Review: It takes a special person to be able to enjoy Kill Me Baby’s opening theme.

Between the cheesy Russian accordion, the enthusiastic screams of “KILL ME BABY!” and the random interjections of “wasa wasas,” “camo camos,” and the nonchalant-to-exasperated “Naa-mins,” this song exemplifies what campy OP/ED themes ought to be. Here, borderline chaos is the order of the day; its antics are at the brink of being grating, the instrumental portion during the singing parts is carelessly scatterbrained, and the lyrics make the inmates of your local asylum seem logical. Big emphasis on the “borderline” bit, mind you, for the hyperactive obnoxiousness that should have the effect of chiseling away at your sanity carries with it a campy earworm; subsequent listens become funnier, slowly but surely. Whether that’s a sign of actual endearment or impending madness is a task left to each individual listener to find out for themselves, assuming they’re willing to take such a risk.

For those who cannot tolerate such insanity, the song clocks in at a thankfully brief 2:36. That might be two and a half minutes too long, but when compared to the full-sized version of most opening themes, a short track length in this instance can be considered an act of mercy. Those who will undoubtedly enjoy this sort of camp can take comfort in the 4:18 version that features such delightful enhancements as sonorous melodic warping effects and pleasant repetitions of the enthusiastic outbursts and screeches that we’ve come to love so much. The gimmicky sound mixing practically guarantees that if you somehow managed to survive the first incarnation with a firm hold on your sanity, this one will doom you to a tenure at the mental ward for sure.

“Futari no Kimochi no Honto no Himitsu” is hardly better. Like the OP, this song is also ear-wormy, though it achieves it through a static electronica beat that hardly ever deviates from the opening measures and quickly grows stale. There’s little to praise here; the rhythm is only slightly more elegant than the consistent thud that you’d get out of a jackhammer and the singing is steady, but incapable of drawing out any emotion beyond disdain. Still, these elements do form a strange, catchy mixture, which almost manages to redeem itself during the bridge as it puts together a melody that comes off as an ephemeral glimmer of hope. Nevertheless, it’s all for naught. The addictive effect this song has soon subsides, allowing reality (and sanity) to return and revealing the half-hearted effort put into this album. I suspect the goal of this abomination is not to excel in any obvious way but to wallow amusingly in its own inadequacy. If that’s the case, then it has certainly succeeded in doing just that.

Rating: Bad

Kill Me Baby OP – Kill Me no Baby

Kill Me Baby ED – Futari no Kimochi no Honto no Himitsu

Until now…

Well, OK, not really. Much of the thanks for this goes to ottocycle who did the heavy lifting translating Hiroyuki Sawano’s thoughts when he composed Guilty Crown’s soundtrack. So without further ado, here’s Sawano on Guilty Crown after the jump!

Amongst all the music works I have been involved in so far, this production is the one which features the most vocal tracks. I have considered creating a work of this nature from time to time in the past as well. One reason I’d say that I got the offer was that the director happened to like the material from my original album “musica”, which happened to have quite a few vocal tracks featured…(haha) Back then I also remember the producer of the anime giving me free rein to do what I like with this, so voila! What a convenient explanation!

As you can probably tell, some parts of the above were more in jest than anything else.

Moving on, as this was a production whose concept and content translates into many different possible musical approaches which could be experimented with, I decided on converting thematic tunes into what I feel matches the sound of “song”, as one of my foci in this particular work.

As a result, I can say that, this soundtrack feels like one which I have expressed the most naturally, and the feeling might’ve been similar to that when I was making my original album.

I’ve also had the opportunity to make rearrangements of vocal tracks found on this album which can be found in the limited edition home video bundles. The production team had generously afforded the musicians and me to revisit the tunes again, and it felt so happy, yet extravagant to have been able to do so.

While the OST CD versions of the respective (rearranged) songs were recorded before their alternate versions, it is up to the listener to decide which one is the main version, since both turned out convincingly satisfying. With all said and done, these are my thoughts right after working on either version, so hopefully you would not place either one on a pedestal before comparing them both (haha).

By: Sawano Hiroyuki (originally in Japanese, in the Guilty Crown OST CD sleeve)

Brief thoughts: I haven’t listened to Guilty Crown’s OST all that closely, but I can say that the number of vocal tracks on this album was a surprise, but not unwelcome as most of the artists’ performances were solid and I look forward to hearing the arrangements of those tracks should copies of those ever come forth. The BGM is also enjoyable for those who’ve found themselves enthralled by Sawano’s previous scores; he doesn’t stray too far from the bombastic blend of orchestra and electronica that has become his signature for quite some time. All in all, the stellar work that comes forth from Guilty Crown’s soundtrack should be a treat (one that doesn’t deserve an anime as flawed as Guilty Crown) and if nothing else, effectively cements his status as the Japanese Hans Zimmer (AKA the guy who scored the music to the movies Inception and Gladiator, to name a few).

Tracklist

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Review: Although the lush visuals are what served as my entry point into the rustic Tokyo countryside depicted in Studio Ghibli’s the Secret World of Arrietty, it’s the music that really allowed me to completely immerse myself into Arrietty’s realm of magical realism. Cecile Corbel’s Celtic-influenced compositions and her performance as vocalist are captivating; her harp melodies, with their soothing, mellow aura, beckon me deeper into the emotional sphere of Arrietty’s narrative and her vocals glide effortlessly across to match the content of the piece in question. Together, these elements washed over me with their waves of nostalgia, melancholia, and hope. After watching the movie, it’s hard to imagine Arrietty’s soundtrack taking any other form; it was extremely effective in conveying every single aspect of the movie.

Nothing captures the nostalgic facets of Arrietty’s setting quite like the opening track, “The Neglected Garden.” Corbel’s gentle vocals are incredible and grabbed my attention from the get-go as they evoked the quietude of the titular setting. As the song progresses, the vocal part takes on an inviting tone as the piece becomes infused with more energy until it blossoms forth radiantly through the addition of the pipes and violin to draw you into this memory. To call that melodic blossoming beautiful is an understatement; the vivid pastoral setting comes to life, and the air of joy that it brings is irresistible as it inspires me to recall and savor those wonderful memories of my childhood.

The Neglected Garden

[Audio clip: view full post to listen]

And just when I thought the soundtrack couldn’t top such an opener, “Our House Below” comes in with its soothing sound, rich in warmth and contentment. The harp introduction ripples serenely, making way for a song that fittingly ends the day with an idyllic (and idealistic) depiction of a cozy evening. Here, Corbel’s delivery instills a quaint sense of charm and while listening to her, I cannot help but relax as the warm vocals envelope me with a comfort borne from the loving familial bonds that the song conjures forth. Between this and “The Neglected Garden,” the quiet feelings linger on, and the power of the vocals and instrumentals are sufficient to evoke those nostalgic memories.

Our House Below-Movie Version

[Audio clip: view full post to listen]

Though much of Arrietty’s soundtrack tends toward pieces that tug at those sentiments, Corbel does supply an array of other styles that fit the imagery of the film nicely. “Spiller” is an accurate depiction of the piece’s namesake character with its use of Celtic instrumentation layered atop a drumbeat that carries a tribal rhythm and energy. The melody has a jumping, unrefined quality to it, but it fits well given Spiller’s untamed appearance and vitality. “The Wild Waltz” is also energetic as it relies upon the plucked strings along with a quickening tempo to inject a sense of urgency into the scene. Finally, the album’s tense moments arise in “An Uneasy Feeling” where the dissonance along with the percussion’s pitter-patter gave me a sense that there was malice afoot.

Spiller-Instrumental Version

[Audio clip: view full post to listen]

As the story wades into deeper emotional waters, Corbel’s music rises to the occasion. “Sho’s Lament” is quiet, but packed with a sorrow depicting the titular character’s initial sense of loneliness and helplessness. Unlike a lot of other despondent tracks I’ve listened to over the years, this one lacks a strong sense of anger or anguish, making the feelings it imparts all the more tragic as the melody bears the weight of resignation to indicate that the character has completely given up on life. “Rain” takes on a similarly mournful tack, as it draws upon the theme used in “Arrietty’s Song” to emphasize the melancholy grayness of the title event rather than to depict a cleansing, rejuvenating downpour. Apt, given that Arrietty’s family’s future is uncertain, and the piece conveys that forlornness wonderfully.

Sho’s Lament-Instrumental Version1

[Audio clip: view full post to listen]

Nevertheless, things do look up, and as the soundtrack nears its end, the music becomes more heartfelt with dreamy tracks mixed in with fond farewells. The former materializes somewhat in “Arrietty’s Song,” where Corbel’s vocals and the instrumentals bring a yearning, longing sentiment to the fore. That said, “Arrietty’s Song” is restrained in its execution; the instrumentals drip more heavily of regret than of hope and the lyrics waffle between the desire to stay behind and the desire to explore the world beyond the comforts of home. However, that restraint works well in this instance as Corbel’s voice is more than capable of conveying the multifaceted nature of this piece, switching between a forlorn inflection and a more hopeful tone when the song calls for it. And, of course, “Goodbye My Friend” delivers with the farewells. Though this song speaks of partings, the feeling it conveys is a hopeful one as the warmth Corbel emanates calms and assures the listener that the bonds that tie Arrietty’s characters will forever last, and that this ending is but a new beginning. With these feelings in tow, I found myself buoyed along by the optimism that this song offers.

