sound.

The Changes in Fate's Sound

The BGM in the 2004 PC version of Fate/stay night was handled by KATE and James Harris. In small-to-medium-sized productions, it's common for one person to be in charge of music, so it was a relatively substantial team. Games demand a broad range of styles from serious to comical, so the more composers, the better.

The division of responsibilities was not simply "you do the everyday tracks, and I'll do to the battle tracks." Both of them handled music for various scenes. They are differentiated by KATE's classical and gothic boss fight music like Sword of Promised Victory and All the World's Evil, and by James Harris' club-style battle themes like The Golden King and EMIYA.

The 2007 PS2 version Fate/stay night [Réalta Nua] added over 20 new music tracks, a drastic increase. By the mid-2000s, desktop music production and sound synthesis software had rapidly advanced, and this could be felt in Réalta Nua. Especially prominent was the jump in quality of the strings and synth pads. In addition, hil, a new composer, joined, bringing the total to three.

For the 2006 Fate TV anime, an outside composer, Kawai Kenji, took charge for the first time. As a master of anime soundtracks and a composer with an established style, it was only natural for the music to be largely different from the game. A striking representation of that difference is in disillusion, a cover of the game's theme song THIS ILLUSION. The introduction of a Celtic sound with strings and harps was a suggestion of the sound director Tsujitani Kouji. This is of course done in keeping with the story's connections to the English legends of King Arthur.

The two soundtracks are not without their similarities. The game has into the night, a track that sets the tone of the story, whereas the anime has Night of Fate, used as the next episode preview music and as a symbolic theme at various points. Both tracks use strings and metal percussion to vividly depict a haunting and beautiful image of deep night. Kawai Kenji also remade EMIYA and Sword of Promised Victory, and it's pleasant to appreciate the differences in arrangement.

Kawai Kenji also did the BGM for the 2010 Fate/stay night Unlimited Blade Works movie. Almost none of the music from the TV version was used. Because it was a film, there were more players in the orchestra, creating a larger-scale, majestic style. The music was made with fine attention to timing in order to match the flow of the movie, and the results when matched up with the image are extraordinary. The only track from the game version used in the movie was EMIYA -Kenji Kawai ver.2-. It uses a live chorus, and to put it succinctly, the impact is stunning.

For the 2011 TV anime Fate/Zero, the baton was passed to Kajiura Yuki. It features high-impact orchestra and her signature chorus, resulting in a style steeped in a gothic feel. Kajiura Yuki also did the Kara no Kyoukai movie series from 2007-2010, but that work was more ambient and abstract. Though it's still TYPE-MOON, it marks a stark contrast to the action-heavy Fate/Zero.

And in 2012, KATE, James Harris, and hil, the three who made Fate/stay night's music, came together again for Mahoutsukai no Yoru, their first brand new work in a long time. If you listen and compare it to Fate, you can sense their change and evolution over eight years. By the way, Fukusawa Hideyuki joined at this point as well, and he's the one who made the Unite ~ Fate/stay night [Réalta Nua] Suite track on this release.

Track Commentary

Disc 1

01. EMIYA #LEGACY (2012)

An original arrangement for the PS Vita version. It is used only in the final battle of the Heaven's Feel route, so players will hear this song at the endgame. I hope you persevere to conquer all routes and make it to this track. The composition follows that of the original EMIYA, but the synth pad is swapped for an organ, and the piano for an electric guitar, giving it a more powerful, progressive rock-leaning sound.

09. Burst Up (2012)

This is often used in general fight scenes in the early parts of the story, like the battle with Lancer when Saber first appears, or when fighting Shinji after he activates the curses at school. Trance synth meshes with drum-and-bass rhythm, making this number burst with a powerful groove. It's one of the most bombastic tracks of the early game, so it probably leaves a strong impression on players.

11. The Legend Revived (2012)

Used in the scene in the Fate route when Shirou and everyone escape from Einzbern Castle and encounter Berserker in the forest. Like Sword of Promised Victory, it's a classical battle piece excited by the clashes of Saber and Berserker's weapons. A scarcely used number.

12. Sonic Barrage (2012)

This trance-leaning song is used in Unlimited Blade Works in the Shirou vs. Rider scene, the Saber vs. Assassin scene at the temple gate, and in various other battle scenes. This is a piece that ups the player's sense of tension with an exhilarating combination of solid beats and spacey synths.

16. Mighty Wind (2012)

This appears in the Shirou vs. Saber battle in Heaven's Feel, in what ultimately leads to a bad ending, as Shirou risks it all and unleashes the Triple-Linked Crane Wings. It's a rare piece you can only hear here. Among the Fate BGM, it's the closest thing to pure heavy metal you can get.

17. Sword of Promised Victory (Black Saber mix 2012)

An alternate version of Sword of Promised Victory used in scenes with Saber Alter in Heaven's Feel. The phrasing of the main theme is the same, but transposed up by a minor third, heightening the tension. The middle part uses a complex progression that depicts how ominous Saber Alter is.

18. Two Kings (2012)

This piece is used during the final battle with Gilgamesh in Unlimited Blade Works, as well as various other Gilgamesh appearances. "Two Kings" refers to, of course, Gilgamesh and King Arthur. The main theme suitably conveys the majesty of the path of a king, with strength and splendor appropriate for Gilgamesh.

19. The Final Power (2012)

Used in the last battle between Shirou and Gilgamesh in Unlimited Blade Works. This piece makes a strong impression with its repeating unison of strings, like those of Bruckner's symphonies, and military-style snare drum triplets. It's one of the most heroic-feeling tracks in Fate's BGM, and it revs the player up for the final battle.

