|Album Title:||Ookami-san to Shichinin no Nakama-tachi
Original Soundtrack “Otogibako”
|Anime Title:||Ookami-san to Shichinin no Nakama-tachi or
Ookami-san and Her Seven Companions
|Artist:||Megumi Oohashi, May’n, OToGi8 (Louise Sfozur,
Miku Doll Charlotte, Nana Hamasaki, Sayuri Hara, Shiori Izawa,
Shiori Mikami, Wanae Ookubo, Yukafin Doll)
|Release Date:||September 22, 2010|
|Purchase at:||CDJapan, Play-Asia|
|1. Youkoso! Otogihanashi he||Megumi Oohashi||1:45|
|2. Ready Go! (TV Size)||May’n||1:32|
|3. Subtitle||Megumi Oohashi||0:08|
|4. Otogi Gakuen Gakusei Sougo Fujo Kyoukai||Megumi Oohashi||2:13|
|5. Itsumono Nichijou||Megumi Oohashi||1:52|
|6. Minaidee~||Megumi Oohashi||1:41|
|7. Sanpomichi||Megumi Oohashi||1:44|
|8. Kasha no Kimochi||Megumi Oohashi||1:50|
|9. Tohoho…||Mina Kubota||1:38|
|10. Shizukanaru Onna no Tatakai||Megumi Oohashi||1:36|
|11. Makeruka!||Megumi Oohashi||1:32|
|12. Yowatta na~||Megumi Oohashi||1:46|
|13. Kyou Wa Oyasumi||Megumi Oohashi||1:35|
|14. Omoi||Megumi Oohashi||1:59|
|15. Sakusen Kaigi||Megumi Oohashi||2:01|
|16. Action||Megumi Oohashi||1:42|
|17. Contest!||Megumi Oohashi||2:02|
|18. Taisetsu na Kokoro||Megumi Oohashi||2:29|
|19. Eyecatch||Megumi Oohashi||0:08|
|20. Karen na Onnanoko||Megumi Oohashi||2:25|
|21. Hontou no…||Megumi Oohashi||2:08|
|22. Otoko Rashiissu ne.||Megumi Oohashi||1:38|
|23. Ano ne.||Megumi Oohashi||2:27|
|24. Watashi wo Shinjite||Megumi Oohashi||2:03|
|25. Yasashii Kokoro||Megumi Oohashi||2:24|
|26. Hisou||Megumi Oohashi||2:09|
|27. Anyaku||Megumi Oohashi||2:16|
|28. Bikou||Megumi Oohashi||1:43|
|29. Sennyuu||Megumi Oohashi||2:16|
|30. Kinchou||Megumi Oohashi||1:42|
|31. Arawaru!||Megumi Oohashi||1:49|
|32. Niramiai||Megumi Oohashi||2:01|
|33. Ketsui||Megumi Oohashi||1:56|
|34. Battle||Megumi Oohashi||2:00|
|35. Kanashii Kioku||Megumi Oohashi||2:16|
|36. Ryoko he no Omoi||Megumi Oohashi||2:25|
|37. Taisetsu na Nakama||Megumi Oohashi||2:04|
|38. Akazukin-chan Goyoujin (TV Size)||OToGi8||1:32|
|39. Medetashi Medetashi||Megumi Oohashi||1:51|
|40. Ookami-san to Shichinin no Nakama-tachi no Theme||Megumi Oohashi||1:37|
Review: In composing the music to Ookami-san, Megumi Oohashi’s decision to stick with simple, dreamy melodies and ambiance is no accident. The anime focuses on reinterpreting well-known fairy tales through a modern lens while also building up character relationships. To match it, the music follows that premise by dispensing with a tracklist consisting of a mix of light, pleasant pieces to capture day to day life, ambient mood-setters during the introspective moments, and energetic electric guitar pieces for the action scenes. Save for a handful of pieces, Ookami-san’s soundtrack isn’t all too memorable; that said, it works best as tranquil background fare because it doesn’t distract one’s attention from the anime.
The first track, “Youkoso! Otogihanashi he,” is one of the memorable pieces. Starting with a slow, quaint oboe air, “Youkoso!” builds up nicely in its depiction of the early morning with a dreamy aura that soon picks up through a burst of energy carried by the lively xylophone sequence that works to waken you with its light taps. Soon, the sun’s warmth seeps in, driven by the violin’s elegance, which brings the opener to a wonderful close with its optimism for what the new day brings.
Youkoso! Otogihanashi he
And yet, the dreamy feel is far from gone. “Otogi Gakuen Gakusei Sougo Fujo Kyoukai’s” slow tempo, combined with the flute melody, lulls you with its soothing sound and measured steps that leave you brimming with quiet contentment. The lethargy it induces is not unpleasant as the background piano and accordion sweep you gently along while leaving you feeling light and carefree. “Omoi” complements this general aura with its synth tones that calmly envelope you with their warmth as the languid flute part drifts to and fro, thereby rendering a tranquil, introspective moment fittingly. There are moments when the emotional turmoil pierces the calm surface, as it does in “Hontou no…’s” heartrending piano introduction, but in that instance, it quickly recedes, restoring the mood through a trickling of hope and joy.
Although this album is dominated by balmy tracks, Oohashi does vary it up a bit by cultivating a wide variety of styles and genres to make this soundtrack more engaging. Towards the beginning, “Itsumono Nichijou” departs from the calmness with a jaunty piano tune that hearkens back to the early day of vaudeville even if it drawls on just a bit long. “Contest!” is more to my liking as the track takes on the form of a march, complete with an opening fanfare that segues into an animated, yet regal section led by the violins with flute trills to back it up. But it’s not until you reach close to the end that you encounter a major genre shift into the realm of rock music.
Starting with “Arawaru!” and ending with “Ketsui,” Oohashi delivers a trio of electric-guitar driven tracks that evoke action, tension, and determination. Of the three, “Ketsui” is my favorite. The pianos lead off grimly and once the electric guitar makes its entry, not only do you feel the hopelessness and despair that issues forth through the buildup, the release is also exquisite, exhibiting purpose and determination. The other two are a mixed bag, though “Arawaru!” isn’t too bad in its use of punk rock to depict the action. It’s “Niramiai” that, though initially impressive with its ominous tones, becomes tiring rather quickly because of its repetitive ambiance.
That problem isn’t resigned to just “Niramiai” either. If there’s one major complaint that can be leveled towards this album, it’s that there are one too many repetitive ambient tracks that receive little in the way of melodic development. Pieces like “Yasashi Kokoro’s” dull ethereal electronica and “Sennyuu’s” uninteresting ostinatos that never do anything interesting beyond the addition of other instruments grate on my nerves. While the reason why these tracks exist is to complement the scene, it just doesn’t work all too well when actively listening to it on a standalone basis. That said, its dullness makes for some decent homework music since it won’t be too distracting.
Despite this niggling issue, Megumi Oohashi demonstrates some solid compositional chops through Ookami-san’s soundtrack. The pieces that are upbeat, dreamy, serene, or any combination of the three, are solid, and she’s also adept at sculpting melancholy tracks like a less-skilled version of Chopin. That effectively means she’s got a ways to go before being able to write something truly memorable, but for what it is, Ookami-san’s is a good start. So in this case, all’s well that ends well. Right?