|Album Title:||Tameiki no Hashi|
|Anime Title:||Allison and Lillia|
|Artist:||Shione Yukawa; Kuricorder Quartet|
|Release Type:||OP/ED Single|
|Release Date:||June 25, 2008|
|1. Tameiki no Hashi||Shione Yukawa; Kuricorder Quartet||4:50|
|2. Natsu Kara Aki he Wataru Hashi||Kuricorder Quartet||3:08|
|3. Peach Wellpark no Nagai Kisetsu||Kuricorder Quartet||3:07|
|4. Tameiki no Hashi (Original Karaoke)||Kuricorder Quartet||4:48|
Review: For an anime series that is about the adventures of two children and their children, the introduction theme “Tameiki no Hashi” is awfully melancholic. It starts off with an archaic-sounding acoustic guitar accompanied by some recorders. Shione Yukawa’s voice evokes an image of people getting ready to travel on a grand adventure. The song at its core is pretty simplistic and there’s an aura of melancholy about this piece as though the travelers understand that this may be their last time at home. If there’s anything I found enjoyable in this song, it’s the way the instruments blended together really well to create a sense of longing and nostalgia in the listener. All in all, this ballad is fairly decent though it’s not exactly going to raise too many eyebrows or catch anyone’s attention right off the bat.
“Natsu Kara Aki he Wataru Hashi” is a bit more upbeat with its bouncy melody played by the recorder accompanied by a steady rhythm in the background. The melody does repeat itself with some slight variations in the accompaniment and this song makes me feel like I’m traveling through the countryside on some wagon while the breeze blows on by. While the image it invokes is pretty light-hearted and enjoyable, it doesn’t really manage to distinguish itself aside from the instrumentation. Because of that, this is also going to rate above average.
Finally, we come to “Peach Wellpark no Nagai Kisetsu” which really sounds like it belongs in some scene from Azumanga Daioh with its mellow recorder melody that soon becomes pretty repetitive. Again, it’s an enjoyable track, but nothing that’d be readily memorable. The way the piece flows, it just sort of relegates itself to the background without really making a strong impact. Maybe that’s because of how lazy this track sounds, especially with the horns and other brass instruments.
Tameiki no Hashi is a fun little diversion if that’s what you’re looking for, but if you’re looking to be stunned or impressed by what this album has to offer, you’re better off looking elsewhere. Honestly, while the music is good on its own merits, it’s not one that you’ll come back to time and time again. Give it a listen just for the quirkiness of the recorder melodies and turn away to greener pastures because there are far better OP/ED singles than this one.