Tales of Knighthood Review
Sonic Adventure, Sonic Adventure 2, Sonic Heroes and Shadow the Hedgehog; all games with stupendously superb soundtracks, all of which were directed by none other than Sega’s resident guitar god, Jun Senoue. The man is quite frankly an absolute genius; his incredible slashes of remarkably powerful rock and marvellous metal have been stalwart features of Sonic soundtracks since 1998, and his wowing influence continues to dominate the styles of the series’ masterful music even when he’s not actually directly involved in creating it. Since giving the first truly 3D outing a distinctly “rock” flavour, Jun’s become a world-renowned musician in the gaming industry, and has even contributed some material to popular Nintendo arena fighter, Super Smash Bros: Brawl. After leaving his post as Sound Director in the Sonic series for a few years (following the release of Shadow the Hedgehog), Mr Senoue has finally been invited back to work on the official soundtrack for the much-anticipated Wii title, Sonic and the Black Knight. So, has the long wait been worth it, and has the master of video game metal managed to make just as powerful and positive an impact as he did on Sonic Adventure, ten years previously?
Unfortunately and disappointingly, the answer to this question is, most definitely, a disconsolate and resounding “no”. Screeching guitar and overly simplistic melodies both serve to make Tales of Knighthood a thoroughly unenjoyable experience to listen to, and this is further worsened by the fact that the whole soundtrack exhibits very poor audio engineering throughout virtually the entirety of its duration; most of the various (and derivative) rock licks are ruined by their shockingly woeful tinniness, and the mismatched blend of classical and modern instruments creates nothing but tedious clashing and sharp discord.
The uninspiring and unoriginal orchestral pieces don’t help matters much, either; comparing them to their older equivalents in previous Sonic titles (such as the awe-inspiring Tricky Maze from Sonic Adventure) does far more than enough to show their true direness, and also reveals a worryingly high level of under-complexity in the newer tunes. Boring, lacklustre, and monotonous, these orchestral interludes give very little to the overall quality of the album, and serve only as worthless and pointless intermissions to break up the equally dull repetition of the rock.
It’s a real shame, too, as Tales of Knighthood not only marks Jun Senoue’s return to Sonic, but also the long-awaited comebacks of Richard Jacques (of Sonic R fame) and Howard Drossin, (who contributed to the fabulous Sonic & Knuckles soundtrack, and was also involved in creating the music for other classic MegaDrive titles such as the much-venerated Comix Zone and The Ooze) though neither of them have actually produced anything outstandingly spectacular for this particular album. A notable mention, however, is Drossin’s Dragon’s Lair, (not to be confused with Dragon Slayer, a dreary orchestral track with a stupidly similar name) which provides at least a moderately enjoyable listening experience, but – due to its uninspiring melody – falls a few marks short of being able to be classed as the incredible masterpiece that one would expect from such an acclaimed and experienced artist.
There is, however, a single, individual piece of music – composed by a newcomer to the world of Sonic sounds, Tommy Tallarico (famous for his work on the original MDK and Earthworm Jim) – which stands head and shoulders above all of the other tracks on the entire two-disc span of Tales of Knighthood; with a stupendously spiffy blend of spicy flamenco and riveting rock licks, Molten Mine is a wholly wonderful joy of a tune to listen to, and it serves as the one and only saving grace for the entire album as a whole. I was personally extremely shocked and disappointed, then, to discover that this magnificent musical magnum opus was actually a remix of one Mr Tallarico’s previous works; namely “Action”, from the distinctly unpopular Saturn and PlayStation helicopter simulator, Black Dawn. This in no way stops it from being an excellent tune, however; it’s just a major disappointment that the stellar sound team behind this decidedly un-stellar soundtrack couldn’t – at the very least – come up with some decent, inventive and new material for us all to devour and enjoy.
Tales of Knighthood, then, is – in virtually every way – a potentially wonderful album, though it’s thoroughly and totally ruined by Senoue’s scrap-metal, Drossin’s dross, and Jacques’ junk. And although Tommy Tallarico’s tremulously tantalising cover of “Action” from Black Dawn provides at least some classy and exciting listening material, it does precisely and absolutely nothing whatsoever to alleviate the diabolically serious originality crisis which grips the soundtrack so tightly. As it stands, it’s just an incredibly unsatisfactory group of unnecessarily lacklustre tracks, most of which provide absolutely zero pleasure and exert next to no charm at all. Oh well; for Jun Senoue, there’s always Sonic 4 and Sonic Colours, right? 
