Before I start, let me just say that this was the first time I have ever been to a J-pop concert. While the bulk of my experiences had been symphonic performances or musicals where I can sit back and let the music wash gently over me, AFA’s concert was akin to being stuck in a washing machine in a spin cycle, amidst hundreds of people waving lightsticks, singing along with the artists, cheering and screaming themselves hoarse. And to make matters worse, my spirit was not even a fraction of theirs, and while my heart did beat a little faster, there was not a moment where I even came close to losing myself.

Still, throughout most of the concert, I was in awe. This was partly due to the volume being high enough to knock the air right out of your chest, but more due to the sheer quality of some of the performances. Itou Kanako started things off and made an immediate impact through her vocal clarity and strength of delivery in ‘Uchuu no Engineer’. While her stamina did not last through the entire performance, Itou Kanako is definitely more than auto-tune and audio editing. It helped that her English is excellent, and she came across as a really sweet and likeable person through all the MC sessions. It was definitely the best opening I can hope for, and she is one person I’ll definitely pay to watch again.

Following Itou Kanako, we had Milky Holmes, whose autographed poster I’m still trying to auction off. While their song offered the classic energetic and bubbly fare, the whole performance fits much better in a grade school setting than among our group of audiences.  To their credit, they did work up the crowd a fair bit, and as seiyuu singers, their singing is half-decent.

Third up is the powerhouse: Angela. Through this group’s sheer amount of experience, they were demonstrably in an different league from Milky Holmes. Their audience engagement is just off the charts; Atsuko led the audience on a dance to accompany hers and Katsu even jumped off the stage to get up close with some of the audience. I really liked the selection of their tracks, from the track that propelled them to stardom, ‘Shangri-la’, to their debut ‘Asu e no Brilliant Road’, and even a surprise reveal in ‘Cruel Angel’s Thesis,’ which drew thunderous cheers from the crowd. While Angela did give up a whole lot of intonation and music quality for such a performance, I can only say that each song was meaningful in its own way and I had never been this happy having my eardrums ripped to shreds.

With Kalafina, the audience went wild. It seems that May’n may just have to give up her spot as the AFA icon in a year or two. Starting with their trump card ‘Magia‘, I stood in absolutely awe over Wakana’s performance. Her voice was stronger, brighter and richer than ever, and while I had complained about that before in their singles because it comes across as being unexpressive, it worked great for a live performance. Also, her aria was just, dare I say it, heavenly.

Keiko would have held her own had the microphone volume been adjusted higher for her, but as it stood, it was really difficult to even hear her solos. Hikaru, for her part, was having one of her better days (i.e. no horrendously off-key notes), but her performance did not come across as confidently as the others’. Still, Kalafina gave the most musically sound performance, and there was an odd sense of satisfaction seeing these girls whom I’ve had my eyes on since their debut finally propel themselves to international fame.

Wrapping up, we have the resident diva of AFA: May’n. Like I mentioned in my most recent review, I am not too fond of most of her releases since her voice is like a rubber band.  My friend takes it a step further, comparing it to a spider web: thin, taut and sticky. I admit that’s an fair description, but I also have to marvel at how May’n is just a natural performer. With the confidence rivaled only by Angela, May’n’s presence absolutely dominated the stage. And while this has been said a thousand times, I have to say again: her songs sound much better live than they do on record. However, the pounding synth and bass, along with May’n's extreme and uncontrolled fluctuations in volume did leave me with a headache less than halfway through.

Overall, the concert has been a whole new experience, and the songs are going to keep replaying in my head for some time to come. While I did not go away with a boatload of adrenaline like everyone else did, and my complete lack of stamina for such events tells me I should hold off my pilgrimage to Animelo for at least a few years, I did enjoy the night thoroughly. Still, my ideal concert remains as one which takes my breath away through the music and the strength of the singer’s vocals, not with speakers that churn your insides around like soup.

Review: There are many bones I have to pick with May’n's singing: it’s contrived, it’s thin, and frankly, it’s like a rubber band that’s ready to snap any moment. There are only a few of her works that I can sit through without a splitting headache at the end and “Brain Diver” is one of those rare finds.

With its rapid tempo, we don’t get many sustained notes from May’n – the sort which tear at her throat and my sanity. And to her credit, May’n does handle fast and rhythmic songs quite well. “Brain Diver” capitalises on her talent and astutely hides all her weaknesses. Her overly dramatic delivery, which usually raises eyebrows, actually raises the quality of this song because it goes together rather well with the discordant synthesizer sounds, making the song even catchier. It’s generic pop, no doubt, but if she can make it sound as good as it did, there is really nothing I can complain about.

But as we progress on to the B-side, I am reminded painfully that the usual May’n fare is never far away. Starting off with instrumentals that sounds right down the Maaya Sakamoto alley, my stomach just churns while waiting for May’n entry. As expected, she completely desecrates the song with a delivery that is still as contrived as ever. Her complete lack of meaningful modulation, the painful amount of repetition, and the slow pace of it all make this song plain torturous.

Still, I tip my hat off to composer Tomokazu Yamada and arranger CHOKKAKU for managing to bring the best out of May’n, who actually ain’t all that shabby. Spare me the “Scarlet Ballet” and “Ready Go!” nonsense; this is the song I want to hear when I attend AFA this weekend.

Rating: Good

Phi Brain: Kami no Puzzle OP – Brain Diver

Tracklist

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Review: To get into the ‘spirit’ of things for Halloween, Anime Instrumentality proudly presents yet another holiday special. In a season iconically represented by ghosts and other supernatural beings delivering a frightful experience, there is nothing like a healthy dose of Mononoke to raise hairs and send chills down the spine. Best of all, you won’t need to feel silly about it afterwards.

Instead of going with the standard convention of listening to tales of witches and goblins, we shall listen to the tales of Mononoke, all weaved together beautifully through what is easily Yasuharu Takanashi’s greatest work thus far. This story begins not with Bulwer-Lytton’s ‘dark and stormy night’, but the taiko and koto situated amidst an uneasy serenity, which are later joined by the harpsichord and the haunting vocals to set up Mononoke’s premise. Although the entry of the shakuhachi brings in the feeling of loss, the track stays true to the anime’s placid approach and avoids dramatic or extensive displays of emotions.

Oboroge

[Audio clip: view full post to listen]

After the short prelude, we are immediately drawn into the heart of the action, with a fast-paced track which combines Japanese flutes, vocals, violins and low brass, all of which is set to a strong and relentless drumbeat. The ponderous sound that results ratchets the tension by quite a bit as it highlights the dangerous and unforgiving task of exorcisms.

