|Album Title:||Ore no Imouto ga Konnani Kawaii Wake ga nai
|Anime Title:||Ore no Imouto ga Konnani Kawaii Wake ga nai|
|Artist:||kz, Satoru Kousaki, ClariS, Yukari Tamura|
|Release Date:||January 12, 2011|
|01. irony -TV Mix-||ClariS||1:33|
|02. Ichinichi no Hajimari||Kousaki Satoru||1:35|
|03. Ore no Imouto ga(ry||Kousaki Satoru||1:37|
|04. Baka Aniki!||Kousaki Satoru||1:53|
|05. Aniki Nichijou||Kousaki Satoru||1:33|
|06. agete Yukou!||Kousaki Satoru||1:43|
|07. Shinsou no Reijou||Kousaki Satoru||1:29|
|08. Kore ga Otaku no Ikiru Michi||Kousaki Satoru||1:36|
|09. Kuroneko no Tango||Kousaki Satoru||1:37|
|10. (^o^)/||Kousaki Satoru||1:42|
|11. Osananajimi||Kousaki Satoru||1:39|
|12. Pokaan||Kousaki Satoru||1:40|
|13. Hitotiki||Kousaki Satoru||1:47|
|14. Honeorizon||Kousaki Satoru||1:48|
|15. Uousaou||Kousaki Satoru||1:38|
|16. Suberikomi Safe!||Kousaki Satoru||1:23|
|17. Akihabara March||Kousaki Satoru||2:02|
|18. Otaku wa Tsurai yo||Kousaki Satoru||1:37|
|19. gdgd||Kousaki Satoru||1:58|
|20. Anun||Kousaki Satoru||2:04|
|21. Surechigai||Kousaki Satoru||1:46|
|22. Itami||Kousaki Satoru||1:45|
|23. Yokatta ne||Kousaki Satoru||2:01|
|24. To Aru Nichijou no Haikeiongaku||Kousaki Satoru||1:44|
|25. wktk||Kousaki Satoru||1:42|
|26. Gogo no Tea Time||Kousaki Satoru||1:34|
|27. Jitome||Kousaki Satoru||1:31|
|28. Shittori||Kousaki Satoru||1:48|
|29. Rakutan||Kousaki Satoru||1:33|
|30. Kenokan||Kousaki Satoru||1:45|
|31. Ketsui||Kousaki Satoru||2:05|
|32. Kinpaku||Kousaki Satoru||1:32|
|33. Pinch!||Kousaki Satoru||1:35|
|34. qawsedrftgyhujikolp||Kousaki Satoru||1:38|
|35. Tsuuji Aeta Kokoro||Kousaki Satoru||2:08|
|36. Kaerimichi||Kousaki Satoru||1:55|
|37. Ikkenrakuchaku||Kousaki Satoru||2:02|
|38. Meteo☆Impact||Tamura Yukari||1:32|
Review: Finding that Satoru Kousaki anime score that works well within the anime is easy; it’s finding one that can be listened outside of it that is almost a fool’s errand. His music, while marvelous when accompanied by the action, rarely has the same impact on its own. The high hopes that build up when I listen to the BGM within the anime inevitably crash when I listen to his minimalistic soundtracks standalone, leaving me disappointed by the experience.
The similarities in the Kousaki listening experiences I’ve had have lowered my expectations when approaching his work. Caution was the order of the day when I decided to listen to and judge Ore no Imouto ga Konnani Kawaii Wake ga Nai’s soundtrack. Initially, Ore no Imouto’s setup as a dramedy didn’t look to be the kind of show that would force Kousaki to go beyond his musically minimalistic mold. But, fresh off composing Working!!’s OP, “Someone Else,” and (likely) providing feedback to and drawing inspiration from fellow MoNACA composer Keiichi Okabe’s efforts on Working!!’s soundtrack, Kousaki still hasn’t let go of the ska bug, and so, incorporates that style into Ore no Imouto’s score. The result: a soundtrack that, while not memorable, is nevertheless differentiable and delightful, standing well on its own while getting the job done in the anime.
You’ll recall that my impressions of Working!!’s soundtrack were lukewarm. Thankfully, Ore no Imouto represents the next evolutionary step in implementing ska into anime BGM. It helps that Kousaki’s compositions show a considerable amount of improvement over Okabe’s. The brass swells in tracks like “Ore no Imouto ga(ry” and the funky rhythms in “Baka Aniki!” all demonstrate familiarity with the style, but that alone wouldn’t have made this album as delightful a listen as it turned out to be. What sets him apart is the amount of development that goes into each track. Kousaki avoids the temptations of putting in repetitively boring melodies by developing them, which keeps the listening experience engaging throughout.
Ore no Imouto ga(ry
Strong examples of development can be had in both “wktk” and “Akihabara March,” which would have been dull affairs if all they did was have the brass bursts sound out for the entire duration. “Wktk” uses the celebratory ska sounds from the brass section to start things off before transitioning to a piano solo that has a dash of the funk in the first half and dispenses with a snazzy display of ska piano music in the second to keep me rapt at attention. “Akihabara March’s” steady beat is repetitive, but full of flair. Good enough, but Kousaki’s development through the soloists, starting with the trumpet and ending with the saxophone, injects the piece with a happy, whimsical sound to complement the peppy marching rhythm.
Though ska is what dominates Ore no Imouto’s soundtrack, other styles get a chance to shine too. One of the better examples of variety Kousaki offers up is in “Shinsou no Reijou” which has a wonderful waltzing atmosphere. The piece opens up with a nice, dainty violin part which segues into a piano melody so overflowing with grace and elegance that it shines with warmth and dignity.
Shinsou no Reijou
The character themes are just as good in showing Kousaki’s compositional diversity. No free guesses as to what genre “Kuroneko no Tango” is aiming for since the title is a giveaway. Its strutting harmony radiates confidence, allowing the piano, violin, viola, and bandoneon to take their turns at crafting a melody filled with a hint of haughtiness, thereby capturing Kuroneko’s inflated sense of superiority. “Osananajimi,” depicting the earnest childhood friend Manami, is slow and simple, with a harmonica melody that’s easy on the ears as it cultivates a rustic, relaxing aura where one can simply let go of day to day drama and concerns and bathe in contentment.
Kuroneko no Tango
You’ll notice that so far, all I’ve done is heap praise. Here’s the catch: for all the development that goes on, for all the stylistic variations that Kousaki puts in, none of this is particularly memorable. Ore no Imouto’s music has the unfortunate effect of glomming together into a giant blob. The large tracklist and similarities between the ska tracks are responsible for this problem. It’s telling when the most memorable track on this entire album is Yukari Tamura’s enthusiastic, upbeat delivery on “Meteo☆Impact,” which fits into the mold of an opening theme to a stereotypically cutesy magical girl anime. The energy that it brings along with its catchy melody renders it an unforgettable listen. Beyond that, the BGM’s stylistically indistinct melodies makes it hard to differentiate one track from the next, making it hard for me to listen to the album straight through.
That said, it does mark the first time Kousaki has put together a soundtrack that’s enjoyable on a standalone basis. Listening to Ore no Imouto is a pleasant, even delightful experience. It just lacks that melodic hook that would make me want to listen to it more often. Now, whether Kousaki wants to craft a soundtrack with said hook, and in doing so, possibly jeopardizing the miscibility that his works have within the anime’s other attributes is something that only he can answer.