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Twinfinite’s Endless Playlist: Persona 5’s Soundtrack and the Definition of Smoothness

persona 5, longest JRPGs

Twinfinite’s Endless Playlist: Persona 5’s Soundtrack and the Definition of Smoothness

I’m a shapeshifter.

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[Endless Playlist is a series of monthly articles where we pick a video game soundtrack for discussion, and try to provide a critical analysis of how it performs within the game it’s from, and how it holds up on its own. This month, we’re breaking down Persona 5’s soundtrack.]

For the past couple of Persona games, composer Shoji Meguro has mostly relied on vocal-based pop music to convey the tones and underlying messages of those titles. It works wonderfully, and it’s no surprise why the soundtracks of those respective games were so well-received. With Persona 5, however, Meguro delves into a genre that hasn’t really been seen in the series before: jazz.

Jazz just so happens to be one of my least favorite genres of music (I only ever truly enjoyed that jazz pop fusion bit introduced by John Legend’s character in La La Land), but Meguro has once again worked his composing magic to deliver another compelling video game soundtrack. With a few damning shortfalls here and there.

I believe the last time Meguro tried his hand at the jazz genre was in the Reincarnation album for Persona 3. It’s a very small selection of tracks, and obviously they all sound largely the same as their original counterparts, but they were each given an upbeat piano track to go along with the base song. Those remixes were fine, and only helped to pump those already poppy tracks up to 11. They sounded synthesized, though, and failed to make any sort of lasting impression on the listener. It’s easy to see why the Reincarnation album had such a small pool of music, and didn’t end up being all that popular in the long run. With Persona 5, Meguro is finally given a whole game’s worth of material to work with and truly stretch his legs to see what he can do with this curious genre.

Persona 5 opens with Wake Up, Wake Up, Get Out There, which in itself is an iteration of the fantastic theme, Life Will Change. The keyboardist goes nuts in this one, and I can’t think of a better song to use for your daily morning alarm. The energy is palpable in both of these songs and, as you’ll soon observe as a trend in the Persona 5 soundtrack as a whole, it’s just so darn smooth. It’s easy to picture the game’s opening movie where the characters slide across the cityscape so effortlessly while you’re listening to this track, but it’s very much a feel-good song that you can enjoy just as much if you’re listening to it on its own as well. That’s precisely what makes these two songs stand out so much in the soundtrack – a good video game track can work as background music in the game itself (as the instrumental version of Life Will Change does), but a truly great video game track is one that can be enjoyed both in and outside of the game.

100 points awarded to Meguro for this one. Wake Up/Life Will Change is such a good, catchy theme that will make your mundane daily life feel impossibly stylish. It’s not a full-on jazz track, but that blend of pop and funk makes it sound fresh and exciting. For a main theme of one of the hottest JRPGs of the year, I’d say it’s done its job.

A few filler tracks later, and we’re introduced to a song that players will hear for the majority of the game. Beneath the Mask maintains that same smoothness we were treated to in Life Will Change, but in a drastically different way. Unlike Life Will Change and Wake Up, this particular track is soft, mellow, and, as a result, incredibly emotive. The track plays whenever the protagonist returns home in the evening, and its slow beats make it a fitting lounging song to doze off to after a long, hard day at a school where everyone thinks you’re a delinquent.

There’s an instrumental version and a vocal-based version. Both work well in the context of the game, though I’d say the instrumental version is more easily enjoyed when you’re listening to it on its own. I often think of vocals as an instrument by itself to accompany the structuring of a song, and rarely pay attention to lyrics during a first listen. While Lyn Inaizumi’s voice shifts to a more subdued tone to fit the vulnerability of Beneath the Mask, I don’t feel it’s a particularly necessary addition that’s required to really drive home the vibes the song is going for.

That said, the lyrics of Beneath the Mask are very meaningful, and it fits Persona 5’s narrative themes wonderfully. Lyn sings of being a shapeshifter with no form, armed with nothing but a mask for disguise and to survive in a masquerade. It’s a beautiful plea to the listener not to remove the mask and expose what’s lying underneath. For a long time now, the Persona series has been centering its core message around the idea of learning to accept who you are, and the power of Persona itself being the ability to change your ‘face’ to suit any situation. The concepts are like two sides of a coin, and the lyrics to Beneath the Mask encapsulate that perfectly.

It’s also worth noting that there’s a rain instrumental version of Beneath the Mask which plays whenever you’re back home on a rainy day. There are no vocals, and the track is stripped down even further, with the piano tones mimicking the fall of slow raindrops. That kind of musical interaction within a game is rarely seen in Persona, and even in video games as a whole, so props for that added touch.

And then, of course, we’re treated to yet another series of filler songs in Persona 5’s soundtrack. Tracks like To Another World, Awakening, and Blood of Villain sound like they belong in a cheesy Saturday morning anime. Past games in the Persona and SMT series have suffered from similar tracks too, but it’s always fun to call out the bad eggs of the bunch. Awakening, in particular, is a weird mishmash of ‘hard’ rock and squeaking guitar riffs that try to sound epic because of what’s going on in the game, but ends up coming off as a little bit cringey to listen to. Anyway, the less said about those tracks, the better.

And after that, we’ve got tracks like Encounter and Days of Sisters that are more than decent but, for some inexplicable reason, are only heard once in the entire game. During my full listen of the Persona 5 soundtrack, I came across these two tracks, and realized that I couldn’t for the life of me remember when they played during the game. If you’re having trouble recalling these, let me help. Encounter plays when you first run into Ann, and Days of Sisters plays when Makoto shares a moment with her sister, Sae. Persona 5 doesn’t have character-specific themes, but if it did, these would be Ann’s and Makoto’s. It’s a shame that these hidden gems didn’t get more time in the spotlight. The tracks are far too simple to really be enjoyed outside of the game, and barely had any presence within the game itself. The tunes here could’ve maybe been developed into more complex themes, but they weren’t. Big miss.

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