Thumbs Up: Molten Mine even though it is disappointing to find it is a reworking of an existing song.
Thumbs Down: The rest of it!
Favourite Track: Molten Mine
To me, Black Knight was a disappointing game to play, but it had a saving grace of being presented beautifully – the script, interface, and music being my favourite things about the game. Maybe it’s just because I’m a sucker for orchestral being mixed with modern styles such as rock, but I found it to be one of Sonic’s best soundtracks to date. Particular stand-outs for me were Misty Lake – that saw Jun’s signature style taken from guitars to violins, Deep Woods with its enchanting layers of instruments and beautifully melancholic melody, and the epic and exciting trio of tracks that were Crystal Cave, Molten Mine and Shrouded Forest. The cut-scene songs are also notably good, with Calm After the Battle… Arondight and Merlina – The Queen of The Underworld being favourites of mine. To the Rescue… A Knight’s Law is also a highlight – it’s so catchy and uplifting I almost wish it could be some kind of recurring “Sonic’s theme” in future games! Even the menu themes are expertly composed – The Ash Grove, Name Entry, and Option are wasted on the small amount of time you hear them in-game!
My only non-personal-taste-driven criticism for the soundtrack would be the oddities that are Titanic Plains, Faraway Avalon and Knight’s Passage. These stage themes have a surprisingly short running time before repeating and somewhat outstayed their welcome after a minute or so. Camelot Castle also drags on a bit longer than it should on the CD. 
Thumbs Up: A huge variety of tracks and styles, despite the comforting “Ye Olde English” vibe overseeing every theme.
Thumbs Down: Variety however does come at the cost of there assuredly being a fair few dud tracks for each individual listener.
Favourite Track: Deep Woods
While I wasn’t too phased by the lacking game play or dull predictable story to Sonic and the Black Knight, the music saved the game from being a complete shipwreck. When you play a stage in a Sonic title you want music that engages the ears; the stage themes to SatBK do just that. I do love a good guitar and it was great to see Senoue back to his finest, accompanying the almost orchestral sound the entire album takes. I was a little ticked at the over use of violins throughout the album. I understand that they are a great orchestral instrument and that they are quite fitting for a ‘knights-themed” game, but to have them in almost every song does begin to drain the individuality of each track. Most of the ‘event’ music sounds the same, but are excused as every other track is a stage theme, and they are bloody fantastic. If a track on this album is shorter than 1:58, I wouldn’t bother listening to it.
Being a lover of remixes and covers I was relieved that they included the It Doesn’t Matter guitar/violin cover used in the fan art area of the game. 
Thumbs Up: Stage Themes. Fitting for the stages and just plain fun to listen to.
Thumbs Down: The overuse of violins..
Favourite Tracks: Molten Mine and Shrouded Forest.
In the same vein as Sonic and the Secret Rings, the soundtrack cleverly plays on a rockier take on the archetypal music from the region; with Secret Rings there were a lot of middle-eastern scales used along with sitars and associated percussion. Unsurprisingly with Black Knight, grandiose orchestral pieces are the primary framework for the majority of the pieces composed for the game. In many places this works; for example Howard Drossin’s Dragon’s Lair is a hard hitting rock track with cleverly used synth vocals to emulate a horn section, while Senoue’s Camelot Castle retains his signature guitar sound while pounding ahead with a rather militaristic snare drum. However I am slightly disappointed by the frequency of the hard hitting tracks, with the large majority of the music featuring on this soundtrack falling into the trap of becoming generic incidental tunes. Hopefully with the up-and-coming titles such as Colors, we can expect to see a bit more variety. At least you can enjoy some reworkings of classic tracks like It Doesn’t Matter while you enjoy fan art, eh? 
Thumbs Up!: A fitting selection of grand tunes and hard-hitting rock anthems!
Thumbs Down: Another album full of samey incidental tunes that could have featured on any soundtrack from the past four years.
Killer track: Dragon’s Lair
A collection of songs with some entertaining rock tracks and orchestral scores. Some fans may find the soundtrack formulaic with the heavy reliance on incidental pieces, and may be disappointed with the lack of originality in places.
Completely disagree? Let us know in the comments!