Toyama’s “Uninhibited” is reminscent of his work on Tag given its driving bass and light techno beat. The blend of Toyama’s electro-action themes, Kosaki’s eccentric fusion, and Miyake’s bizarre, vocoded, and almost Katamari-esque themes coalesce into a triple tag team of styles that takes the series on an unexpected hard right turn after traveling down a fairly straight road for the previous iterations in the franchise. While they all had their chance to contribute to Tekken Tag, Tekken 4 is where they really had the opportunity to shine brightly as their individual compositional styles hinted at on Tag come to full fruition here. The three main composers for Tekken 4 are the three relatively new faces from Tekken Tag Tournament: Akitaka Toyama, Satoru Kosaki, and Yu Miyake. This isn’t just fighting game music with a twist - this is video game music knocked over, stood on its head ,and spun around into a euphoric state of progressive electronic bliss. Headed by a few unconventional composers and chock full of unconventional music for a fighting game, Tekken 4 is a wonderful exhibit of what greatness can come from breaking the mold and presenting something completely unexpected in an arena where straight-up techno and rock rule supreme. If Tekken Tag Tournament can be considered the end of the first chapter in the series, then Tekken 4 is the beginning of an entirely new segment in the series’ musical progression.
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