Arrietty’s Song

[Audio clip: view full post to listen]

Goodbye My Friend

[Audio clip: view full post to listen]

But the feelings that remain are exquisite and for Cecile Corbel, her anime music debut yields a wonderful soundtrack. In watching Arrietty, it’s nearly impossible to divorce Corbel’s compositions from the movie’s content. That’s no faint praise, for Corbel’s work here is one that can sit proudly on the same shelf as those of Ghibli veterans Joe Hisaishi and Yuuji Nomi.

Rating: Excellent

The best part of Fractale was when it was over.

One of the most disappointing titles of 2011, Fractale had at least one great thing going for it: a wonderful ED. I immediately fell in love with the closing song, “Down by the Salley Gardens.” The lyrics of this song are a poem penned by the great Irish poet, William Butler Yeats, and arranged in a tune composed later.

Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take life easy, as the leaves grow on the tree;
But I, being young and foolish, with her did not agree.
In a field by the river my love and I did stand,
And on my leaning shoulder she placed her snow-white hand.
She bid me take love easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.

I found it strange to hear an Irish work in an anime, though it wasn’t the first time the two have crossed. “Your Raise Me Up,” the opening song to Romeo x Juliet, is set to an Irish melody and Clannad, particularly the visual novel, contains references to Irish words. The islands of Japan and Ireland seem so far apart, geographically and culturally; yet, they somehow connect. Why is that?

The use of “Down by the Salley Gardens” is just a recent example of how Irish culture has permeated Japan’s. Irish pubs are common nowadays, St. Patrick’s Day is celebrated, and major Irish bands and dancing groups (including Riverdance) have toured the country. Dr. Sean Williams, an ethnomusicologist, writes:

“Consumers or Irish music and those interested in Irish culture generally might be surprised to find Irish music in Japan, or – in particular – to find Japanese people deeply drawn toward Irish music, culture, and notions of identity.”

Even if we’re largely unfamiliar with Japanese history, most of know enough through anime to understand that the Meiji Restoration ushered in an era of westernization (see Rurouni Kenshin). Along with dress, technology, and schooling, came music. Irish songs, in particular found a home in the country. The lyrics to “Auld Lang Syne” were changed to fit Japan (“Hotaru no Hikari” – literally, “Light of Fireflies” and additional songs, like “Danny Boy,” were loved by schoolchildren, who found them easy to sing.

But more than that, the Japanese, a people deeply connected to the past and specifically to feelings of nostalgia, found a soul mate in Irish music, which often conveyed the same feelings through both lyrics and tune. Dr. Williams noted that when she spoke to Japanese men and women about Irish music, they said (often with tearful eyes) it reminded them of their childhoods.

Note that western music in anime often conveys this sentimental feeling. There’s a wonderful scene in Studio Ghibli’s Whisper of the Heart where a group of older gentleman play an almost impromptu song. Though not Irish, the scene is reminiscent of Irish seisiúns (sessions), where a group of musicians perform a jam session, usually in a pub; once again, these are fairly common in modern Japan.

The nostalgia in Irish music also often shines through lyrics, especially in the yearning for one’s homeland. The Japanese place themselves in the situation of the individuals in those songs. Additionally, part of the Japanese idea of nostalgia is unrequited longing – Irish music lends itself further to this idea because while it increases nostalgic feelings by engaging listeners and encouraging them to participate, a Japanese person will of course never look Irish – and so, this desire to fully connect with the music is just out of reach.

Continents and seas can’t separate these feelings of love, loss, family, and home shared by the Irish and the Japanese.

So the next time you watch an episode of Fractale, do yourself a favor: go straight to the nostalgic end song. I guarantee you’ll be skipping to the best part.

Source: Williams, Sean. (2006). Irish music and the experience of nostalgia in Japan. Asian Music, 37, 101-119.

Tracklist

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Review: As difficult as it may seem, when it comes to orchestral arrangements of anime themes, I’m actually not that hard to please. All the music has to do at the bare minimum is take the theme and transcribe it in such a way that it’s melodically pleasing. Doing so gets you more than halfway to an arrangement that’s listenable, but given the scope of disasters like TAMusic’s pitiful efforts that are far from enjoyable, this must be a harder task than how I’ve envisioned it. Because of this, the bar for orchestral arrangements has been set pretty darn low.

That said, a doujin group arranging under the name Melodic Taste, has been able to meet this low bar through their Anime Song Orchestra album. Their arrangements are fairly innocuous; they might not consist of grand, orchestral flourishes, novel interpretations, or dynamically-arranged pieces that sweep you off your feet, but they get the job done. What you get are arrangements that are about as straightforward and orthodox as can be; pieces that generally don’t strive to be anything more than their originals.

So given the orthodox nature of these arrangements, the key to enjoying this album is the curiosity in hearing how these songs turn out. The opener, “Moon Signal,” is a straight-up transcription of the original, featuring the woodwinds in the early parts of the verses before letting the trumpets take over about halfway through and going all the way up to the end of the chorus. “Moon Signal” maintains its intensity and exuberance as it sticks steadfastly to the verse-chorus-verse-chorus structure, making it faithful if just a bit repetitive.

Moon Signal

[Audio clip: view full post to listen]
As you can probably guess from my earlier remarks, this faithfulness is pervasive throughout this album, with very few deviations. The Melancholy of Haruhi Suzumiya’s “Hare Hare Yukai” still retains its bouncy, fun melody, though novelty does come through the bassoon’s delivery during the bridge. To Aru Kagaku no Railgun’s “Level 5 -Judgelight-” successfully translates fripSide’s trance-pop into a saxophone-driven arrangement. Although there are no meaningful departures from the original, this take is still enjoyable because it draws strength from the original’s catchiness.

The best two tracks, however, materialize in the much-loved “Renai Circulation,” and “Higurashi no Naku Koro ni.” The former’s interpretation is very straightforward, but it does an excellent job of capturing the bubbly cuteness that made the original such a joy to listen to. In addition to using the xylophone’s and the flute’s timbre to convey a sense of child-like innocence as well as depict Kana Hanazawa’s little vocal outbursts, the most unexpectedly delightful section is when the snare drum and brass join the flute during the “KOI TSURU KISETSU WA YOKUBARI circulation” chant because I just didn’t think Melodic Taste would actually try to arrange that part nor did I think that it’d turn out so well.

Renai Circulation

[Audio clip: view full post to listen]
In “Higurashi no Naku Koro ni’s” case, the differences between this and the original are slightly more pronounced. The screechy, dissonant flutes in the introduction are a tad annoying, but once the piece gets underway, the lower-registered instruments come in, emanating an aura of doom and gloom. The pizzicato from the strings add to the tension, giving this arrangement a creepy feeling, before the bombast takes over during the chorus to evoke a sense of dread borne from imminent destruction. Given what the eponymous anime focuses upon, this arrangement captures the harrowing atmosphere of the anime well.

Higurashi no Naku Koro ni

[Audio clip: view full post to listen]
As enjoyable as some of these arrangements are, there are going to be quite a few duds. Tracks like “Strike Witches 2 ～egao no mahou～” comes off sounding the way you’d expect an upbeat, generic pop song to sound if it were orchestrated: like a generic orchestral arrangement of an upbeat, generic pop song. Tautologies aside, there’s nothing in this arrangement or the original that’s so engaging that it’d make me want to pay closer attention. Other problems include messy harmonies, which keep tracks like the perennial favorite, “Sousei no Aquarion,” from being enjoyable (it doesn’t help that the woodwinds during the bridge sound a tad off). Finally, “Ai Oboete Imasuka,” the only track that isn’t bombastic or energetic, falls short in delivering the original’s sentiments. This is a great example of a case in which an orchestral library is unable to deliver upon a song’s emotional components. The inflections and nuances of a human performer are where this piece can shine, and the sound samples used here just cannot replicate that human performer.

Strike Witches 2 ～egao no mahou～

[Audio clip: view full post to listen]

Ai Oboete Imasuka

[Audio clip: view full post to listen]
In spite of the faults and the album’s tendency to play it safe with its arrangements, Anime Song Orchestra still represents a competent effort. Having experienced so many terrible doujin orchestral arrangements, if the work that Melodic Taste displays here doesn’t put this group at the top of the heap in this tiny niche, then they surely are very close to the top at least. And what this proclamation does is say more about the state of the doujin orchestral music scene than it does about this particular group or these arrangements.

Rating: Decent

So, not surprisingly, this jazz arrangement of Steins;Gate‘s opening theme caught my ear. While I slightly prefer BGM arrangements because of how rare they are, OP/ED arrangements still earn my favor if done well. And this jazz arrangement certainly fits that criterion. Give it a listen after the jump!

