Composing the Soundtrack of Kirby Air Ride: Part 1

The vibrant and memorable soundtrack of Kirby Air Ride is a cornerstone of its enduring appeal, transforming each race into a dynamic auditory adventure. Crafting this essential audio landscape required a unique collaboration between director Masahiro Sakurai and composers Shogo Sakai and Noriyuki Iwadare. Their shared history and distinct approaches converged to create a score that is both orchestral and instantly hummable, perfectly capturing the game’s energetic spirit. This retrospective delves into their creative process, from initial concepts to the intricate details of composition and revision.

The foundation for this collaboration was built on longstanding professional relationships and a shared musical philosophy. Sakurai first worked with Sakai at HAL Laboratory on titles like Super Smash Bros. Melee. His partnership with Iwadare began later during Super Smash Bros. Brawl. Despite different entry points, Sakurai identified a crucial commonality. “These two share some common traits,” he noted. “They’re proficient with orchestra music. They can compose their own sheet music. And they can conduct. They’re good at uplifting and spirited orchestration.” This made them the ideal choice when Sakurai decided the sequel’s core sound should be orchestral, rather than leaning into genres like Eurobeat.

From the outset, Sakurai communicated two fundamental concepts. The first was that the music needed to be singable, even for children, a principle he has long valued for its implications of clear, pleasant melody. The second was the need for a “signature melody” for each course, a catchy motif that would stick with players after just a single lap. This stood in contrast to trends favoring ambient background music, as Sakurai wanted the audio to actively enhance and define the gameplay experience. The initial project phase was shrouded in secrecy, with the game’s title withheld from the composers. Sakai pieced it together from the nature of the request, while Iwadare was simply excited to later discover he was working on a sequel to a game he enjoyed playing with his family.

Commissioning the tracks involved a delicate balance between guidance and creative freedom. For each course, Sakurai provided sample songs to establish tempo and atmosphere, but he was cautious about overly influencing the composers. “We don’t want a song that ends up sounding like a copycat of the sample,” he explained. Both Sakai and Iwadare developed strategies to use these references without being constrained by them, often listening to samples only once to absorb the general feel before crafting something entirely original. The division of labor was organic; Sakai selected courses with a natural, acoustic feel reminiscent of the original Kirby Air Ride, such as Florian Fields and Mount Amberfalls, while Iwadare took on more technologically themed courses like Cyberion Highway.

The process was iterative, with Sakurai providing fast, decisive feedback. A notable example was the track for Waveflow Waters. Despite Sakurai’s specific request to avoid a Latin or tropical sound, Sakai’s first submission was exactly that, a cheerful tune created without consulting the provided hard-rock sample. This required a respectful back-and-forth to align the music with the director’s vision. Conversely, for Cavernous Corners, Sakai’s refined tribal composition was enhanced by incorporating an improvised flute performance, with Sakurai deliberately choosing the rawest take to match the course’s indigenous inspiration.

Revisions were a standard part of the workflow, driven by a commitment to quality and cohesion. Iwadare submitted three distinct candidates for Airtopia Ruins before landing on the somber, medieval orchestral style that fit the course’s lore of a fallen sky kingdom. For Cyberion Highway, the initial techno track lacked a strong melody. Iwadare’s solution was to add a vocal chant of “Air Rider!”, though this was ultimately rejected to maintain the Kirby series’ trademark wordless vocal style and avoid a clashing aesthetic. The most intensive revision process fell to Sakai for the two-part Galactic Nova track, which underwent eleven rounds of feedback. This was largely due to the challenge of re-arranging a beloved classic theme from Kirby Super Star in a way that honored the original while suiting the new context.

Throughout development, the direct communication channel between Sakurai and both composers proved invaluable. Sakai appreciated seeing the feedback on Iwadare’s work, as it helped him understand the director’s priorities. Iwadare, however, intentionally avoided listening to Sakai’s tracks to prevent unconscious influence, focusing solely on his own assignments until the final recording. Sakurai’s efficient direction style, often replying to emails early in the morning to keep the project moving, was highlighted as a key factor in the soundtrack’s successful completion. This collaborative, transparent, and musically ambitious environment was essential in composing the iconic soundtrack that helps define the high-flying fun of Kirby Air Ride.

(Source: Nintendo.com)