Mononoke

[Audio clip: view full post to listen]

While the first two tracks perfectly represent Mononoke as a whole, the later tracks delve deeper into the show’s subtleties. “Ononoki” tells of the formation of an ayakashi, starting with a loneliness which transforms into a heart-wrenching sense of anguish once the vocals come in, before the desire for vengeance takes over. The way the track builds up to incorporate the shakuhachi, voice and percussions one by one draws out those many different sentiments, making it the most evocative track on the album. “Samishige”, on the other hand, moves towards more peaceful, if melancholic waters, as this requiem leads a spirit to its salvation. “Isamashige” is a return to action as it embodies the battle against the spirits. Its rapid progression and frenetic melody played by the nohkan masterfully depicts the warped realm of the supernatural.

Isamashige

[Audio clip: view full post to listen]

Takanashi also brings his musically evocative powers to the fore through “Ayashige”, which conjures an image of spirits frolicking at a festival, showcasing Takanashi’s dexterity with Japanese instruments as he composes a piece consisting solely of taikos and kagura suzu. Also of note is “Abunage”, which illustrates the thick fog of deception the Medicine Seller has to pass through in order to arrive at the truth. The light tapping of the shime-daiko amidst the heavy, punctuated beats symbolises him connecting the dots while still being thwarted by the many obstacles in his way.

Abunage

[Audio clip: view full post to listen]

Ending off the album, “Utsurigi” closely mirrors the melody and instrumentation of the first track, “Oboroge”, but the note of finality presented through the violin segment marks an end to the tales of Mononoke.

Utsurigi

[Audio clip: view full post to listen]

The traditional Japanese instruments and composition effectively bring out the unique flavour in these tales, but unlike other soundtracks which serve to accompany the anime, Mononoke’s OST tells its own stories in parallel with those in the anime. The more you listen, the more you unravel them, and despite the air of dignified impassivity it maintains, the emotional weight of these tales will hit you. All these truly puts Mononoke in a class of its own, and a masterpiece in every right.

Rating: Masterpiece

Review: In the hustle and bustle of our lives, we hear everything except our own hearts. We rush through one assignment after another, one day after another, hardly ever given the opportunity to listen to ourselves and get in touch with our surroundings.

“High High High” symbolises the image of utopia most of us hold: to get away from the frenzy and just take to nature, leaving behind all our woes and doubts. The warmth behind the vocalist’s voice highlights the bliss in immersing himself in the most primordial joys, from the sound of the waves, to the wind on his face, to just listening to his favourite song on the radio with his companion beside him. Nearing the end however, we get a sense that even this joy is but mere escapism, making way for the second track in this single.

“Yamerarenai Tomarenai,” unlike the A-side, is one more grounded in reality, expressing the frustration we all have with the same routine, day after day, giving us little room for a breather. Starting with a messy and cacophonous beatboxing, the vocalists’ entries are tinged with gloom and irritation. In the chorus section though, we get a realisation that it is not whether we have the opportunity to pursue our passion, but in making that opportunity, and in making meaning behind our daily chores. The secret to happiness, it seems, is not in our environment but in our perspective.

In the next track, “Sha La Ossan,” we find ourselves back in the carefree world, but this time, in the role of a middle-aged man who still has the heart of a youth, living out his life without restraints in an attempt to break free of the mould crafted by society. After this upbeat track, we are once again swept into melancholy with a song that reminisces on the days past, and the friends whom we have lost touch with. The knowledge that eventual parting is often inevitable makes it even more painful, as one tries to live through all the precious moments one last time before saying goodbye.

With the heartfelt and unpretentious way the songs are put across, listeners can easily make an emotional connection with each of the songs, especially when the themes are so close to our own hearts. By acknowledging our sentiments subtly, by letting us know that there are still many beautiful things in this world we can lose ourselves in, this single is arguably the closest thing to getting out of the rat race for just a moment.

Rating: Excellent

Usagi Drop ED – High High High

Review: While the realm of UVERworld and the like may be the average J-pop consumer’s backyard, this is rather unfamiliar territory for one like me, who prefers to explore the relative unknowns. My previous experience with this band came from listening to the openings from Gundam 00 and D.Gray-Man, neither of which was to my tastes. Because of this, the last thing I expected was for Ao no Exorcist’s opening to leave a lasting impression. Yet UVERworld defies my preconceived notions by producing an opening which I have listened to over and over again. The sheer quality of their effort is evident when each listen still manages to capture my attention.

“CORE PRIDE” packs the punch I felt was missing from many of their earlier anime collaborations. The piece opens with a drum solo, rapidly followed by a bold saxophone line, a boldness further emphasized by the opening rap. There’s an air of frustration in the beginning that builds up nicely before it evolves into a sense of determination, a resolve to uphold one’s pride and principle against all odds. While the vocals aren’t exactly polished, the song does precisely what it is supposed to do, behaving almost like a rallying call with its brash and upfront delivery, for one to pursue the innocence and dreams of his youth.

While “CORE PRIDE” is easily the best opening of the 2011 spring season for me, the B-sides fail to leave much of an impression. I’ll remember “Kyouchi Mantra” as the moderately entertaining but repetitive instrumental track which acts more as an overtly long interlude than a track on its own. The interlude then makes way for another unimpressive track. While it tries hard to be deliver something exciting, the way “UVER Battle Royal ~Ketahazure Mix~” was put together was plain awkward, with the mixing being too thin to really achieve the adrenaline rush it seeks to deliver.

Though the B-sides prove to be comparatively lackluster, good OP/EDs seem to be hard to come by these days, and finding one that warrants repeated listens seems to be the exception rather than the norm. Though the amazing quality of CORE PRIDE was not sustained throughout the single, I will gladly make my peace with the sheer awesomeness of the A-side alone.

Rating: Good

Ao no Exorcist OP – CORE PRIDE

Review: ON/OFF’s works have generally given me the impression that they hinge wholly on composition and arrangement. Their Vampire Knight and Durarara!! openings worked out for me, though just barely. “Rondo” relies on, (surprise) its rondo structure in the opening stanza to stand out, even though it degenerated into generic pop soon after. “Futatsu no Kodou to Akai Tsumi” and “Butterfly” both had the piano working its magic, where it set a strong punctuated beat in the former and embellished the melody in the latter.