Steins;Gate OP: Hacking to the Gate (Jazz: piano & bass)

Now, I’m hardly a fan of Kanako Itou’s vocals on the original. While the visuals and the chaotic rhythms and synth work well to bring out the sci-fi component of the show, Itou’s delivery is adequate in its expression of the series’ loneliness and despair but doesn’t do much beyond that.

The jazz arrangement captures the song’s sentiments well, though. Its introduction feels heavy as the bass and piano chords hammer out a melancholy atmosphere, and the piano follows that up with a bluesy rendition of the melody all the way up to the chorus. Given what I’ve heard so far, I didn’t expect the chorus to go all-out in hammering the distraught emotions home like the original did, and my predictions were largely spot-on; the pianist delivered an ear-pleasing passage that, while not emphatic, still retained the despair or the original in a way that resembles a plea for help.

The bridge is fairly simple in the way it moves along whimsically, but I do like how you can catch snippets of the chorus in the improvisation before it segues back into the chorus and ends it there.

Tracklist

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Review: As I sit here and watch Usagi Drop (as of this writing, I’m only about halfway through), I’m struck by the show’s many simplicities. There’s the simplicity of the premise, which sees a man in his early 30s, Daikichi, take in a young relative of his and the life-changing events that result from it. There the seeming simplicity in its art which uses a soft color palette to give us the feel that what we’re watching is an ephemeral snapshot to be savored. And there’s the simplicity of the soundtrack, which features soft acoustic guitars, soothing woodwinds, and bouncy piano melodies that never feel hurried as they echo life’s meanderings. All of these components join together in a way that – yes – simply works. Though there are a few moments where the soundtrack dispenses with a few unmemorable moments, for the most part, Usagi Drop’s music wraps all the character and emotional moments together in a package that leaves you with a warm glow in your heart as you watch the bond between Daikichi and his ward, Rin, grow.

The heartwarming emotion that bubbles up through Suguru Matsutani’s compositions are present from the beginning and carries itself throughout the rest of the soundtrack. With “Otozureta Henka,” Matsutani uses a combination of the acoustic guitar and piano to lightly brush us with a gentle wave that soothes and calms as the melody wanders about. A minute in, there’s a shift from the uncertain meanderings to a touch of loneliness fused with a childlike innocence to depict Rin. But the track succeeds in getting her story across. It establishes her circumstances and ends strongly and compassionately as Daikichi makes the decision to take in his six-year old relative. The violins give off a sigh, and their new life begins.

Otozureta Henka

[Audio clip: view full post to listen]
Many of the successive tracks reinforce this newness and most of it comes through quieter tones. “Hitori no Onnanoko” starts with a glimmer of lightness as the piano and violin conjures the anticipation the characters have for their new lives now filled with endless possibilities. As the piece proceeds, the woodwinds, from the flute and oboe to the clarinet, fill the air with a feeling of quiet contentment. Though it feels fleeting at times, the piece subtly wins your heart in a way not unlike how Rin wins Daikichi over, and Matsutani really works the dominant motif in this track and carries it to other tracks on this album to show the many sides of their relationship. In “Wakare 2″ the piano echoes the tenderness as well as a hint of loneliness and hope, but the theme’s rendition in “Soudan” departs from the more melancholy tones with a charming track that exhibits a spunky aura through a staccato delivery as each subsequent note hops about in a spritely manner.

Soudan

[Audio clip: view full post to listen]
This upbeatness materializes further in many of the album’s other tracks. “Asa Gohan,” as expected out of that track title, rouses you out of “Ketsui’s” melancholia through the harmonica and guitar’s combined effort while “Yokorobi’s” energy is absolutely infectious as it joins synth and guitar into a laid-back track that has a dab of euphoria. “Odekake,” while also laid back, uses the synth, harmonica, and acoustic guitar’s ability to weave a pleasing aural fabric that raises the excitement level just a bit further to where the track bubbles with a subtle sense of exuberance.

Yokorobi

[Audio clip: view full post to listen]
There are moments of sadness, delivered through “Gimon’s” monotonous ambiance or “Urei’s” slower arrangement of the serene “Kouki Mama” to depict Kouki’s mother’s loneliness, but the heartwarming tracks are where the album shines. Of those, nothing quite matches up to “Koigokoro,” where the three-beat measures flow out gently and serenely, bringing with it the quiet sense of joys to be had. Although simple, the steady gait with which it moves leads you towards a state of stability and happiness. “Shiawase” takes this mood a bit further and “Fureai” ends it all on a good note, leaving you at peace and feeling optimistic.

Koigokoro

[Audio clip: view full post to listen]

Fureai

[Audio clip: view full post to listen]
Finally, I must profess to enjoying whenever composers take opening or ending themes and set them to piano. While “SWEET DROPS” feels like a standard piano arrangement that doesn’t quite stretch the envelope in its adherence to the original, “High High High,” the ending theme, easily wins me over. Its relaxing, mellow pace, combined with the piano passages with the occasional syncopated measures allow it to give off a stylistically different vibe from the rest of the score, making it a fun listen.

High High High -piano version-

[Audio clip: view full post to listen]
In Usagi Drop, Suguru Matsutani has come a long way from his earlier effort on Nodame Cantabile’s soundtrack. While the latter is made up of snippets that never ingrain themselves in your consciousness, the heartwarming aura that radiates from the former will forever carry the day. These sentiments that effortlessly worm their way into your soul is what makes all the difference, as the lingering feelings of joy and comfort invite you to listen and savor all that it has to offer.

Rating: Good

Tracklist

[[Visit blog to check out this spoiler]]

Review: The opening notes of “So Ra So Mi” ooze absolute contentment. Its tempo moves at a languid pace, wafting a pleasant, dreamy aura through a repetitive motif carried first by the clarinet, then the violin, to evoke an image of a more idyllic era. Never too fast nor too slow, it channels a mellow sound which works well to immerse us in a charming atmosphere as the piece fittingly depicts the relaxed pace of life on display in Ikoku Meiro no Croisee.

So Ra So Mi

[Audio clip: view full post to listen]
Ko-ko-ya, the group responsible for Ikoku Meiro no Croisee’s soundtrack is no stranger to the realm of anime soundtracks, especially in sculpting that image of an idealistic, romanticized Europe. Their members are talented, including the likes of violinist Yuki Etoh and clarinetist Saeko Kurokawa, but the biggest influence by far comes from the Choro Club’s Shigeharo Sasago. With Sasago’s involvement, the ARIA-esque sound makes a wonderful return as Croisee’s music ebbs, flows, and ripples forth serenely and wonderfully. Ko-ko-ya’s prior work on Ristorante Paradiso’s soundtrack captures this unhurried ARIA-esque atmosphere nicely but I daresay that Croisee’s OST takes that earlier effort and does it one better.

Croisee’s soundtrack beats Ristorante Paradiso’s largely through the slew of emotions on display, bringing with it a greater level of variety to keep the listening experience fresh. Its melodies follow the gamut of emotions Yune feels as she adjusts to her new life in Paris. The mood that follows from “So Ra So Mi” is one of excitement, brought about by “Hanasaku Machi wo Waltz” which exudes the joys and thrills to be had in discovery. Its spritely, animated melody imparts the sort of childish curiosity and delight, with a dab of pleasant whimsical excitement. Although other tracks like “Soup Kakimazete” also captures those moments of euphoria, nothing quite hits the excitement quota quite like “Lady no Otanoshimi,” with its lively violin and accordion melody that rains energy through its festiveness as it makes you want to get up and join in the celebration.

Hanasaku Machi wo Waltz

[Audio clip: view full post to listen]

Lady no Otanoshimi

[Audio clip: view full post to listen]
As the excitement dies down, the measured pace of life and routine settles in. In “Hannari,” the mood of the soundtrack moves towards the introspective, and with it, a daydreaming sound delivered by the clarinet and violin which floats on the piano and acoustic guitar’s harmonic layer to envelope the listener with contentment. The energy moves up a few notches in “Hizuru Tokoro no Shoujo” as the piece adopts a brisk, upbeat tempo while the violin and clarinet showers us with the warmth and joy to be had through the simple pleasures life offers up.

Hizuru Tokoro no Shoujo

[Audio clip: view full post to listen]
Starting with “Sore wa Yokatta ne,” the lonelier moments materialize, fitting in with Yune’s sense of isolation and initial homesickness as she adjusts to Paris. The piece, carried through the xylophones, is somber as it rides atop the acoustic guitar to draw out that desire to find a sense of belonging. “Tooki Hi no Omoide” is also poignant. Its clarinet introduction already feels spiritually burdensome, but once the violin enters with its wails of anguish, it’s enough to bringing the listener to the brink of despair as they empathize with the piece’s despondent sentiments. And yet, there is hope. “Kazoku ni Naritai,” coming in near the end of the soundtrack, soothes the soul with a contented piano melody, instilling a sense of optimism and belonging while easing the pain as the characters look forward with a sense of confidence.

