Category Archives: Song of the Day

Song of the Day: “Battle Theme” from Metaphor: ReFantazio (by Shoji Meguro)

Posted on by Arleigh

Metaphor: ReFantazio‘s “Battle Theme” erupts with thunderous brass and pounding drums, turning routine turn-based scraps into pulse-racing spectacles that pull you right into the fray. Shoji Meguro amps the drama by weaving in rhythmic chanting from Myōhō–ji temple’s chief priest, Keisuke Honryo, sung in the international language of Esperanto for that timeless, cross-cultural resonance which makes every Archetype clash feel profoundly ritualistic.​

The rhythmic Esperanto vocals loop hypnotically over surging strings and synth pulses, cresting with victorious horns that time perfectly to weakness chains and squad synthesis attacks, mirroring the combat’s strategic highs. This primal chant roots the fantasy battles in spiritual depth, evolving Atlus’s sound beyond synth-pop into something hauntingly primal that lingers post-fight.​

It anchors the award-lauded OST’s standout moments, those monk-delivered Esperanto lines lending legendary weight to even basic encounters—though their fervor can overshadow subtler scenes.

Song of the Day: Theme From The Godfather by Nino Rota

Posted on by Lisa Marie Bowman

Today, the Shattered Lens observes the birthdays of two great actors, Robert Duvall and the much-missed Diane Keaton.

Along with being two of America’s best actors, Duvall and Keaton also co-starred in the first two Godfather films.  They didn’t share many scenes in the second film (though there was at least one Duvall/Keaton scene that was filmed but not included in the final film) but, in the first film, they have a memorable moment in which Keaton (as Kay) visits the Corleone compound while the Corleones are in the middle of a gang war, and asks Duvall’s Tom Hagen to send a letter to Michael in Sicily.  Hagen explains that he can’t do that because that would serve as evidence that he knew where Michael was.  When Kay notices a car that has obviously been bombed, Tom blandly replies, “Oh, that was an accident.  Luckily, no one was hurt!”

In honor of these two amazing performers and my favorite movie of all time, today’s song of the day is Nino Rota’s theme from The Godfather.

Song of the Day: Neverending Journey (by Uematsu Nobuo)

Posted on by Arleigh

“Neverending Journey” by Nobuo Uematsu from Lost Odyssey is one of those tracks that just pulls you right into the game’s vibe without trying too hard. It kicks off super chill with soft strings and light woodwinds, creating this mellow, reflective mood like you’re wandering through old memories that won’t fade. The orchestral start feels patient and open, giving every note space to settle in before things pick up.

Then comes that smooth shift where the electric guitar riffs crash in — bold, distorted, and full of grit, but it flows naturally from the gentle opening. It’s like Uematsu’s flipping the switch from quiet nostalgia to raw determination, blending classical swells with rock edge in a way that screams the game’s themes of endless struggle. The guitar doesn’t steal the show; it amps up the emotion, turning introspection into something with real forward drive.

That mix is why the track sticks with you — Uematsu nails the immortal wanderer’s paradox, weary but unbreakable. From serene strings to guitar-fueled resolve, it captures Kaim’s story perfectly, making you feel the weight and hope of a journey with no end. It’s a standout that proves game music can hit as deep as any epic soundtrack.

Song of the Day: Alicia ( by Louis Testard feat. Alice Duport-Percier)

Posted on by Arleigh

“Alicia” from the Clair Obscur: Expedition 33 soundtrack hits with this quiet emotional force that sneaks up on you. Louis Testard’s composition feels intimate, almost fragile at first, built around a slow progression that flows between melancholy and solace. When Alice Duport‑Percier’s voice comes in, it feels less like a vocal performance and more like a memory being sung—gentle, human, and full of warmth that complements the game’s painterly atmosphere. The track doesn’t tell you what to feel; it just leaves space for you to find your own emotions in it.

What stands out most to me is how balanced it feels—Testard’s score never overwhelms. Every instrument breathes, giving Duport‑Percier’s voice that clear space to bloom. The music grows patiently, moving from soft contemplation toward a kind of quiet hope, like someone lifting their eyes after a long, heavy silence. It’s the kind of composition where you can feel each breath behind the notes, and that subtle pacing mirrors the emotional rhythm of Clair Obscur beautifully.

By the time the last notes fade, “Alicia” leaves this lingering ache that’s hard to shake. It feels deeply personal—the kind of track that stays in your chest long after it ends. Testard and Duport‑Percier manage to craft something that transcends simple “game music”; it’s closer to a conversation between sorrow and serenity. It’s not just background—it’s the emotional pulse of the adventure itself.