While those aforementioned works are moderately enjoyable, ON/OFF has no such luck this time with ‘Hajimaru no wa, Sayonara.’ This song, composed by T.M.Revolution and access’s Asakura Daisuke, goes very heavy on guitar and synths. Looking at Asakura’s past collaborations, it is clear that nothing short of overwhelming confidence and daredevil delivery can carry his music across, something which is sorely lacking here as the vocals provided by ON/OFF are just too heavy and monotonous.

‘Hajimaru no wa, Sayonara’s’ listening experience is like sitting in on a karaoke session, where the only concern is getting the words and melody out, with a few random crescendos here and there to try to add a bit of flavour. It does not help that the song is very repetitive, and the vocals are so heavy that they bulldoze through everything without letting you hear much of anything else. Add to that too heavy a dose of optimism, and the song gets almost obnoxious by the time it’s done.

The B-side suffers a similar fate. Despite having a rather promising instrumental opening, the effect is soon lost. Besides the usual lack of anything good, ON/OFF does a rather horrible job at handling both the high and low notes. The higher ones sound very tough on them, as they strain to meet the song’s technical demands while the lower ones have some weird twist to them, which adds little musical value.

In a way, ON/OFF came onto the music scene without any ability to bring the composition further, a skill they still have yet to acquire three years into their career. In fact, the whole idea of having two vocalists with voices which can hardly be differentiated from each other makes little sense to me to begin with. I still have yet to find out who they manage to sell their singles to, but to those seeking good music, please do not bother with this one.

Rating: Bad

Beelzebub OP – Hajimaru no wa, Sayonara

Setlist:

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If you’ve ever listened to a Ghibli orchestral arrangement album, you will be awed by the intricate instrumentation and expression of Joe Hisashi’s timeless music. Now imagine watching an orchestra consisting of over 200 players and a choir of over 600 members performing the pieces under Hisaishi’s energetic conducting. With a variety greater than that offered by any arrangement albums to date (then again, it is commemorating Ghibli’s 25th anniversary), Joe Hisaishi’s concert at the Budokan brings to fans and regular listeners alike a feast for one’s senses and a performance for the ages.

What is good about it? Well, almost everything. From the dark and tribal ambience created by the booming beats of the Taiko and tinklings of the triangle in “The Curse God” (Princess Mononoke), to the solo violinist’s soulful performance of “Mother’s Broom” (Kiki’s Delivery Service), to the nostalgic piano melody of “The Bygone Days” (Porco Rosso) played by none other than Hisaishi himself, each piece is a musical and emotional adventure for listeners, and the experience of watching Hisaishi bring out the magic in his music is just phenomenal.

Hisaishi’s competence with orchestral instruments makes his works perfect for this sort of presentation. In Joe Hisaishi in Budokan, the orchestra helps bring out the different dimensions in the music and the nuances between different segments. “Tonari no Totoro,” for example, started out slowly and gracefully with strings accompanied by lower brasses. The different sections then took turns at the main melody, steadily increasing the energy, reaching its peak at the portion after the piano.

Hisaishi’s skill at the piano is another reason for the success. There haven’t been many good renditions of “The Merry-Go-Round of Life,” but Hisaishi gentle piano introduction to the piece nails the it spot-on. Many versions are just unable to articulate the elegance of the piece, and they often turn out overpowering and clumsy. Here, the orchestra takes the baton after Hisaishi’s soulful introduction and builds it into yet another fantasy for listeners to immerse themselves in.

The invited vocalists also hold their own against the might of the orchestra and Hisaishi’s presence. My personal favourite is Hirahara Ayaka, who sings “The Name of Life” and “Reprise” from Spirited Away. With her repertoire of classical renditions, it is of little surprise Hirahara’s vocals worked wonders with this orchestra, and her deeper voice almost caresses listeners with its gentleness. Operatic Soprano Hayashi Masako also provided her version of Princess Mononoke, which I personally thought could only be expressed fully with a piano or strings solo. But with her virtuosic expression, and an aria accentuating the anguish, I found myself grudgingly admitting that she has not let the music down the slightest.

With such a talented group of musicians, Hisaishi himself as conductor and pianist, this performance truly does justice for his works. It is indeed a pity for anyone, whether Hisaishi fans or not, to miss this breathtaking performance. And if you weren’t already a Hisaishi fan already, I’m almost certain that by the end of the performance, you will become one.

Review: When one speaks of Gothic music, one would definitely mention the likes of ALI PROJECT, Yousei Teikoku and, for just a short period around 2008, Wakeshima Kanon. Wakeshima awed listeners with her debut single: Still Doll, but melted back into the shadows almost immediately afterwards. After her unbelievably bland second album, her comeback single Calendula Requiem was a surprisingly strong one, consisting of a collaboration with Antic Cafe’s Bassist to bring in an element of rock rivaling that of Yousei Teikoku’s while maintaining Wakeshima’s defining feature: the cello.

The first thing listeners may notice is the change in Wakeshima’s delivery. Instead of the cutesy quality heard in her second album, ”Calendula Requiem” opens forcefully, with a fusion of the strings characteristic to Wakeshima and strong bass beats defining Antic Cafe’s rock music. The compelling and almost hysterical lyrics mirror the somewhat careless way this track is put together, with abrupt transitions and rapid progression which bring out the many fleeting emotions just before death. The various instrumental solos of the cello, guitar and piano carry forth many desires, from the cello’s desperation to find its bearings, to the guitar’s anguish, to the piano’s sense of atonement.

The “Doll House” also proves to be a very memorable B-side, with its consistent beat that Wakeshima’s voice virtually dances around in its whimsical playfulness, while carrying with it an undertone of yearning for one’s freedom. The only piece which was not really to my taste was the second B-side, “Umigame Soup.” Though waltz is definitely something new from Wakeshima, the creepy factor from her dangerously innocent voice was a little over the top for me.

Nonetheless, this single is easily the best of all her releases thus far. The lyrics for the A-side may have been what swayed me a considerable amount, which is why the translation is attached below. But even without the lyrical factor, this single still adds a whole new dimension to Wakeshima’s works, giving other Gothic Rock artists something to watch out for as Wakeshima now proceeds to play on their home grounds.

Rating: Very Good

Lyrics

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Review: Those who found “Kagayaku Sora no Shijima ni wa” too bland, too lackluster, or simply too Kajiura for their tastes can rejoice in Kalafina’s comeback in “Magia.” While the Arabic style is far from masking the overwhelming scent of Kajiura, it is nonetheless in a class of its own, set apart from all the singles released by Kalafina thus far. (Though it may feel right at home in the album Red Moon)

The most commendable aspect is the fusion of folk and rock, which I confess is my favourite genre, and with that, the likelihood for a biased review. Still, who can argue that the A-side is unbelievably refreshing, with an uncharacteristically energetic and almost aggressive performance from the girls? Though Hikaru’s performance is still a little rough around the edges, the mood she puts forward fits in perfectly with the instrumentals. Keiko’s entrance also provides an excellent contrast to the intense delivery earlier, and is probably one of the few times where her stanza actually adds to the overall enjoyment rather than providing mindless fanservice for her large fanbase.

