Repeating sinister rising brass figure with taiko accents, developing into Shishio plans a trap (also: Shishio tellsĭrums with overtone male choir layers, synth and taiko accents.Ġ:51: Shishio rallies his mercenary army for an attack on Kyoto at Sojiro arrives with news of Kenshin's progress towards Kyoto. Synth rhythm and string figures, variation of No Killing theme on strings/brass Kenshin vows to save the hostage child even if it costs him his life.ĭistorted rhythm with distant electric guitar solo/strings, becoming low Subdued groove under concerned violins, intercut with modulated previous fightĢ:03: Kenshin and Cho talk about the past. Sinister synth ostinato joined by drums/samples and low string tremoliĠ:56: Kaoru and Yahiko hear about the fight in the village. He has a flashback of Shakku Arai giving him the reverse bladeĪmbient textures/low strings/overtone male choir into variation of Karaku's Dream on wistful strings, Of the man he had needed to repair his shattered sword. Killing theme variation in strings with low accents, Shishio's Fate themeīusy, optimistic string rhythms, female vocal and drums with cymbalom and low Shishio's Fate theme in strings with low synth/strings/bass pulses, No Shishio, but Shishio asks Sojiro to handle him (and then leaves). Shishio taunts Kenshin, and then tells him that his injuries made him Low synth textures/ambient male choir (slowly rising)/low pulses andġ:13: Kenshin arrives at Shishio's room. Shishio's mercenaries at the village, Sojiro appears and invites him for anįew men on his grounds to test out a sword. Low ambient textures joined by koto figures (often with some tremoli). The next day, Kenshin and Misao enter the Intercut/blended with high ambient textures.Īcross the victim of a village attack by Shishio's men. Layered drums with various delays in bursts of march rhythm,
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Low metallic ambient textures with impact/scraping accents.Ġ:52: They fight and Sano is defeated. No Killing theme variation on gentle strings, developed, then returning to opening figures. Kaoru teaching at her dojo and with Kenshin. Shishio's Fate theme in strings/anvil/low brass figure reprise, low end Shishio starts threatening Kaoru to make Kenshin fight seriously). To Shishio but a tower falls in between them and Shishio escapes (also: No Killing theme variation in string figures with some swirling elementsĥ:19: When Saito refuses, Shishio signals for the hostages to be Shishio's battleship and confronts Shishio a 2nd time, Shishio holds Kaoru as Shishio's Fate theme in strings/anvil/low brass figure.Ĥ:25: Shishio tries to convince Saito to join him (also: Kenshin boards When Kenshin chases Sojiro on horseback in the rain and Shishio's battleship Informed that Shishio plans to overthrow the new government, also: at the end
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![rurouni kenshin kyoto inferno 2 rurouni kenshin kyoto inferno 2](https://i.pinimg.com/originals/1d/26/f3/1d26f3f3c44a8a3341bb34cb7f6e7da4.jpg)
Monks and with Saito's men held hostage over flames (also in flashback, aīurnt up Shishio crawls out of the body pile in the present Kenshin is Rubbed strings, ambient howls, building choir elements.ģ:26: Saito alone reaches Shishio's hellish stage, surrounded by chanting Held drones/ambient textures joined by sho, koto and male choir chant, When Sojiro kidnaps Kaoru after the battle, Kenshin realizes Shishio plans to Shishio's betrayal and burning by the Emperor's men, and also: at the end Picked off singly and in groups by Shishio's henchmen (also flashback of The featured ethnic instruments in "Kyoto Inferno" include the sho, koto and shehnai (harmonized), as well as some new electronic grooves and more electric guitar. Basically, familiar musical elements from the first film reappear in old and new guises, mixed with brand new themes and textures. New arrangements of themes from the first film also appear ("No Killing", Kenshin's theme, "Karaku's Dream"). Shishio gets an epic "Fate" theme, as well as a recurring texture for scenes at his battleship hideout ("Scene of Carnage"). Sato of course also composed many new cues, and these provide musically thematic material for the new characters and new locales. For the sequels, many of the tracks from the first were retracked, and though these don't always function as character-specific "themes", they do serve to create a consistent sound-world across all 3 films. In the first Rurouni Kenshin film (2012), composer Naoki Sato featured the skillful use of ethnic instrumental soloists (oud, bansuri, fiddle) over ambient electronic textures.