Tooki Hi no Omoide

[Audio clip: view full post to listen]

Kazoku ni Naritai

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While the instrumental pieces shine most wonderfully, the vocal tracks are a mixed bag, but are, at worst, mediocre. Of the songs featured on this album, Megumi Nakajima unsurprisingly succeeds in winning listeners’ hearts with her excellent version of “Tooku Kimi he.” The way she delivers her vocals taps into the sense of longing not unlike the one brought forth in Macross Frontier’s “Aimo.” A.m.u., for her part, does well in exuding a positive feeling through “Tomorrow’s Smile,” as she captures the sense of quiet optimism through her soothing singing that sees a bit more energy in the chorus. Nao Touyama’s songs are appropriately sung in a child-like voice, fitting, given that she is Yune’s seiyuu. There are moments during which I found it charming, but Touyama’s singing never engages my emotions quite like the way Nakajima is capable of doing. As for Mamiko Noto… well her vocals aren’t much of a revelation. Noto has always been a two-bit singer at best despite her accomplishments as a seiyuu and her performance on “Takaramono” only confirms this. Here, her delivery is a bit too breathy for my tastes, making it just slightly distracting from what is an otherwise catchy melody.

Tooku Kimi he

[Audio clip: view full post to listen]
Still, the instrumentals eclipse the songs by a fair bit and yield a most enjoyable offering. The melodies contained within, especially “So Ra So Mi” and its various arrangements, go a long way towards making Ikoku Meiro no Croisee’s soundtrack a memorable experience. Between ARIA, Yokohama Kaidashi Kikou, and Ristorante Paradiso, it’s probably safe to say that any project Shigeharu Sasago touches can be counted upon to deliver with the relaxing vibe that makes for music that soothes the soul, allowing you to temporarily escape the stress and pressure of day to day life by relaxing and unwinding to such calming fare.

Rating: Very Good

And so they did. The “Overture” ushered me into an eerie, mysterious world through its familiar synth-driven dissonance which bore a hint of sadness once the trio’s voices entered, sounding out an air filled with longing and letting the notes linger on to drive that emotion home. Then, the instrumentals, which had proceeded gently to accommodate Kalafina’s entry, turned grim, making it an excellent way to transition into the emphatic display of anguish exhibited in “Lacrimosa.”

The dark atmosphere seemed to grow thicker as “Lacrimosa’s” introduction wound its way through the audience with its hints of tragedy fully materializing in Keiko and Wakana’s Gothic-inspired vocals. I was particularly struck by how forceful their delivery was and how well the two harmonized from the stanzas all the way to the chorus, captivating the audience in the process. Wakana and Keiko continued their splendid vocal rapport in “Kagayaku Sora No Shijima Wa” as their voices drifted in somberly to draw out the loneliness and the heartache found in that song.

But nothing on the setlist quite compared to the rendition of “Fairytale.” The delivery gave me goosebumps as the music flowed out, first with its ethereal, but serene introduction, and then with Wakana’s and Keiko’s melancholy delivery which reached deep into my soul to tap into that feeling of sorrow borne from a fleeting memory. “Oblivious” would also have a similarly strong impact through its hauntingly beautiful melody that spoke volumes with regard to the emotional burdens which prevent the song’s subjects from moving onwards freely. The concert also featured Eve no Jikan’s “I Have a Dream,” which saw Wakana reach into her wellspring of emotive vocals to draw forth a feeling of hope and optimism that left me uplifted through the warmth the performance radiated.

Although most of the songs featured Wakana and Keiko, Hikaru would get a chance to shine once “Magia” popped up. This song, as expected, was hard-hitting in its audacity and I really loved that assertive, dominant intonation that passed through Hikaru’s lips.

Right as soon as “Magia” finished however, something must have happened because “Sprinter” gave Hikaru a hard time as she proceeded to sing the entire song out of tune. While she did exhibit difficulties earlier during her small parts in “Fairytale,” “Sprinter” really showed the extent to which she needs to work on her live vocals. Whether this was because of her relative inexperience (compared to Keiko and Wakana, who have worked with Kajiura through FictionJunction) or nervousness, it’s hard to say, but “Sprinter” was easily the concert’s lowest point. That said, she did redeem herself during “Hikari no Senritsu,” which closed out the concert well with its folksy rhythm and instrumentation.

Hikaru’s relative newness wasn’t the only thing to give rise to consternation. During the course of the concert, I also found the performance aspects lacking. Musically, the concert was fine, but the onstage choreography, like the singers’ movement or ability to excite the audience, didn’t work nearly as well. While Hikaru compensated for her off-key singing through some smooth, delicate hand-motions and Keiko remained vivacious throughout (of the three, she was the most pleasing to look at since her face was animated and lively), a lot of the eyesore came through Wakana, who moved with the grace of someone with an icepack on her back. Her arm’s gesticulating was very stiff; a shame because of the three singers, she stood out as being near-flawless in the way she delivered her vocals.

I do think that part of the blame for the performance issues lies in the fact that the Club Nokia was a poor choice of venue. Kalafina’s music isn’t exactly the kind that people are going to move to, unlike say, Nirgilis’s energetic electronica, which works wonderfully in a club setting. Holding this concert in the Nokia Theater (a completely different venue) would have been far preferable because it would have allowed the audience to sit down and really soak in the music better.

It also didn’t help that the Club Nokia’s lighting effects were flat-out stupid at times, especially during “Kyrie,” where the strobes were on at full blast. Anyone who is seizure-prone probably couldn’t have been too happy at that display. Lastly, the Club Nokia stage itself was hardly a pleasure to look at since it lay completely bare aside from the trio; I was puzzled why they didn’t bring in a fog machine or something because that alone would have done wonders to help amplify the mystical aura, making for a better presentation overall.

Granted, none of these issues should detract from the fact that, musically, the Kalafina concert was a success and that comparatively, this was my second favorite musical performance at Anime Expo. Even if the choreography was a bit of an eyesore, I can still close my eyes and allow their vocals to sweep me off my feet, allowing me to feel not only the painful and the sorrowful emotions that ripple forth in most of their music, but also the boundless hope for that brighter future.

[[Visit blog to check out this spoiler]]

For further impressions, feel free to hit up Jason Napolitano’s concert report over on Original Sound Version.

[Photo Credit: Kaori Suzuki at Sony Music Entertainment Japan]

And then, along came Nirgilis.

Their entry was marked by grandeur. Minoru Kurihara and Yuki Inadera were the first to come on stage, setting the Club Nokia concert venue alight with an electronica beat which was then mixed in with Richard Strauss’s glorious “Also Sprach Zarathustra” to herald vocalist Acchu Iwata’s arrival. The whole atmosphere was electric, and if I hadn’t listened to Nirgilis’s music prior to attending the concert, my expectations would have been through the roof. But good thing it wasn’t because had I been expecting a lot from them, their first song, “Brand New Day,” would have brought it crashing down back to Earth.

Make no mistake about it, Acchu Iwata’s delivery of “Brand New Day” was very much wanting throughout. Her ability to hit the higher registers often fell flat and there were plenty of times during the concert where she’d resort to simply shouting the lyrics rather than actually singing them. Yuki Inadera, for her part was extremely energetic when banging out the rhythms on her pad, but her vocal delivery was fairly husky and it did not mesh cleanly with either the instrumentals or Acchu’s voice. These troubling signs indicated that this was a concert to forget.

Or was it? By all means, the vocal performances should have been a deal-killer, but there was something else afoot. As I watched the trio twist and dance their way about the stage, singing out of tune, it struck me just how raw the performance was. It would have been one thing had this rawness materialized in a limp sort of delivery, but no! Here be a raw, unbridled sort of passion! The energy that they exhibited was contagious, and they had very little trouble transmitting that spark unto the audience. It got to the point where the vocal component seemed almost a triviality.

During the course of the concert performance, Nirgilis displayed their sixth sense when it came to exciting the audience. Otherwise dull, repetitive songs like Birdy the Mighty Decode’s “Kiseki” and D.Gray-man’s “Snow Kiss” were given new life as they became far more energetic and engaging live through the addition of Acchu’s and Yuki’s movements on stage. Their performance of Deadman Wonderland’s “Shiny Shiny” was also far better than the studio album’s version purely through the way in which Acchu got the audience to perform a nifty hand motion that Nirgilis developed specifically for this concert during the chorus.

But the best illustration of their affinity for the audience came in through a call and response routine in which they fittingly went through a list of anime pop-culture items. It started innocuously enough; shouts of “Pokemon!” and “Pikachu” were followed by “Dragonball!” (with a side helping of “ORE WA GOKU” and “KAMEHAMEHA”), then “One Piece” (along with Luffy’s signature attack), “Bleach,” and, finally, some Space Invaders. Things then took an odd turn after that when Nirgilis concluded this segment by launching into a rousing cry of “SEX! SEX! SEX ON THE BEACH!” As out of left field as that rallying cry was, I couldn’t help but giggle at this display. The main thing to take away from this bout of silliness is that Nirgilis might not win any awards for vocals, but they sure have a certain cachet that makes their performances damn fun to watch.