The B-side, unfortunately, does not deserve much praise. The last few B-sides have generally been sorely lacking, either due to the failure in delivery (“Adore” comes to mind) or a half-hearted effort from Kajiura’s compositions (“Sapphire” and “Utsukushisa” anyone?). “Snow Falling” encompasses both faults; it’s a victim of both poor composition and an even worse delivery which actually gives the composition something to be proud of.

I can think of only a small handful of artists who can bring across the theme of winter properly, given that it requires great gentleness of expression. Here, Wakana’s delivery is too overpowering, Keiko’s is far too harsh, and Hikaru’s is overtly cute. The only one who seemed to capture the feeling of snow is, oddly enough, the accompanying vocalist. The great differences with the way the song is performed further add to the overall messiness, making “Snow Falling” a poor complement to the marvel of “Magia.”

But for “Magia’s” sheer audacity, this single is worth it. Though by all means, skip the B-side. There is nothing there which captures the usual goodness of Kalafina.

Rating: Good

Mahou Shoujo Madoka Magica ED – Magia

Tracklist

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Review: Perhaps it is the irreplaceable vocals of the singer, the repetitive structure of J-pop or the limited number of instruments in songs, that there seems to be a rather small collection of J-pop instrumental arrangements. Pure -Aquaplus Legend of Acoustics- is one of the few of its kind, setting the standard by showing that instrumental arrangements of songs may turn out so well that they not only match up to the vocals version, they may even surpass it.

Heart to Heart
[Audio clip: view full post to listen]
Of the many difficulties in creating an arrangement album, matching the level of expression of the singer through the instruments may be among the toughest. In this case, the problem is overcome with both the instrumentalists’ skill and also the arrangers’ knowledge of what works well with individual instruments. In a track like “Heart to Heart,” whose lyrics celebrate the joy and anticipation of meeting one’s friend, the feeling is brought out by having a somewhat lonely cello solo near the beginning joined by the warm melodies of the violins. The violins get plenty of fast measures which give listeners the image of petals dancing in the wind, bringing across the feeling of excitement expressed in the lyrics.

Each to Their Own Future
[Audio clip: view full post to listen]
However, there is yet another problem when arranging songs into instrumental tracks: the song’s repetitive melody line. With the vocals and lyrics to entertain listeners, repeating the chorus 3 times or more is not much of a problem, but for an arrangement album, it can spell disaster. The arrangers avoid this by either varying the instruments around or relying on the instrumentalist to express the music appropriately. In tracks like “Each to Their Own Future”, where the melody is only played by one instrument for whole stanzas, the structure is kept intentionally simple so the soloist can express the music the way he wants. In addition, the periodic switch from the flute to other instruments like the piano or guitar also help keep the piece varied.

For Eternity
[Audio clip: view full post to listen]
Pure also goes beyond just the basic woodwind and strings instruments. Taking “For Eternity” as an example, the composer correctly noticed that the melody line is rather Eastern, and uses the erhu for the main melody. The erhu possesses a much wider range than the voice, and it takes advantage of that to work in octave jumps used to bring out the feeling of resolve in the chorus. While the melody in this piece is solely taken by the erhu, the piece is far from bland as the background instruments helps direct one’s attention to the important bits.

Powder Snow
[Audio clip: view full post to listen]
And the final bonus for Pure is in getting Suara to provide the vocals for four of the tracks. Suara’s strong yet gentle voice goes together beautifully with the acoustic instruments. And because there is as much emphasis on the vocals as on the instruments, the level of expressiveness is just breathtaking. In “Powder Snow,” Suara brings out the beautiful season of winter, as well as the yearning for one’s love. Coupled with the gentle accompaniment of the piano, acoustic guitar and cello in the background, the whole track comes across as warm and serene.

While those are the reasons which explains why I like this album so much, they are by no means the only ones. Indeed, I doubt I’ll ever stop trying to analyse every bit of this album, because it is just so intriguing and beautiful. And finally, though a really unprofessional act on my side, bonus points for having such a pretty cover.

Rating: Excellent

Review: As FictionJunction YUUKA, Nanri Yuuka has built up an excellent portfolio, being the first seiyuu to land a single at #1 on the Oricon Dailies. Her progress into a solo career, however, has not been as impressive. The first single, Tsukishirube, only showed off how hopelessly thin her voice and how limited her expression is. However, that may be attributed to “Tsukishirube’s” rather jagged melody.

Because of that, I was hoping that this single, with an instrumental part more in line with what Kajiura Yuki produces, will restore her reputation. Apparently, even that is a tad impossible. When performing under Kajiura as FJ YUUKA, Nanri generally utilises a much rounder and gentler voice for most of her works. Such a voice would have been excellent for Shizuku and its corresponding B-side, but that’s not what we get. Here, her voice gives listeners the idea that she is walking on a tightrope because her tones are very tense and unexpressive.

Just for fun, I decided to make a mental checklist of singers who I feel would do a better job on this single. By the time the songs ended, my list contained half a dozen singers. Not a positive sign.

The B-side saw Nanri with a slightly more carefree expression, though not by a wide margin. Perhaps it is because of “Heart Bible’s” more pop-ish feel that Nanri’s thinner voice did not jut out as much. Nevertheless, the track still borders on being shrill and can hardly be considered enjoyable.

“Heart Bible” instrumental’s opening somehow made me think of SID. And what do you know? This adds yet another singer to my list of artists who’d have done better, making it a waste of potential. From the instrumentals, I would have expected something light, cheerful, even playful. Unfortunately, I never got such feelings from Nanri’s vocals.

The highlight of this single is the instrumentals. “Shizuku” is absolutely amazing with its highly-effective attention-grabbing opening. But it gets better as the song progresses with a chorus section that feels almost complete on its own. This feature sets it apart from regular J-pop, whose instrumental tracks provide a backing for the vocals, but beyond that, don’t carry their own melody. The many layers of the instrumentation also enhance the overall effect of creating a highly complete and whole piece of work, making me grieve for the vocals version which wastes its potential by being unable to match the instruments.

