Review of AIOC Season 2 Soundtrack

Hey nerds! My weekend articles and things to write about are quickly running out, so I’m pretty much reviewing everything I can get my hands on now. Today I’m reviewing the Season 2 soundtrack, completely composed by John Campbell. Let’s get started, shall we?

Follow Me: OK so the images coming to my mind are of a Mexican guitarist for that first part. And then more of a sad Odyssey-like score. In fact, this whole score is really soft and depressing. And then in the end- it was like the grand finale of the feature film? It seemed kind of all over the place with this one, was there a theme in mind? Like I said before, it may have just been compiled wrong.

The Cure, Part 1: It’s MARIO PARTY! In the very beginning there, that’s what it reminded me of. Then we get down to business in a more straightforward, jaunty tune. Then it changes to a mischievous tune, moving right along in the score. Doesn’t slow it down at all. However, that’s the whole score, and it leaves off quite suddenly. Good stuff, though.

The Cure, Part 2: OK the flute is getting old, quite frankly. It must be Mr. Campbell’s favorite instrument because it gets used a lot. And then we change to a quite somber, action-y tone for most of this score. It calmed down near the end, and the little tinkly bell things connotated snowflakes in my mind. It also left off pretty suddenly. Will there be a spectacular ending for Part 3?

The Cure, Part 3: As I wait for the song to play, I wonder what Chris Anthony’s theme would sound like. Here we go, so we actually get into some intense music in the beginning of the score, very contrasting to parts one and two. Oh, here we go, more flute. Why the flute? It makes things sound oriental, and that’s not what is going on in Alaska. And then way into it we get this awesome quiet piano for when the guy dies! Wooo!! Death on Odyssey! LOL I’m so horrible, OK, Guitar and Piano, and then the opening Odyssey notes, and then it’s over. I guess that is appropriate. But when a guy died in Novacom it was like, ELECTRIC GUITAR MADNESS, YEAHHHHHHHH!!!

B-TV: To Tell The Truth: Oh my gosh I love this so freaking much! So chaotic and yet so awesome in all its little levels of chaos! Each of those little chaotic bits could have been a full song, that’s what I want. And then it slows down after the intro to a detective theme. Da-na-na-na-na do do do do woo! Catchy! OK lots of detective theme. Classic detective theme. See, the Mexican guitar again. Aww, it left off on the chaos all the way to the end. That intro was AWESOME!!

To the Ends of the Earth: Somber, yet again, but drums and no flute so far! It’s almost creepily somber. It stays that way through the whole score, it gets kind of monotonous, actually. Then it ends. At the end of the Earth. It’s great, just not a lot of variation.

Pinocchio, Part 1: Standard opening, then a Ferris wheel, carnival kind of a theme. Magical, that’s kind of what the whole beginning is. Magical. And then the theme brings to mind Italy, or France or something like that around the middle. It’s more crashed together with all the queues, that was the nice thing about the To The Ends of the Earth score, it wasn’t so on the fitting around queues side. This one is, way. I like the part at about 2:50, and then it ends with a duck quack kind of noise??

Pinocchio, Part 2: Pretty standard, until the Hawaiian theme!! Wow, this is so fresh!! Like it! LOL I’m so hip and so is John Campbell. Fressshhhhhh, Preciousssssss…..
We leave off that and come back to the magicses, Precious. Yes, precious, we come to the magicses and the Italianses flute. And it still goes on, Precious, yesssss….

Hidden Gems: Quiet, and mystical in the beginning. And then goes on to sound very Aladdin. And then… that was kind of it.

Walter’s Flying Bus: Echo, and bells. Kind of a dreamy tone, and then we begin into drums and children’s choir. Very nice. It’s a good blend. And then a dream transition into something more jaunty and maybe- Dora!? What is she doing here? It sounds way too similar to Dora The Explora for a moment. And later into men singing– Alamo issa mama? Either way, it makes the very jungle-y feel. Great, great stuff. The end fades out, not spectacular, but hey.

Take It On Trust: Guitar and light drums, nothing so far is catching my attention and I’m already halfway through. Light music, now we have this soft, sad melody with the harp and piano and stuff. Oh, and then the ending sequence.

A Daughter’s Love: Oh wait I just realized that I was actually halfway through A Daughter’s love already at the end of the last review, which means that both of these are really boring. It started with the harp and the piano. That “ending sequence” was just a transition in A Daughter’s Love. OK let’s find something to talk about. Oh, wait, the ending sequence! I made it to that part! Oh, no, not the ending sequence. More flute. Yay. We always need more flute in my life. I’m going to invent the instrument called the non-flute. It’ll make a screaming banshee mixed with nuclear explosion sound.
Yay the real ending sequence! It takes me forever to type so by the time I type about the beginning we’re already halfway through!

 

So, I would give this a 6.5/10. There was no song here that was nearly like Season 3’s music, but there were some good spots that kept my attention. There was a good blend of music in The Cure, Part 1, and To the Ends of the Earth had great music, if you pay attention to it (like I didn’t). B-TV: To Tell The Truth had a great intro, but it was mashed and the first five or so seconds should have been the whole thing, because that was the good part.

 

 

 

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