For their last official song, Nirgilis performed the song that I had been looking most forward to: Eureka 7’s “Sakura.” Though this version lacked the awesome choral accompaniment of “Amazing Grace,” you could definitely hear the rhythmic structure underlying that famous piece when it was just the electronica on its own. Minoru Kurihara, the Nirgilis member in charge of the rhythms and mixing, also used this opportunity to bring his DJing skills to the fore by mixing in the famous opening lines of C&C Music Factory’s “Gonna Make You Sweat (Everybody Dance Now)” to make this rendition a head-boppingly fun one.

Throughout the concert, the passion and genuine love for the musical performance that Nirgilis exhibited was what made them so captivating. For that, a lot of kudos should go to Minoru and his mixes for driving the concert’s energy level with his brash sound (I think I’m fully justified in labeling his mixes “wickedly awesome”) and to Acchu and Yuki for stirring the audience. In light of this performance component, the Club Nokia was an excellent venue for Nirgilis to showcase their sense of fun and their energy, both of which joined together wonderfully to allow performer and audience to feed off of each other, bringing about a virtuous, synergistic cycle that made this concert experience one that won’t be soon forgotten.

For another take, I do recommend giving Shimaru’s Nirgilis Concert Report a read over at Behind the Nihon Review.

I may have to defer to the crowd reaction for this one since I’m not the most qualified person to answer such a question. And based on my observations, the crowd was thoroughly entranced; the overall consensus would probably be an enthusiastic “YES!” From my initial vantage point on the balcony, I could see the audience participating wholeheartedly in the performance and, in doing so, putting their own stamp on the whole Vocaloid phenomenon. During the concert, their glowsticks would be moving frenetically during the explosive rock tracks, gracefully during the more flowing songs, or excitedly without care for rhythm when Miku or her other cohorts appeared.

But me? Somehow, I wasn’t able to break through the mental hurdles of fully embracing the notion of a virtual diva. Part of the problem was that the Mikunopolis concert doesn’t have the same sort of unifying feeling that most other concerts possessed. And by that, I mean that I don’t think there was one single reason as to why people attended and enjoyed this concert.

Were people there to witness the technology? There’s no doubt that seeing Miku and company come to life through the projection screen was pretty thrilling, making it one hell of a visual treat. The rapid-paced transitions from one song to the next, while they left fairly little room for the audience to take a breather, were dazzling in the effects that were used. Vocaloid characters would sometimes materialize from clusters of light, some of which were color-coded to correspond to specific characters, thereby heightening the excitement, for instance, when pink-colored light heralded Megurine Luka’s stage appearance. No discussion of the technology would be complete without a mention of how well the characters’ hair and clothing flowed as they danced on stage. The clothing, in particular, was very appealing as they included Rin’s black and white dress that she donned for her performance of the imploring “Meltdown” and Miku’s elegant garb during “Moon.” All of their clothing and hair swished, swayed, and fluttered along with the characters’ movements, making the entire presentation feel pretty lifelike. If showcasing the technology was a goal, Mikunopolis sure was successful in meeting those high expectations.

Were people there simply to see Miku and company? Of the possibilities, this one seems the least explanatory since Miku herself is a bit of a blank slate upon which the fanbase can pour out their (to quote Kylaran’s post, Virtual Diva) “mini-narratives in the form of songs and videos, which in turn brings her to life in such a way that she’s more than character.” So seeing how Miku and friends effectively derive much of their personality through crowdsourcing and the hundreds of interpretations that go into that, it’s very possible that some fans simply attended to listen to a specific song exhibiting a specific trait belonging to their most favorite Vocaloid character.

For me though, my focus was solely on the music, which means that my primary treatment of Mikunopolis is that of a music festival that showcases composers who happen to use Vocaloid as their medium of choice. And there was a lot of music to explore too! The Mikunopolis concert included 23 tracks (setlist located at the bottom) such as the classic ryo(supercell) song “World is Mine” to more recent fare like wowaka’s “World’s End Dancehall” which was sung in garbled English. Because of the edge that Vocaloid has over people, it was more interesting to see performances of songs such as “Two Faced Lovers” or cosMo＠(暴走P)’s “Disappearance of Hatsune Miku,” which wouldn’t otherwise be performable by a mere human because both songs featured sections in which Miku would sing the lyrics at a rapid-fire pace – far too fast for any human to enunciate clearly.

But while the Vocaloids took center stage and occupied much of the attention, I found the human elements that surrounded Miku and company to be far more interesting. Prior to the concert, the audience was treated to a DANCEROID routine and I was fascinated in the way the Vocaloid phenomenon spawned a side group of fans who simply love to dance along to Vocaloid music. The way they moved in sync with the music was delightful as they brought out the visual aspect of the rhythms and melodies, rendering the song as a whole engaging on more levels than simply just the auditory one. A shame they didn’t stick around on stage for the remainder of the concert because I would have been interested in seeing human dancers and Miku perform side by side.

The human musicians who were on stage were also excellent, and Miku did take the time to introduce the electric guitar, bass, percussion, keyboard, and the string ensemble. The electric guitarist, in particular, had quite a few shining moments through his solos, which carried an element of virtuosity missing from the vocal part of the concert. His riffs imparted a high-octane dose of energy during the bridge in “StargazeR” and kept me entranced with the skill that he displayed. But nothing impressed me more than the incorporation of the strings and keyboard, especially when it manifested in the wonderfully sublime melody in the closer, “Hajimete no Oto,” which carried the sentiments that made up Vocaloid’s past, while ushering it forward into the future with a gentle touch of hope and optimism.

There may not have been a single, overbearing reason that brought so many fans to the Nokia Theater in the first place, but the fusion of technology, character/personality, and music was on full display, and the overall experience was very exciting. Vocaloid technology is still a long ways away from reaching the point of dominating the musical sphere, and in its current incarnation, it’s not yet able to replace the sort of genuine human emotional expression that lies at the heart of music. So in light of all this, Vocaloid has been, and currently, still is, a curiosity more than anything else, but I do feel the rumblings of change. The proliferation of auto-tuned singers means we’re probably a few steps closer to virtual idol-dom. Now whether the winds of change will whisk away human singers completely, who can say, but for now, I’m not ready to bet against the human performers. At least, not yet.

[[Visit blog to check out this spoiler]]

As they say, meeting up with people you’ve corresponded with over the internet is the most fun part of an anime convention. Not only do you get the joy of putting a name to a face, the social barriers are greatly reduced, and so, things never really feel that awkward when they otherwise might be. The turnout was pretty huge too. In addition to the regulars like Mike, Rome, Jeremy, and Dan of Anime Diet, Kylaran, Shinmaru, Yumeka, Jan Suzukawa, Mystlord, Benu, and Canon2D, we were joined by the likes of eternal, kevo’, the duo from Borderline Hikkikomori, Toastcrust, Fangzhao, and calaggie and we were even able to re-enact the Madoka fanboy wars which got amusingly heated at times. Also managed to catch omo a few times too! And, of course, I was able to meet up with Jayson Napolitano over at Original Sound Version. Jeez, that’s a ludicrously long list of names and it sure made it difficult to go anywhere without bumping into someone I know.

The hectic whirlwind that was Anime Expo means a lot of material that I’ll be churning out over the next few days, but for those who want a quick rundown, here’s a few brief shots/reactions I had on a day-to-day basis after the jump:

Day 0:

• Maon Kurosaki seems really new to this whole press interview thing, which might not be a surprise given that she’s only transitioned into releasing music recently (September 2010). Until then, she had been a singer/live performer at the Akihabara club Dear Stage.
• During the Nirgilis interview, I was caught with my pants down when it turned out that their producer was Hirofumi Iwanaga, the same guy who worked with Rasmus Faber on his Platina Jazz stuff. Needless to say, I wasn’t prepared for that encounter and he came across as being a nice, but busy guy. Still thrilling all the same and I expressed how much I/we enjoyed those jazz arrangements and the only thought I have now is how I’d like to be able to sit down with him longer for a chat.
• I’ve discovered I probably prefer interviewing producers than artists themselves. They’re the ones that drive much of the process and we don’t really get to see that side nearly enough. They also probably have more interesting things to say (more relevant to my interests at least).

Day 1:

• Kalafina panel was the first order of the day and that was a bit of a letdown (for reasons that I shall reveal in a later post!). Part of it does involve the level of control the management puts on them though. “A bit” is also a key phrase since I did learn quite a few other things.
• Nirgilis concert was a half and half sort of deal.
• Arrived late for the Name That Anime Tune contest. I think that had Shinmaru and I arrived on time, we could have been able to do well for ourselves. Alas, we were forced to play as armchair contestants. Still fun though (especially when the contestants couldn’t identify the Gao Gai Gar theme! I mean, they practically say the name of the show in the lyrics! Hilarity ensues).