I do not know whether it is really because Nanri’s voice fits such songs poorly or that her skills as a solo artist simply do not meet the cut, but I cannot dispel the notion that this single falls short. While I take my hat off to the composers, and highly recommend the instrumentals to all readers, neither the A-side nor B-side are really worth anyone’s time.

Rating: So-so

Tracklist

Review: In my opinion, seiyuu have been way too active on the music scene lately, and I strongly suspect that that is the reason why there was a near dry spell in terms of good OP/ED singles in recent months. Takagaki is one exception since she sells based on her skill as a singer rather than for voicing a marketable character. Her latest single proves to be a rather enjoyable one, but I feel that it still does not utilize the unique qualities of her voice to make this single stand out.

“Hikari no Fillment” reminds me of music that originates from eufonius, which generally does light and somewhat ethereal music, though the changes in melody are often a bit abrupt. Similarly in this song, the individual stanzas flow well enough, but the melody changes rather haphazardly from stanza to stanza without much continuity. Takagaki’s expression is also somewhat limited and her attempt at opening the song with some light chanting also falls flat by presenting something that sounds plain kiddy instead of surreal.

The song I find the most impressive in this single is the B-side, “Be With You.” Takagaki is a trained soprano and generally sounds her best when she’s singing at a higher register. “Be With You” rightfully makes use of her smooth and relaxed delivery of the high notes. Also, because the song includes both fast and slow segments, Takagaki can better vary her expression within the song. All in all, this track was much more heartfelt and natural.

“Be With You” is actually what I had been hoping for when I first found out Takagaki is releasing singles as a solo artist because it’s an example of a song that showcases her talent and differentiates her from other seiyuu singers. Unfortunately, from her two single releases thus far, this element is still sorely lacking.

Moving on to the second B-side, Takagaki presents her rendition of “Oh Happy Day.” Having never heard the original, I can’t really judge how good it is in comparison to other artists’. Basing my verdict on solely her performance, it is delivered confidently, and does show off her amazing range. While it does not leave that much of an impression, it was an enjoyable listen.

This single really highlights the fact that, with a proper composer and perhaps a bit more versatility on her side, Takagaki could potentially deliver something phenomenal. It hasn’t happened yet, but I shall patiently wait for that day to come.

Rating: Good

Review: In just over a year, Yoshioka Aika has presented us with 2 albums and 4 singles, something that I am thankful for seeing as how her songs stand out from amongst the crowd by utilizing many traditional Japanese instruments while following the structure of J-pop. Lately however, maybe due to the strain of so many releases in such a short time, the amount of variety between her works has been kept to a bare minimum. She still stands out from other J-pop artists, but her individual works are unable to stand out amongst themselves. It does not help the slightest that her debut song, “Harari,” features heavy use of Japanese instruments, while her more recent works have been pursuing standard J-pop that put in those Japanese instruments for the sake of it, almost like a token effort to keep people like me listening.

However, “Maikaze” provides a relief from that. Its short introduction is enough to tell me that this is the single that finally manages to stand out. The serene atmosphere created by the Japanese flute is gracefully taken over by guitar riffs, while still allowing the Japanese instruments their time to shine before the guitar fully takes over.

Yoshioka, for her part, shows that her singing technique is by no means inferior despite being a new artist. The fast, repetitive notes between 0:55 and 1:01, are handled deftly as she keeps her singing strong and clear, resulting in a performance that displays a controlled delivery and confidence, all of which make the listener feel at ease.

The other characteristic of any Yoshioka single is, regrettably, an unimpressive B-side. This one, like most others, sounds decent enough but is absolutely not memorable. Yoshoika’s performance with ballads has also been barely passable and without the elaborate instruments accompanying her, her voice almost has an annoying drone to it.

It is worth listening to the instrumental tracks, especially for “Maikaze,” the instrumental is really interesting even on its own, with  quite a commendable array of instruments. One really got to admire the amount of effort the composer put into the piece. Oddly enough, the instrumental for the B-side feels better than the track itself, as the plain instruments and Yoshioka’s backing vocals bring across the piece in a much calmer fashion.

“Maikaze” on its own was highly enjoyable and puts me in high hopes that Yoshioka’s future releases will live up to this standard. However, the B-side really dealt quite a blow to the single as a whole, which is a real pity, seeing that “Maikaze” is easily the best A-side that she’s released thus far.

Rating: Decent

Hakuouki Hekketsurokus OP – Maikaze

Soundtrack 1

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Soundtrack 2

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Soundtrack 3 -Disc 1

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Soundtrack 3 -Disc 2

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Review: One of the first tracks I have ever heard upon first venturing into the anime soundtrack scene was “Gokigen,” and it made an enormous contribution to why I have stayed here ever since.

Beginning
[Audio clip: view full post to listen]
The initial appeal of Katekyoushi Hitman Reborn OST is easy to pinpoint: sheer entertainment. That, and it’s aged well. While I have dumped numerous soundtracks I used to enjoy like D.Gray-man’s and Zombie Loan’s because the uniformity of their music meant that my interest in them died out fast, Reborn’s diversity across 3 separate OSTs is why it manages to stay appealing.

The majority of OST 1 is dominated by tracks similar to “Gokigen:” jazzy, cute, cheerful and yet diverse in its representations. It is not easy to compose something dynamic given the very simple and plain setting in earlier episodes, but Sahashi shows us that there are many ways to depict a laid-back and happy life, from the lazy nature of “Without a Care” to the faster, but still humorous and light-hearted “Battle 2.”

The latter half of OST 1 consists of short character themes. Each one is very distinct, and we hear a variety of themes and styles, from the unforgiving theme of Hibari Kyoya to upbeat synth tunes for I-pin. If one watches the anime, the resemblance between these themes and the actual characters is especially uncanny, and adds to the overall enjoyment as one will definitely relate to these characters upon hearing their themes.

Leader of the Discipline Committee, Kyoya Hibari
[Audio clip: view full post to listen]

Human Bomb, I-Pin
[Audio clip: view full post to listen]
The first shortcoming of this series of soundtracks is actually at the start of OST 2. Rather than taking on a new theme or style of its own, it picks up the mood from where the first leaves off, making it rather dull. Luckily, the lightheartedness does not last the whole way through, or it would have fallen into one of the common pitfalls that countless other multi-disc anime soundtracks suffer from: an innovative, enjoyable first disc followed by subsequent discs that feel like arrangements of the first.

