Speeding ahead, we come to “Hari-Hara,” the final boss battle theme. During the first form of this battle, the musical accompaniment is very different than what we’ve heard previously on the album. It is more melody driven, with extra instrumentation heard from the location themes, mixed with the established guitars and drum kit from the battle themes. The piece is slow and driving, with guitars becoming the main melodic focus providing long, drawn out phrases. Wailing guitars can be heard throughout the track in the background, while a steady pattern is repeated in the foreground. But, in the game, you won’t be hearing this for very long because the first form of the boss is easy. Which means we should shift our focus to the second form, “Hari-Hara – Second Movement”. Just stating it now, I really like this piece. A lot. Why? This piece is incredibly different than anything else heard on this album, as it mixes together different rhythms, instrumentation sets, and time signatures to provide a great deal of variation throughout the piece. We begin with low guitar work that gradually builds, bringing in a church organ, synth effects, and strings. The next segment focuses on quick string work, before being paired with a guitar note waterfall. The church organ makes a larger appearance, creating a build in the track while being joined by brass elements. Switching gears, the string become the melodic focus, while their pattern is mirrored in a guitar, pushing the piece forward. Throughout the entire track, a steady and insistent drum pattern repeats, changing slightly to match each new element of the piece, rounding out a battle track that is every bit as important as the figure being defeated on the screen.
Closing out this disc, and the first game, is “The Rain Stopped,” a piano piece that plays during the credits. The melody from “Never Ending Rain” plays onward, while additional strings are gradually added, adding new layers to the piece. Light staccato strings come in, while the entire piece steady builds, dropping away suddenly to a piano and flute duet with the Pray main melody. Half way through the track, things change up a bit with the introduction of a light percussive rhythm. The previously heard “Never Ending Rain” comes through again, but this time has low chords and low strings giving it a cool bass line. We get another build, thing time augmented by more strings, before moving — once again — into Pray, this time with guitars. This is the best way to listen to Pray in my opinion, with the full guitar sound supported by high and low strings. Of course, we can’t end it there — there needs to be a techno section! Yes, for no reason, the entire piece goes techno right at the end. Don’t ask me why — I really don’t know why. Stop asking why!