Day 2:

• Miku conference was very informative and I took a healthy set of notes. I really disagree with their execution and marketing plan, but I’ll save that for another post (probably will collaborate with Kylaran on this one).
• Maon panel was pretty decent and I learned a bit more about her. Some of those PVs they showed offered a nice amount of fanservice in the form of Maon cosplaying various characters.
• Kalafina concert, like Nirgilis, was a bit of half and half. It also made me wonder about the inverse relationship between the quality of choreography/audience interaction and the quality of the vocals.
• There was also that Mikunopolis concert that mostly left me baffled/befuddled. Mostly because I’m not quite sure how this concert report will shape up. It doesn’t help that I don’t know most of the songs that played either, so I’ll be hunting online for a setlist over the next few days.

Day 3:

• My panel was good-not-great. The presentation was marred by video issues and some hefty foot-in-mouth disease when my mouth started going on autopilot during “Mezame” (I do know the difference between a violin and a guitar! Honest!). But the feedback I got back was generally positive and it gives me something to build on for next year (Doing presentations is a skill I really need to polish).
• Nirgilis panel was pretty solid and the qualities they showed on stage transferred to the panel room. They’re nice, funny, and laid-back and seem to be more open than any of the other musical artists who came to AX this year. You can totally tell since their producer wasn’t sitting next to them, casting a steely eye over would-be question askers.
• The Maon concert might have been the best concert of Anime Expo if you looked at it from a holistic view. The quality was fairly even on the musical and performance aspects and that made it a great experience. Also, it might have been the only show where I was happy with the footage I took (a Flip is fine for some occasions, but don’t rely on it for zooming too far).

Miscellany:

• I bumped into Nirgilis at pretty much all the Club Nokia concerts I went to. Should have used their panel as an opportunity to ask them what they thought of Kalafina, but it didn’t occur to me until after that panel had ended.
• The only concert that I have the setlist to is Kalafina (of the artists who came, I’m most familiar with their works). I’m flying blind for Mikunopolis, Nirgilis, and Maon Kurosaki though, so hopefully someone will post those up soon.
• I really need to practice my verbal communication skills a lot more.

That’s about the scope of it. Met old friends, made contact with new folks, had a great (if tiring) time. I’m also wondering what sort of economic impact has befallen Kinokuniya since they didn’t have their usual bargain bin for soundtracks/other CDs this year, which means I can’t share what sorts of filthy lucre I was able to purchase because I didn’t buy anything. Them’s the breaks I guess.

So without further ado, for those of you who are going to Anime Expo and are very much interested in anime music, I’ll be doing a presentation that focuses entirely on Yuki Kajiura’s music. Details for the event are as follows:

Date: July 03, 2011
Time: 10:30 AM
Location: LACC 515A (shown as LP 3)

That Kalafina ended up coming to this year’s rendition of Anime Expo and will be performing a live concert the day before was a stroke of good fortune (I submitted the idea for this panel long before I knew they’d show up as guests!), so with luck, those who are interested in Kalafina and attended the sold-out (!!!) concert will show up for this panel.

As you can probably guess from the post title, this is going to be more of a broad overview than anything else, but I’m really excited to see how this one will go and hoping that all attendees (oldies and newbies) will get something out of it. In a sense, this Kajiura presentation is a bit of a litmus test to see how well-received a discussion/presentation of anime music beyond the OP/ED themes will fly towards a more general audience and if it turns out well, you can definitely expect more from me in the future.

Wish me luck, and I hope to see all of you there!

Review: The weight of the drama and the emotions that run through each episode of Ano Hana is already fairly substantial as the anime hits upon the memories of the past which lay entrenched in the characters’ minds. But what allows these sentiments to persist beyond their usual lifeline lies in the seamless transition from the episode’s contents to the ending theme, which features Ai Kayano’s, Haruka Tomatsu’s, and Hayami Saori’s sonorous rendition of “Secret Base ~Kimi ga Kureta mono~.” Though this wouldn’t be the first time “Secret Base ~Kimi ga Kureta mono~” is used as an anime’s ending theme, its implementation in Ano Hana is very nearly flawless.

Much of the credit for what makes this song shine goes to the three seiyuu whose voices each contribute their own flavor, whether they sing individually or together. Ai Kayano’s is soft and cute. Though she is initially tentative in her approach, her intonation expresses the extent to which she yearns for that bygone era. Haruka Tomatsu, with her fuller voice, builds the song’s foundation by kneading this desire further as she reminisces. The tempo at which she proceeds is fitting, mimicking the slow pace one takes while walking down memory lane. Hayami Saori picks up where Tomatsu leaves off and of the three, hers is packed with the most sorrow as she indicates through her intonation that, as much as she cherishes that memory, there’s no going back; life must go on. Ai Kayano’s sighs later on in the song reinforce this feeling of resignation, and as each of the singers take their turn to shine their light upon a fragment of their memories, the song builds up to that heartrending chorus.

The chorus melds the seiyuu’s voices wonderfully. Their plaintive delivery, heavy with heartache, reflects the extent to which they cling to those cherished memories, so much so that it prevents them from moving on. I really love how the nostalgia they convey bubbles forth so effortlessly, enveloping me in its warmth along with the singers’ side serving of mournfulness that sublimely conveys their regrets. Through it, the melancholy buds bloom in a brilliant display, thereby tying the song’s sentiments to that of the anime’s.

Since ZONE came out with “Secret Base ~Kimi ga Kureta mono~” back in 2001, the song has been covered numerous times. Scandal released their take on it in November 2010 and, as I alluded to it in the intro paragraph, the seiyuu from Today, in Class 5-2 sang that song for the show’s ending theme. Of those covers, only Ano Hana’s version is able to match the original’s emotional expressiveness pound for pound. While Scandal’s version falls short through their bold, husky delivery (an inappropriate interpretation if there ever was one) and Today, in Class 5-2′s skimps on the emotional impact because of how quickly it proceeds, Ano Hana’s version does what all good EDs do: it ladens us with each episode’s sentiments, allowing the emotions to linger on, long after the episode has ended.

Rating: Excellent

Ano Hana ED – secret base ~The Gift You Gave To Me~ (10 years after Ver.)

Review: Is it “Resuscitated Hope’s” opening chords that immediately grab your attention with their sense of the dramatic? Or perhaps it is Lisa Komine’s spellbinding voice that’s at work here? Both the vocals and the instrumentals are executed deftly; Lisa Komine’s delivery is distant, but the way she sings the introduction has the feel of a heartrending narrative along with a plea for better times. This approach works in immersing me in the song’s veiled melancholia as the short, beautiful piano accompaniment carries the piece to the heavily-accented section that leads into the first verse.

Here, Komine’s voice grows soft, conveying the hurt brilliantly through an intonation that is partly bitter, filled with loneliness and suffering, but nevertheless strives to find that ray of happiness. I’m especially drawn in by the mood transitions as it goes from the longing, despairing tones to the determination carried through the chorus, which gives the entire song the feel of a personal odyssey as the subject shakes off the shackles of regret to seek a brighter future through this renewal in purpose.

And if that wasn’t enjoyable enough, “Resuscitated Hope” continues to develop. The second verse is calmer as the piano accompanying Komine brings about an introspective quality to the song. Even though the lead-up to the chorus still has that dab of pain and anguish, the chorus itself carries the steadfast determination all the way to the inspiring bridge, featuring a tone of confidence borne by the strings and piano and a free-flowing electric guitar segment. The part after the bridge is light and uplifting, unveiling the most hopeful part of the song as Komine’s smooth delivery hearkens towards a glowing sort of happiness as the painful memories and emotions dissolve away, allowing the seed of optimism to grow and flourish.

The second song, “unity,” packs sentiments similar to Spice and Wolf’s “Tabi no Tochuu.” When “unity” first starts, Lisa Komine’s voice is forlorn, filled with the nagging sort of wanderlust fueled by one’s longing desires, and the addition of the backup vocalist and the short Celtic motif reinforce the emotions that underlie the need to travel. As much as the desire to journey exists, the way the song trudges along hints at misfortune and despair. I’m most struck by how deliberate this song is in its progression; each step feels heavy, bringing to mind images of travelers engulfed in loneliness and burdened by the weight of the past. Unfortunately for them, there’s no end in sight; the imperious bridge evokes countless obstacles, and the anguish that Komine delivers afterwards suggests that there’s no escaping the pain and that the only comfort to be had is that the suffering is shared between the two travelers. But the all of this Komine conveys well, making it a rare B-side that succeeds in entrancing its listeners.

Prior to Resuscitated Hope / unity, my exposure to Lisa Komine’s vocals consisted of listening to the ending theme to Ristorante Paradiso. Even back then, I was struck by how effortlessly she brings a sense of cheer and whimsy to the song along with a tinge of innocence. Her aptitude for conveying emotions carries over to this single, and even if the mood is much different than what I’ve heard from her, she’s shown herself capable of delivering diverse moods to match the expressiveness required of a given piece, a skill that eludes far too many J-pop artists.

Rating: Very Good

Gosick ED1 – Resuscitated Hope

Gosick ED2 – unity

A month ago, I had talked about the degree to which Madoka’s background music resonated with the anime community. All of a sudden, people were talking about how epic Yuki Kajiura’s music sounded and the fan response got to the point where we saw people trying to recreate all those memorable pieces as a stopgap while waiting for the soundtrack’s release. As a BGM fan, I felt like I was witnessing something special.