The second half of OST 2 avoids this fate by featuring more action themes. This portion is comparable to Sahashi’s famous Gundam SEED soundtrack, yet it’s different enough that if I were given any random piece from either Reborn or Gundam SEED, I can still pick out which track belongs where. This brings me to comment on one of Sahashi’s wonderful traits: he pays attention to the small details and differentiates Gundam SEED and Reborn by instilling a sense of majesty in the former while delivering an aura of grace for the latter, which make sense given its setting. We are dealing with the formidable and composed Mafia after all.

The Enemy’s Fierce Attack
[Audio clip: view full post to listen]
The final BGM track of OST 2 brings in a whole new view: a battle of good against evil. And hearing this, who can resist going on to OST 3?

Holy War
[Audio clip: view full post to listen]
Sure enough, OST 3 starts with similar themes: namely, the clash between good and evil. Some of the earlier tracks like “XANXUS” rely heavily on the organ to deliver those foreboding feelings. Following those, we have tracks like “At the end of the struggle” which skillfully depict victory against all odds, where one can feel the resolve pulsing from every beat. The strings taking flight later in the track also bring across the exhilaration of eventual victory.

At the End of the Struggle
[Audio clip: view full post to listen]
Furthermore, the second half of OST 3 brings in new genres in rock and trance. In a soundtrack which contains a total of 91 tracks, changes in styles are absolutely necessary to keep the attention of the regular listener. “In Operation” successfully pulls that off with a relatively slow, but deeply entrancing electric guitar melody.

In Operation
[Audio clip: view full post to listen]
OST 3 also comes with Disc 2, which contains the full-length character themes. Here, we get to hear the many memorable themes of Reborn along with groundbreaking arrangements of previous tracks. It is not hard to see why Disc 2 provides a huge boost to the overall soundtrack once you examine the before and after tracks for the character ‘Rokudo Mukuro’. The second version is much more expressive, and I just cannot help but admire the amazing way the melody flows, something I would have easily overlooked given how quiet the first version is.

Before: Mukuro
[Audio clip: view full post to listen]

After: Addicted to the Mist, Rokudo Mukuro
[Audio clip: view full post to listen]
In sum, OST 3 is easily the best one out of the three, given its more diverse nature, from magnificent, to foreboding, to entrancing and to peaceful which work well to keep things fresh.

However, it is also here that repetition sets in. This problem, largely absent throughout the earlier discs, surfaces prominently in Disc 2 of OST 3. For example, the clip of Rokudo Mukuro was cut from the third minute on; until you reach that point, the track was just filled with subdued and painfully boring strings. This problem surfaces in every track of Disc 2, which makes it a little frustrating to get through.

The other complaint I have would be that there are not enough focus on the emotional aspects, though this could be just due to me wanting to hear more of the stuff Sahashi provides in Gunslinger Girl’s OST rather than any real lack of attention to this area in particular. Gunslinger Girl is a drama after all, so it may just be unrealistic to expect its standards of depth in Reborn.

Reborn makes up for that by being how it is: entertaining. Each OST is engaging and there is a distinct shift of focus from the first to the third. While the main themes remained similar, their delivery changes drastically through each of the soundtracks, bringing across something that’s appealing to both the palettes of ruthless critics and casual listeners.

On the whole, Reborn OST is very distinct, truly putting it in a class of its own. This is, in fact, the only OST to date which has kept me glued to my chair for 3 whole hours, and I can say that it was time well spent.

Rating: Excellent

Review: Once the regular Mizuki Nana, ELISA and Tamaki Nami J-pop gets tiring, one starts going off the beaten path, which does yield some treasures from time to time (though as a warning, it also yields its fair share of trash). Of the albums that I’ve unearthed lately, Inori no Kanata is a gem that continues to leaves an impact, even after countless, repeated listens.

The single starts off with the B-side, ‘TETHE’ALLA ~Tai no Kodomo Tachi~’, which begins majestically before subsiding into the quieter instrumentals at 0:32, for just a few seconds before the fanfare resumes. All in all, the short track packs a punch, propelled by Shikata’s voice, which is unbelievably versatile, and really heightens one’s expectations up for the rest of the single.

Shikata’s music stands out in the way it’s produced; both ‘TETHE’ALLA’ and the A-side, ‘Inori no Kanata,’ sounds like something from a soundtrack rather than a single in the way it immerses you into the setting. Shikata opens the song with a fragile and gentle voice, before the background vocals smoothly glissandos up, then down, as though it was opening the doors to the lush land of Tethe’alla. The dancing flute melody spread throughout the track and dramatic chanting at 2:55 adds to this effect, and it is the imagery conjured through the song that propels this single above the ordinary J-pop. In one word, this track can only be described as magical. For the casual listener, this track is probably the only (slightly) normal one, and a break from the eccentric B-sides.

In the second B-side, ‘Aki Kakushi,’ Shikata once again starts off with a lighter voice, which flows like poetry, all the way up to the festival-like chorus breaking in at 1:01. The song even goes as far as to insert the word ‘Utae’ (“sing”) right before the chorus. Given such cues are virtually non-existent in J-pop, having one here packs both the surprise element in addition to marking where the song fully opens up. On the whole, ‘Aki Kakushi’ fluctuates between calm and feisty stanzas, all with very appropriate transitions so that the impact is just right, neither too jutting nor too subtle. The beat and instrumentals are also heavily Oriental-influenced. The chorus, for example, sounds really Chinese. Personally, nothing delights me more than hearing the traditional in contemporary songs, so having such themes once again establishes Inori no Kanata as one of the most outstanding even in the realms of the unusual.

One point I must also comment on is Shikata Akiko’s vocals. I find it very hard to believe all the vocals are just provided by one person. The effect created is very choral in nature and we see so many different facets of her voice in this single. Indeed, the only close contender would be Kalafina, though I’d give Shikata Akiko the edge since her vocals are more versatile and the style is more unpredictable than Kalafina’s. Also, Kalafina has three vocalists compared to Shikata’s solo after all.

Another plus would be the sheer number of instruments used. While staples like violins are not forgotten, Shikata Akiko also includes the more uncommon additions like the Koto, Bouzouki and whistle. And, of course, all the tracks are composed by Shikata Akiko herself, and listening to them made me realize how much attention she pays to each one of them. Indeed, she deserves a lot of praise for that alone, and more for how well they all turned out.

After all, when the mediocre songs are heard, they are subsequently forgotten; it is the unique ones which leave a lasting impression. And this is one single which will be staying firmly among my favourites for a long time to come.

