|Album Title:||Kannazuki no Miko Original Soundtrack|
|Anime Title:||Kannazuki no Miko|
|Release Date:||December 22, 2004|
|Purchase at:||Not in Print|
|01. Kannazuki no Miko||Mina Kubota||2:15|
|02. Subtitle||Mina Kubota||0:09|
|03. Souma no Tatakai ~ Kimi wo Mamoru Tame Ni||Mina Kubota||2:48|
|04. Himeko no Theme||Mina Kubota||1:31|
|05. Kanashimi no Hate||Mina Kubota||2:10|
|06. Ankoku no Yami no Naka de||Mina Kubota||3:20|
|07. Chikane no Theme||Mina Kubota||2:16|
|08. Atatakana Hikaru||Mina Kubota||1:59|
|09. Garasu no Hana||Mina Kubota||1:40|
|10. Mayoi||Mina Kubota||1:22|
|11. Narukami ~ Tsubasa no Theme||Mina Kubota||1:21|
|12. Unmei no Ito||Mina Kubota||2:14|
|13. Kanashii Kizuna||Mina Kubota||1:18|
|14. Chiisana Bara no Toge||Mina Kubota||1:55|
|15. Eyecatch A||Mina Kubota||0:10|
|16. Hikari no Naka de||Mina Kubota||1:22|
|17. Orochi no Mori no Tsumuji Kaze||Mina Kubota||0:50|
|18. Senkou no Kanata ni||Mina Kubota||2:46|
|19. Setsunakute Kanashikute||Mina Kubota||1:50|
|20. Yuki no Sei||Mina Kubota||1:39|
|21. Arashi no Naka no Kessen||Mina Kubota||2:28|
|22. Himeko to Chikane||Mina Kubota||2:15|
|23. Shukumei no Honoo||Mina Kubota||1:23|
|24. Hikisakareru Omoi||Mina Kubota||1:25|
|25. Akumu to Kako||Mina Kubota||3:15|
|26. Hirusagari no Hanazono||Mina Kubota||1:17|
|27. Kanashimi no Hate (Piano Version)||Mina Kubota||2:10|
|28. Eyecatch B||Mina Kubota||0:11|
|29. Fuujin Raijin||Mina Kubota||1:09|
|30. Nekoko no Kakurenbo||Mina Kubota||0:53|
|31. Ten no Michibiku Mama ni||Mina Kubota||1:56|
|32. Arashi no Naka no Kessen (Strings Version)||Mina Kubota||2:22|
|33. Namida to Izumi||Mina Kubota||2:12|
|34. Souma to Tsubasa||Mina Kubota||1:20|
|35. Chikane no Theme (Piano Version)||Mina Kubota||2:33|
|36. Yokoku||Mina Kubota||0:34|
Review: When an anime has great music, it can mean several things. The anime could be part of a popular franchise with the resulting large budget. It could be a genuine masterpiece crafted with the creativity and hard work of many people. Or, as Kannazuki no Miko taught me, it could be an overly melodramatic yuri show.
I decided to check out KnM after hearing some samples from its soundtrack and was rather surprised at what proceeded to unfold before my eyes. Containing absolutely everything known to occur in anime, from mecha to cat-girl nurses to love triangles, the whole mix was laughable. Despite this, the series was oddly entertaining in a so-bad-it’s-good way. The last episode even had me holding back emotional tears for Himeko and Chikane, the two girls whom the series revolves around. Perhaps I’m more susceptible to drama than I believe I am, but I like to think that the amazing score Mina Kubota composed had a role in keeping me watching the series to the end.
The soundtrack opens with the aptly named track “Kannazuki no Miko”. This piece does well to capture the true essence of the show; namely, the relationship between the girls and the duty they have been bound to by the gods. There is a melancholy bleakness in the woodwind melody, as if the music is lamenting the inevitable sacrifices the two will make. Near the end of the track, a trumpet proffers its voice, lending a sense of regal beauty to the tragic nature of the piece.
Kannazuki no Miko
What’s a yuri drama without some angst? Not much. It’s a good thing excessive cheese makes music (as opposed to anything else) better, because KnM’s soundtrack is full of it. The aching utterances of the cello in “Hikisakareru Omoi” convey the agony of a heart in stark despair. Simply hearing the instrument grieve in its solitude causes one’s own heart to be weighed down with pensive woes. The piece perfectly embodies the bitter anguish the characters experience as they rail against the duty forced upon them by fate.
However, amidst the angst and the impending end of the world, KnM is not without its happy moments. A cheerful setting is expressed in tracks such as “Hikari no Naka de”. The lively beat and the enthusiastic brass make it one of the most lighthearted tracks in the album, creating a joyful atmosphere free of troubles. In contrast to the energetic happiness expressed in “Hikari no Naka de,” “Yuki no Sei” captures the warm peace following calamity with a quiet and restrained piano solo. While the characters’ ability to experience outright joy has been dulled by past hardship, they find tranquil solace in the fact that they are simply in each other’s company for a fleeting moment.
Hikari no Naka De
Yuki no Sei
Despite the show’s heavy focus on the drama between the two main characters and a male love interest, there are still mecha piloting villains hanging about and generally making nuisances of themselves. Battle-scenes ensue, allowing Kubota to show off her prowess at composing action music. “Ankoku no Yami no Naka de” demonstrates Kubota’s ability to write gripping suspense music. An atmosphere of impending and imminent doom is created as ominous swells slowly increase in volume accompanied by the breathy cries of a despondent flute. In the distance, a deep and reverberating beat marches relentlessly onward, emphasizing the futility of escape. As the track approaches its end, the flute begins to frantically splutter as if writhing in the agonies of despair, losing all hope in the face of catastrophe.
Ankoku no Yami no Naka De
Considering how ridiculous the conflicts were in the show, the authenticity of the battle music is something to marvel at. “Senkou no Kanata ni” begins with powerful string chords that echo into the intertwining silences and resonate into the listener’s very body. The strings act in the stead of percussion, setting up a driving pace. Soon the violins take up a propulsive theme which proceeds to morph into a soaring melody, expressing the strange beauty of perilous conflict.
Senkou no Kanata ni
Although victory is eventually won after many hardships, it comes with a great price. “Namida to Izumi” manages to perfectly embody the bittersweet ending of the show. There is an overwhelming sense of sorrow as the piece laments the forced separation of the two lovers to the point where the instruments seem to cry out in sympathy. The music enters a hauntingly beautiful refrain of the theme originally expressed in the first track, “Kannazuki no Miko”, demonstrating that events have come full circle. The world has been saved, but at the cost of the seemingly eternal separation of its saviors.
Namida to Izumi
Simply put, Kubota outdid herself with KnM’s music. Her ability as a composer is written all over this album. It’s an inconceivable travesty that the soundtrack was only sold with the limited edition version of the DVD release (which has been discontinued since). I can only continue to support Kubota’s other, purchasable, enterprises in the hopes that she produces something akin to KnM’s music once again.