So as we look around today, the music scene surrounding Madoka is still alive and well and there have been a few arrangements that have caught my attention since the last post. My musical tastes, being what they are, tend to gravitate towards certain types of arrangements moreso than others, so that’s what you’ll be getting here. Anyhow, if you’re curious, check them out after the jump!

I’m usually not one for OP/ED arrangements because they tend to be a bit overdone. However, there’s just no way I can turn away from this, so here’s the first one. It happens to be my favorite of the lot, and so, I do hope you enjoy this jazz arrangement of the ending theme, “Magia:”

Talk about not being able to have seen such an arrangement coming. A pure piano arrangement? Sure! Get someone to play a mournful violin solo of the song? Yeah, I can see that. But smooth jazz? The cognitive clash that comes out of this is part of what makes it enjoyable because the original stood out for being a really heavy, intense piece, filled with a discordant atmosphere throughout. Here, the keyboard work is so mellow that you can relax to it, perhaps in a jazz lounge with a pint in hand. It also makes a departure away from the source material through an enjoyable bit of improvisation in the middle to spice it up a bit with variety. I don’t often see jazz arrangements outside of the Platina Jazz series, so this was a very welcome change.

The next piece features my favorite instrument: the piano. Now, piano arrangements are a bit more common, but once again, most tend to cluster around OP/ED themes. This one takes things a bit further through a 7-minute piano medley of the BGM. It’s something I’d like to see more of at any rate:

It starts off with that melancholy piece that feels emotionally heavy, as if it’s weighted down by the tragic burdens the show’s characters must carry. As the piece begins to shift, it slows down just enough to reinforce the burdening image before picking up the tempo to transition into Mami’s battle theme. The piano work here feels really intricate, and the way it’s performed brings a grandiose aura to the piece as a whole. The sense of motion associated with all the action going on makes it feel like this piece flies at a rapid pace while showing off Mami’s dignified, cool demeanor, brimming with confidence.

Those who’ve seen the anime know this flash and dazzle doesn’t last, and the piece moves into the minor key where things turn dark and grim, with dissonant tones coming to the fore before ending almost abruptly (guess what happens here!), replaced by an ominous, chaotic atmosphere. Here, the lower registers give off a groaning sound that, when combined with the rest of the piece, feels grotesque, befitting a fall from grace. The ugly, monstrous feeling dominates this section, depicted through the piano’s grinding melody. Soon after, tragedy sets in and with it, the short motif from Fur Elise which serves as a transition to Kyoko’s prayer.

I really like Kyoko’s prayer. There’s a melancholy gentleness of spirit flows about it as though to say that she knows what must be done and what must be done is so very heartbreaking. Unfortunately, there’s no hope in sight as the piece winds down with “Magia,” leaving you hanging without a faint glimmer of hope to really cling to. It’s depressing all the way to the end.

Is this next piece hopeful? I’d hope so since it’s very much emblematic of the anime’s end. Here’s yet another piano arrangement courtesy of the talented Animenz:

While Kajiura is best known for her brilliance with EPIC violins and choruses, it’s very easy to overlook some of her more tender themes. I really like how this theme channels that bittersweet emotion just right. Here’s what Animenz says about the piece in general:

I also noticed that this is one of the few soundtracks of Madoka which is actually in a major key. And damn, I really love this track, it’s gives you a good feeling and at the same time it’s incredibly sad. As if the music wants to tell you: “Don’t worry, everything will be fine“. Once again, many thanks to Yuki Kajiura for composing this epic piece of music!

Well, I couldn’t think of how I should name the sheet (I actually thought about naming it Untitled soundtrack 2 but it sounded just silly) and so I decided for “last theme – miracle” because it’s the last heard soundtrack of Madoka. And a miracle truly happened.

Some Miscellaneous Notes:

There’s more than just these arrangements floating out there. For one, Zakufan showed me an arrangement of the brooding, melancholy theme played by a music box. There’s also an ocarina arrangement tucked in his set of links!

I’m extremely curious to see what kind of Madoka arrangements come out of this summer’s Comiket. Sure, we’ve had a ton of electronica and trance versions of anime music, TAMusic is probably going to put out more garbage, but wouldn’t it be great if there were some symphonic, piano, or jazz albums of anime BGM mixed up in there somewhere? I’ve raised the possibility of someone going all out and setting Madoka to a symphonic poem. I’d do it if I knew enough about music composition to do it.

Tracklist

[[Visit blog to check out this spoiler]]

Review: It isn’t often that I can name a series in which the anime’s content and its soundtrack are joined together so seamlessly that both entities are rendered inseparable, but Kara no Kyoukai is one of the few that qualifies. As I watched the movies, the animation and atmosphere bring out a dark and mysterious world filled with danger and despair, qualities heightened further by Yuki Kajiura’s evocative compositions. In just the very first track, “in the garden of sinners,” Kajiura’s music impresses. The piece starts out filled with dull-grays through the soloist’s muffled, distant delivery, but once the rest of Kalafina joins in, the sheer beauty carried through their voices provides a splash of radiant coloration onto the canvas. Yet, the tone is overwhelmingly lonely and tragic. These emotions mirror the atmosphere that blankets much of the setting and the characters and lay the groundwork for what’s to come.

in the garden of sinners

[Audio clip: view full post to listen]
So with that, the journey begins. “Thanatos,” which covers the first Kara no Kyoukai movie, Overlooking View, starts off with a heavy, dissonant atmosphere, but quickly discards that chaotic air in favor of a melancholy one. Echoes of the loneliness that pervade the first track are present here, brought out compellingly through the flute melody that is as beautiful as it is sorrowful. The general mood is further augmented by Kalafina’s harmonizations which, like elsewhere in the album, yield a pensive, ethereal quality, along with a hint of mystery and a knowing nod towards the tragic threads interwoven in Kara no Kyoukai’s narrative fabric.

Thanatos (Melancholia)

[Audio clip: view full post to listen]
As you approach “Thanatos’s” halfway point, flashes of redemption are heard through the strings, but just when you think that the piece is setting itself to wind down on a comforting note, the synth makes a return, and with it, the ominous aura borne by a dissonant tone that sits in the background. The suspense is heightened, and I like how its accented through the solitary xylophone which conjures up in my mind a disconcerting feeling in the way it tiptoes around almost deliberately, as though some supernatural power is toying around with the protagonist like a cat playing around with its prey. A heavy rhythm goes in to reinforce this mood, setting up a strong foundation for the action-filled moment where the furious guitar shredding summons a hauntingly beautiful, graceful action theme. Before the piece closes out completely, the flute comes in and later, a cello, which, together, bestow a sense of finality. Through death, the pain and suffering are over.

Thanatos (Suspense)

[Audio clip: view full post to listen]
“Thanatos” serves as an excellent example of the myriad of emotions that arise from the lengthy tracks on this album. And I do mean lengthy. Though the pieces tend to be long, the people who put this soundtrack collection together did their best to take the more prominent themes from each of the Kara no Kyoukai movies and join them in such a way that each track tells a complete story. There are moments, like one in “something and nothing” and “kara-no-kyoukai” where the transition from one musical segment to the next is either noticeably clumsy or the themes lack coherence, but for the most part, the melodies are stitched together seamlessly into an enjoyable package that’s high on the nostalgia factor for those who’ve seen the movies.

In short, unless I really missed out on something, all of the standout melodic segments and main themes are there. For example, one of the pieces that I had been looking forward to was the waltzing theme from A Study in Murder (Part 1). As I watched the movie, I found myself captivated by its melody; not only was it catchy, it encompassed a wide emotional spectrum. Materializing in “something and nothing” and “quiet romance,” between the two, I like the latter a bit more because of the variety of instruments that contribute to the heartrending feelings. The piano is more sobering, setting the melancholy tone which the flute draws upon to elicit those yearning emotions, while the strings carry a more dignified aura that has the feel of an emotional odyssey as it expresses the determination to find and unite with loved ones once again.

quiet romance

[Audio clip: view full post to listen]
As you move further along, there’s a lot of variety to enjoy, from the ominous aura of “paradox” to “magician’s” grotesque dance. The heavier atmosphere dominates much of this soundtrack, but there are lighter moments too. Of those, I’m most fond of Azaka Kokutou’s appropriately spunky theme, which can be heard in the beginning of “when the fairy tale ends.” The piano’s light steps bring a smile to my face with its bright and cheery tones, a feeling further enhanced through the ensemble’s pomp and splendor. But that’s not all it has to offer because “when a fairy tale ends” continues to engross, particularly when Kajiura calls in the introduction to Kalafina’s “Fairytale,” which soothes me with its tranquil delivery, and when the oft-played action theme comes in to keep me engaged through its twists and turns that help propel the action along and make the battle more exciting.

magician

[Audio clip: view full post to listen]

when the fairy tale ends (Azaka’s Theme)

[Audio clip: view full post to listen]

when the fairy tale ends (Fairytale)

[Audio clip: view full post to listen]

when the fairy tale ends (Action Theme)

[Audio clip: view full post to listen]
But all things must come to an end, and in Kara no Kyoukai’s soundtrack, that end is in “snow is falling.” The track initially features Kalafina’s soothing, hopeful vocals which shine in their own right, but what I really like is how this piece functions as the bookend as it reprises the main theme from “in the garden of sinners,” except this time, it’s played by a full string ensemble. The calming aura that issues forth through the combination of the strings and chorus provides closure as the horrors of the past become naught but a distant memory. Life can go on as normal, and the optimistic mood offers the assurance that all is at peace and shall remain so.

snow is falling

[Audio clip: view full post to listen]
When I first saw the tracklist, I was a bit torn in the way they decided to condense Kajiura’s score for all of the Kara no Kyoukai movies into such lengthy tracks, but looking back, this was the right decision that, more importantly, benefited from stellar execution. As I listen to this album, my memories of the movies are rekindled. Yuki Kajiura once again shows her deft handling of the action and atmosphere, and through her music, I once again find myself immersed in the world sculpted by Kinoko Nasu, with its dark, mysterious overtones scarred by tragedy and sadness but buoyed by the promise of hope and salvation.