Rating: Masterpiece

Tales of Symphonia: Tethe’alla Hen ED – Inori no Kanata

Review: While the saying goes that one should never judge a book by its cover, it is hard to remain neutral when one comes across a cover like Perfect-area Complete!’s. On the surface, it looks like something not far from an Aya Hirano spectacle. Vocal wise, I expected something along the lines of Savage Genius.

The first guess was quite close in terms of music style and energy level. However, Aya Hirano never fails to transform that energy into something that sounds oddly forced, while Asou Natsuko’s sound feels truly cheerful and makes listeners want to move along to the music. Her voice is almost an exact replica of Yoko Ishida’s; that is, it doesn’t really have anything special to boast of but is nonetheless steady and strong throughout and will never fail to bring a smile to one’s face, which translates into one very entertaining and light single.

The way she expresses herself through her cheerful voice and her ability to easily keep up with such a fast tempo while the instrumentals, like short whistle blasts and violin pizzicato, definitely make this song stand out from the many ‘cutesy’ songs out there. This last bit can be heard in the more peaceful bridge from 3:08, where you can really appreciate the cute instrumentals and how connected Asou Natsuko’s voice fits the song.

The second song, “Dream into Action,” though inferior to the first, is still an enjoyable listen. Here, Asou Natsuko brings across the calmer side of her voice to fit the slower pace. The reduced reliance on instrumentals does make this song sound relatively uniform, though for a B-side, I have no major complaints.

While these kinds of songs are not usually to my taste, I am absolutely not ashamed to admit I honestly loved this single. And of the more recent releases, Perfect-area Complete! ranks really high among my favorite singles!

Rating: Good

Baka to Test to Shokanjuu OP – Perfect-area Complete!

Setlist:

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Frankly, I did not have very high hopes for the Fantasy Comes Alive concert. I remember the disastrous experience of the Video Games Live performance where I heard more of fans cheering than proper music. A flip through the programme booklet revealed that it was not even a whole orchestra playing the pieces. As an orchestra freak, I was honestly very disappointed.

However, this was one of the times when I couldn’t be happier that I was wrong. With a repertoire from some of the most well-known games and anime (Final Fantasy, Neon Genesis Evangelion, My Neighbour Totoro and Fullmetal Alchemist, just to name a few), and a surprisingly excellent group of musicians from the local university, the performance was one that I will never forget.

The concert started with ‘Break the Sword of Justice’ from Tsubasa Chronicles, which was not all that well-articulated, but still had the impact that an opening piece should possess. As the concert moved on, the pieces just got better and better, from the upbeat ‘Granado Espada Medley’, to the deeply moving ‘Kyoudai’ from Fullmetal Alchemist before letting one’s imagination take flight with ‘Touch’ from Romeo x Juliet.

There were a few other slightly weaker pieces, such as ‘Hikari no Senritsu’ from Sora no Woto, which had its flute solo replaced with the electric guitar, to disastrous results, and ‘Vamo’alla Flamenco,’ where the acoustic guitar failed to stand out. However, other than these two pieces and a slightly lackluster ‘Break the Sword of Justice,’ the other pieces generally ranged from very good to extraordinary. The weaker tracks did little, if anything at all, to unseat the excellent performance as a whole.

The upper hand that live concerts have over recordings is that you actually see the music being weaved together. And for this particular one, showmanship was absolutely at its max. It also helps that the musicians are younger and as a result, more carefree in their expressiveness, which makes for a pleasant departure from the staid atmosphere of more professional performances.

The fact that the repertoire was a compilation from many different anime and games also lets one experience the different styles and moods of so many composers and separate works. One piece which really left an impression on me was ‘Cruel Angel Thesis’ from Neon Genesis Evangelion. Being a very fast paced rock-styled rendition of the original, it was excellently put forth by the musicians, delivering something which can only be described as phenomenal.

The occasion was also graced by composers Haketa Sakamoto and Hitoshi Sakimoto. Hitoshi Sakimoto was actually one of the selling points of the concert, as he has been among my favourite composers ever since I heard his works for Romeo x Juliet. Though it was definitely an experience to see the two of them in person, I do wish they can give us more details regarding their work, instead of just telling us how glad they are to be in Singapore and such.

Other minor complaints I have include things like the emcee not being familiar with how to pronounce Japanese names properly, some technical glitches and such. But these are flaws which can be ironed out with experience. And with the (near) full house audience it enjoyed, I think it is not unreasonable for me to believe that it may be held annually from now on.

In closing, I’d just like to say that Fantasy Comes Alive really does live up to its name. Though it’s currently a local production, one day if it ever goes out of Singapore, please go experience it. It’s well worth it!

Review: As someone who has been following Kalafina since their debut, I was actually a little hesitant about this single. Those who have been paying close attention to Kalafina may find that their earlier works such as “Fairytale” and “Oblivious” are truly ingenious in terms of composition but recent works like “Lacrimosa” and “Progressive” tend to disappoint. Especially after the “Progressive” fiasco, I wondered what could possibly redeem them.

If your thoughts tally with mine, fear not! Hikaru no Senritsu reaffirms that Kalafina is still going down the right track! However, there are two possible interpretations on this single.

From the point of view of someone new to Kalafina, or simply a die-hard fan of Yuki Kajiura, this single offers something wondrous to listeners. The folk feel of “Hikari no Senritsu” really brings out the best in the vocalists’ voice. This song makes me reminisce on why I fell in love with Hikaru’s voice from “Natsu no Ringo” and “Gloria:” its sweetness and purity.  Hikaru’s performance is the most outstanding point of this track, since the light quality of her voice fits the folk-ish style perfectly. Another great point in this track is the call and answer sequence between Keiko and Hikaru from 3:20 to 3:40, which is expertly executed and draws one into the music.

As with any Yuki Kajiura single, it is impossible to not mention the instrumental track. From the instrumental version of “Hikari no Senritsu,” listeners really get to appreciate the vocalists, since they breathe life into the piece. Another noteworthy point is the elaborate flute solo, where we hear things we seldom associate with flutes, such as trills which make that segment one of the best parts of this single. The instrumental is a great listen on its own, but without the vocalists, one just cannot feel the vibrancy and life pulsing from it.

However, the second take on this single is that though the music sounds good, nothing sounds original. It does not take a genius to spot the resemblance between “Storia” and “Hikari no Seiritsu.” The main disappointment was “Sapphire,” since it sounds like a simple arrangement of some of Kalafina’s earlier ballads. It is worrying since one can’t help but wonder if Yuki Kajiura is out of ideas for this group.