23. End of the Dream (2012 Remaster)

Used for Last Episode, added in Réalta Nua. Kawai Eri, who regrettably passed away in 2008, provides vocals. Her beautiful god-given voice made a lasting impression on viewers of the TV anime ARIA with the song Barcarolle. That voice demonstrates its overwhelming presence here once again. The melody is like a church hymn in Dorian mode, appropriate for tying up the story between Shirou and Saber.

Disc 2

01. into the night (2012)

This track adorns the title screen, and just as the name says, it signifies the departure from the everyday world into the night of battle between magi. It has a cool and solid beat, and the ambience from the ample bells and percussion create plenty of atmosphere. It's no exaggeration to say that this very track forms part of Fate's image. Pay special attention to the main string melody. The chords have no third to indicate major or minor in them, causing a shaky, uneasy feeling.

11. Spirits Collide (2012)

Used in the first clash with Berserker, the fight between Saber and Rider in Fate, the fight with Kuzuki in the latter part of Unlimited Blade Works, and in various other battle scenes. The main riff of overlaid synth and guitar is a very simple repetition of three notes, but the solid break beats propel it forward in an amazing way, and gets your blood pumping while you play.

14. Sword of Promised Victory (2012)

As you know, this is the theme of Saber's Noble Phantasm, Excalibur, and a thrilling classical number that's proudly the most popular of all the BGM. Contrary to what you might expect, the only time in the actual game that it's used in conjunction with Excalibur's activation is the first, during the fight with Rider atop the New City building. In the story, it's a life-or-death counterattack after being backed into a corner by Rider's overwhelming Noble Phantasm, and the scene provides great catharsis.

15. Ever-present Feeling (2012)

This track deeply resonates during a scene in Unlimited Blade Works, where Shirou reevaluates his reason for fighting after Archer points it out to him. It's used in the Fate route, for the scene where Saber and Shirou discuss Excalibur's scabbard, an important key item in the story. Synth pads and celesta accentuate a lyrical melody of piano and strings with an air of nostalgia. The main ti-do-re-ti theme of three notes in a pattern of four is known as an enge melody, which frequently appears in children's songs. It's a motif appropriate for evoking memories of childhood innocence. Now that Fate/Zero has come and gone, it warrants mentioning that this track is often used during reminiscence scenes of Emiya Kiritsugu.

17. Hurricane Swordsman (2012)

Theme song of Servant Assassin, Sasaki Koujirou. Among the Servants, he appears relatively infrequently, but at the end of Unlimited Blade Works, there is a memorable scene in which he fulfills his wish to test his swordsmanship skills in a duel with Saber. This track features an interesting combination of trance synths and a consciously Japanese shakuhachi flute.

22. All The World's Evil (2012)

This music is used at the final battle of Heaven's Feel to signify that the Holy Grail = Angra Mainyu. It's the last battle of the entire story, and it oozes with gothic aesthetic thanks to the timbre of chorus and pipe organs. The sound itself seems to tell the player that the story's end is near. There are points where howling beast-like noises are overlaid to add a terrifying effect.

23. EMIYA

The representative track of Fate that has been remade time and time again in the TV series and the movie. It appears in all routes as a highlight, such as in the final battle of Fate, in Shirou vs. Archer and the Gilgamesh battle in Unlimited Blade Works, and in Heaven's Feel fighting the blackened Berserker. While it sports a trance synth and forceful rhythm, the main piano melody and female backing vocals are terribly painful and melancholy. You could very well say it's the musical expression of the heroic yet tragic character of EMIYA.

24. THIS ILLUSION (piano ver. 2012)

The instrumental of the PC version theme song. A poetic arrangement that swathes the detached piano main motif in strings. You could say it's utilized in a majority of the important monologue scenes. It really hits you in the scene where Rin forces Shirou to face the trauma of his past, or in the scene where Shirou fights Archer. This is the instrumental version, but you can find the theme of "an insatiable longing for one's true self" in the lyrics of the original song. It's interesting to project that theme upon the relationship between Shirou and Archer.

Disc 3

02. Whirlpool of Fate 2 (2012)

Used in scenes reflecting on the past lives of each Heroic Spirit, as well as the scene at Kotomine Church where Shirou decides to participate in the Holy Grail War. By using strings in parallel fifths in the main theme, it exudes strength and a mysterious ambience. Parallel fifths are forbidden in the school of classical music, but it's a sound used in even older church music from the Middle Ages. It's historically inevitable that this track is a match for scenes of Heroic Spirits' pasts and scenes at the church.

08. Lorelei (2012)

This is the closest thing there is to Illya's theme music, and it features in Unlimited Blade Works during the scene recalling Illya and Berserker's first encounter. The innocent tone of the music box reflects Illya's tragic upbringing, and an abundant melancholy can be heard. This is the only piece on this release that is not an original song; it was written by the German composer Silcher (1789-1860). Originally, this song had lyrics, setting Heine's poem based on the legend of Lorelei to music. It's also known as a music box staple.

12. Link (Reproduction mix)

A remix version of the ending theme Link exclusive to this release. Nearly all the instruments have been changed out for a more powerful acoustic sound. The vocals have been mixed drier, suitable for 2010s-era pop music.

13. Unite ~ Fate/stay night [Réalta Nua] Suite

A newly recorded medley of Réalta Nua BGM. The main arrangement is by Fukusawa Hideyuki, who worked on Mahoutsukai no Yoru. It brings together the work's representative tracks Whirlpool of Fate, Sword of Promised Victory, EMIYA, and The End of the Dream and gives them a grand orchestral quality. Listening to this grand track at over 10 minutes long, you'll reminisce about the world of Fate once more.

From the CD booklet included with Fate/stay night [Réalta Nua] Soundtrack Reproduction, released 12/26/2012.

10/18/2026