Rating: Excellent

As I mentioned in the review, I love the way this piece brings out a dreamlike quality that’s wrapped in a bubble of innocence as though it were trying to shelter and protect the dreamer within its warm embrace. To watch Makoto Yoshimori go about performing this piece, it’s as if the music controls him rather than the other way around. His body sways to and fro, guided along gently by the flowing melodic currents that, though they sometimes bring about disappointment, never lose sight of their child-like idealism. The aura of hope remains with the piece to the very end, and our hearts bid the characters well in their attainment of happiness in spite of their tribulations.

The only question that surfaces as I watch the video is this: has Makoto Yoshimori gotten so prominent as to warrant a piano recital? It’d be interesting to know if any other anime composer outside the Big Three ever conduct such affairs since we never seem to hear about them.

Hat tip goes out to (who else?) Ottocycle.

Review: We’ve all heard it before: the fluttering emotions, the nervous glances, and the outpouring of emotion, all set to a quiet piano/string ballad. Songs that cover the concept of first love don’t get any more orthodox than that and frankly, I feel that it’s overdone. After the nth iteration, I desire a presentation that’s different, something that’s off the beaten path.

Hyadain’s latest creation does just that. Hyadain, the internet pseudonym of composer Kenichi Maetamada, has made a name for himself through his anime and video game music arrangements which have reached memetic status on both Nico Nico Douga and Youtube. He first popped on my radar through the perennial favorite, “Four Elemental Fiends” from Final Fantasy IV, but the song that really turned me into a fan was the “Western Show” from Super Mario World. Both of these works are packed with energy, excitement, and hilarity borne from Hyadain’s lyrics and his singing, and he takes these quirks into “Hyadain no Kakakata☆Kataomoi-C,” giving the first-love theme a much-needed, enjoyable facelift.

The descent into “Hyadain no Kakakata☆Kataomoi-C’s” madness begins with an energetic opener, expressing all the anxieties that two people experience while in the throes of first love. Here’s the catch: the presentation suggests that both people are in love with one another, but neither person realizes this and so deny the mutuality of their emotions. At least, that’s the feeling I get from the interaction between the male vocals (sung by Hyadain) and the female vocals (also sung by Hyadain!) as the female part finishes up the male’s initial train of thought, together providing an excellent setup for what follows as the emotions get the better of them.

The break from this mounting insanity begins with a five-note chiptune introduction that segues into a more melancholy segment. The tempo slows and I like how the rhythm makes this section feel heavy, as it depicts the full weight of the emotions bearing down upon the singer. It also helps that, in addition to the chiptunes, this section features a sprinkling of doo wop in the background to make it all the more engaging. Once it closes out, we’re back to the craziness!

And crazy it is. Rambunctious too. Even if you don’t know any Japanese, the repetition of syllables should make it obvious that the singers are stuttering in their nervousness as their minds become unhinged by the chaotic swirl of emotions they experience. Hyadain’s delivery reinforces this state of mind and the turbulence continues all the way up to the end, interrupted only by a bipolar section that adds variety to all of the pandemonium going down.

The B-side, “Choose me feat. Sasaki Sayaka” is an interesting follow-up in that this piece reeks of desperation. Whereas “Kakakata☆Kataomoi” is plagued by doubts and denial, but delivered in an energetic fashion, “Choose me” takes those same feelings and takes them lower into the realm of despondency. The delivery feels like a series of questions directed at one’s self-worth since the tone starts off with a hint of loneliness, but increasingly grows agitated, approaching the point of anguish. This anguish materializes through the autotune-enabled lilt, which, if you weren’t paying attention to the lines that came before, should seize your attention as the song heads to the pleading intonation of the repetitious “Choose me Choose me,” followed by the hail of “no no no nos.” The depressing aura that exudes from this section, combined with the subsequent rapping that feels self-flagellating, brings the tortured emotions to light. Though it might not have Hyadain’s usual brand of silliness, “Choose me” showcases how his arrangement of the instrumentals can be used to channel the heartbreak and bring a good complement to “Kakakata☆Kataomoi.”

Because of my close connection to video game music, Hyadain’s arrangements of game music are dearer to my heart than his more recent “Kakakata☆Kataomoi,” but the passage of time should take care of that. Nichijou’s manically-paced opening has been delightful through and through and I have no plans to ever skip that intro while watching the anime.

Rating: Very Good

Nichijou OP – Hyadain no Kakakata☆Kataomoi-C

So with April soon over, it’s time to acknowledge that Anime Instrumentality has passed its third year in existence, with all of the privileges that the milestone brings. For one, it puts us in a class alongside other blogs that somehow aren’t sensible enough to die at the commonly-observed two-year mark. Also, there are quite a few curmudgeony benefits that come with age that’ll explain a bit later.

But first, the reminiscing! That naturally leads into my attempts to come up with a series of posts that try to cover a wider topic so that they’ll bring some diversity to the steady stream of review after review after review. Last year’s focus was on all of the anime music, both BGM and OP/ED, from 2000-2009 (indexed here for your pleasure). That series was a whole lot of fun to write and people enjoyed the snippets that I put up. This year, as you can probably guess, the focus is on anime composers. In the interest of completeness, we’re finding that this series is actually very challenging to write about, mostly because listening to a composer’s entire discography is no small task. Still, we’re having fun with that and you can expect Taku Iwasaki’s profile to come out sometime in May.

A lot of other things happened too. The Aniblog Tourney brought us into the mainstream (and scaring away our hipster fanbase for good). I attended Anime Expo as a member of the press corps, albeit, for Original Sound Version (but still got an article about Megumi Nakajima and May’n as well as an abridged concert report out of it anyways). We also scored an interview with the jazz arranger, Rasmus Faber (and you really should check out his music!). Oh, and we also doubled our dedicated staff, adding Aftershok and Yu to the team, encouraged others to contribute guest posts, and through that, possibly discouraging anyone else from creating a site wholly devoted to anime music critiques/reviews. That last bit is kind of a shame, but what can you do?

I mentioned above that the three-year mark entitles me to certain benefits. Not to the point where I can pontificate like what Andy Rooney does every week (if Anime Instrumentality reaches the five-year mark, I’ll think about it then), but close. A few examples:

• When normal, average people take me out to karaoke, expecting me to join in and sing Justin Bieber or Lady Gaga songs with them, I’m allowed to be totally shameless in picking and singing anison while they look on, wide-eyed in shock, surprised that I can sing in Japanese (with the aid of Romanized lyrics written on a piece of paper). Besides, I’m not familiar with any Top40 song that’s come out in the last 20 years in the States anyways, so it’s a bit of a lost cause to expect me to know the tunes that everyone else knows.
• I can loudly proclaim that the music today is worse than the music from ten years ago, abetted by the idol phenomenon that prizes looks over ability and whose fans have the attention-span of a gnat as they move from idol to idol with no concept of loyalty. And then sheepishly admit that I don’t really listen to idol-pop. In all seriousness, the only issue I have with idols is their ubiquity. Sometimes, I wish they’d just go away, but most of the time, they’re pretty easy to ignore.
• Complain when shows with good music (I’m frowning at you, Cross Game) never get a soundtrack release. Complain when shows with good music only issue soundtrack releases bundled with the DVDs/Blu-rays. This latter issue is actually becoming more and more commonplace. While I can see why the bundling happens (I doubt soundtrack CDs sell all that well unless it’s for something like Macross Frontier), it absolutely drives me nuts all the same. Sometimes, we get lucky like we did with Working!! and Kara no Kyoukai’s soundtracks. Sometimes not. All I can say is that Madoka better have a standalone soundtrack release or I’ll quietly rage. Or find some more productive way of showing my displeasure.

So yes, Anime Instrumentality might be old, but it has not quite reached the point of being crotchety just yet. Either way, we look forwards to seeing faces old and new as we venture into our fourth year of existence!