![]() The innards of a wrecked ship, swarming with chomp-happy fish and other foes of impending danger, still needs this piece of music to fulfil its cripplingly-hazardous agenda. While the map theme offers the same amount of dread and incoming-hardship, I don’t think the tune is quite as memorable as the dagger-sharp notations of ‘Lockjaw’s Saga’. The aforementioned underwater theme is perhaps the most openly unique in the game. You’ll feel at ease when waltzing through the earlier stages in the game, and that’s partly due to the calm of the musical piece, with fitting instrumental choices, and the recycled melody that’ll keep you humming as you cartwheel into kremlings. ![]() Gangplank Galleon makes its all-star return firstly with ‘Klomp’s Romp’, a slower, more melancholy rendition of the tune. It’s a strange thing to feel as you glide from vine to vine as the sprite of a monkey, but I think the lusher songs in DKC2 are a necessity to the score. ![]() Okay, there are times where I get mixed up between this and ‘Forest Interlude’, but ‘Bayou Boogie’ beats its wooded equivalent to the punch simply because it feels a lot more sentimental and inspirational. The only unfortunate aspect is the fact that these stages take the place of the earlier water levels, forcing us to ditch the danger and threat of those tunes, instead focussing on a glassy, twinkly little number, that may not be as memorable, but is still charmingly melodious. The ice stage theme, much like my Tinder profile states about me, is both pretty and cool, appropriate to its chilled, frosty surroundings. There’s definitely a gentle calm that the song focusses on, but there’s an atmospheric dread to it too, or maybe I’m just thinking of the unease I feel when riding on those balloons. There’s an outlandish ethereal going on here – the music bubbles like the gooiness of the lava level’s aesthetic, and it never quite settles on whether it wants to be one of the soundtrack’s more intense or lullaby-like pieces. The surface is fittingly abstract and buzzy, ambient, deliberately atmospheric, and the incoming melodies are penetrative. This is the music that plays in the honeycomb level, and much like the floor in the area, the eerie calm, with added intense momentum and other dynamic crescendos, will stick to you. I don’t think any piece epitomises the two main sides of David Wise’s trademark repertoire quite like ‘Flight of the Zinger’ – that being his ambience and melody. Time for me to let ya’ll know what my ten favourite pieces from the game are – nobody asked for it…but it’s here! But really, I feel as though the second game surpasses the original simply due to the level of melody and catchiness added to Wise’s ambient base. The score, composed by David Wise, picks up where the original Donkey Country Kong leaves off, and I mean that quite literally as the Gangplank Galleon final boss theme is often remixed in the sequel. I’d gladly give the title of ‘best ever’ to 1995’s Donkey Kong Country 2: Diddy’s Kong Quest, for the Super Nintendo. Time to check back into the magical world of video game music. ![]()
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