In “Sapphire,” Wakana’s higher notes are also substantially weaker than what we expect from her. However, people who listen to a lot of FictionJunction or Kalafina will notice that Wakana’s expression is definitely improving. Though she belts out the chorus of “Hikari no Senritsu” in her usual ‘lamentation’ style, we hear definite efforts from her to express herself more in the second stanza.

Even when both views are taken into account, the fact remains that this is a solid single through and through. Perhaps to those who are familiar with Kalafina, it leaves much to be desired. However, to those who have yet to hear their beautiful songs, start now!

Rating: Good

Sora no Woro OP – Hikari no Senritsu

Track List:

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Review: Over the years, the Gundam series has been associated with good music. Yoko Kanno’s epic Turn a Gundam OST and Toshihiko Sahashi’s 8-disc Gundam SEED OST had excellent main themes, displayed life and variety, and were highly enjoyable. Therefore, it is not surprising that fans of the franchise will have high expectations of Gundam 00′s soundtrack if they were to use Kanno’s and Sahashi’s works as benchmarks.

However, Gundam 00 is one that curious soundtrack fans should pass up on because it’s just so bland and repetitive. The individual tracks are not terrible on their own, but when put together with over 20 tracks which have roughly the same atmosphere and style, it is enough to bore anyone. The big problem with this soundtrack is that there isn’t a notable climax; everything proceeds at the same speed and volume, creating a hypnotic effect.

The grandeur that we usually associate with Gundam music is completely lacking here. The only track which comes slightly close is “Control,” which, when compared to tracks like “Kantai Shiki” from Gundam SEED DESTINY Soundtrack 2, sounds vastly inferior.

Control
[Audio clip: view full post to listen]

Kantai Shiki (Gundam SEED Destiny)
[Audio clip: view full post to listen]

The choice of instrumental, though promising at first, becomes awfully predictable and limited as the soundtrack drags on. I enjoyed the drums and choir during “Alarm Bell,” but hearing it reused wholesale in “Intervention,” “Power,” “Beating,” and “League” is just too much.

Alarm Bell
[Audio clip: view full post to listen]

Beating
[Audio clip: view full post to listen]

Those trying really hard to find just the tiniest bit of variety may notice slight variations in instrumentals in tracks such as “Innovation.” However, picking out such tracks requires great concentration, which is unbelievably difficult when it comes to this soundtrack. Plus, it is not really worth taxing your ears so much just to hear such variations, which the majority of others soundtracks easily deliver.

Of the tracks on this album, “Setsuna” leaves a decent impression because its Arabic style does not follow the same structure as the others, making it a somewhat effective wake-up call. Even so, the track lacks development as the melody becomes overly repetitive. Other notable tracks include “Crisis,” “Administration” and “Eyes,” but it doesn’t change the fact that 4 decent tracks out of 22 is a meager amount.

Setsuna
[Audio clip: view full post to listen]

The only track that registers a change mood is “Daily,” going from the monotonous drones to something rather lively. However, even this is not without its flaws. Kawai Kenji just seems to be trying too hard, resulting in a track that wouldn’t be out of place in K-ON’s OST but juts out like a sore thumb here.

Daily
[Audio clip: view full post to listen]

Even for those who’ve watched the anime and were fairly impressed with the music, I’d still say you should just leave it at that. Whatever was memorable in the anime turns out to have at least three other variations in the soundtrack. Whatever was not memorable in the anime has hardly any value, since it holds no depth even upon careful listening.

To all but the most dedicated and patient of Gundam 00 fans, this soundtrack falls far short of what we expect from Gundam soundtracks, or any anime soundtrack for that matter. Personally, I’ve seldom had much difficulty finishing a soundtrack, but Gundam 00 really tested my patience from start to finish.

Rating: Not Good

Track List:

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Review: My taste for anime music can be quite predictable. Elegant, moving, and graceful soundtracks, such as Aoi Hana’s, Ouran High School Host Club’s and Le Portrait de Petite Cosette’s, will definitely be able to gain my approval. However, Gintama is one oddball that pops up among my long list of favourites.

Gintama’s OST can neither be described as being beautiful nor subtle. As far as I can tell, there is not even a recurring theme. And yet, it manages to be enjoyable all the same. Like the anime, the soundtrack’s selling point is its quirkiness and guts. By utilising every ‘instrumental’ imaginable, Gintama’s OST feels unrestrained and unconfined.

The choice of instrumentation is commendable because of how unconventional it is. While most of it is dominated by guitar, one will also hear an eclectic mix of instruments such as the accordion, saxophone, xylophone and bassoon. Once in a while, even beat-boxing and yodelling are used. Most things associated with tranquillity, like the violin and flute, are almost completely abandoned here.

Doukou ga Hirai Tenzo
[Audio clip: view full post to listen]

Yo no Charm Point
[Audio clip: view full post to listen]

Despite its unorthodox nature, the music is also a perfect fit for the anime. One of the most entertaining tracks is the one depicting the story’s heroes’ slacker lifestyle. The cute bassoon solo is entertaining in that it makes listeners think of someone idling around.

Toubun Tora ne Tonaa
[Audio clip: view full post to listen]

The other character themes are amusing in their own ways, including notables like the militaristic-mafia mixed track depicting the monster landlord, Otousei, “China Girl” Kagura’s Chinese-themed video-game-like music, and the jamming of an electric guitar depicting the stalker Kondou Isao.

Kono Stalker Yarou gaaa!
[Audio clip: view full post to listen]

Once in a while, a more sober track surfaces. “Koko wa Samurai no Kuni da” is one such track, using a slow piano solo with acoustic guitar and string accompaniments to depict the sad reality of the samurai becoming obsolete. Compared to the pieces in many piano-dominated soundtracks, this track definitely is not up to par. However, it does provide a breather from the almost endless supply of energy the previous tracks give off.

Koko wa Samurai no Kuni da
[Audio clip: view full post to listen]

Those who understand Japanese (or can find a translated version of the tracklist) will find the naming of the tracks amusing on its own as well, with tracks like “Ah Kimochi Warii, Futsukayoi” (Argh, I feel sick from the hangover), “Dorobou wa Dorobou Demo Koi Dorobou sa!!” (I’m a thief… of love), and “Mata Sore Kaii!” (That again?) topping the charts in terms of hilarious titles. While the track title does not really seem to have much to do with the music, it does give people an idea the context under which it was used in the anime, thereby making the association to the anime stronger.

Those who’ve watched the anime will definitely be able to relate to this soundtrack better, since few viewers can forget the themes which get used repeatedly during the first minute of the earlier episodes. A lot of the other tracks may not be as memorable, but viewers will definitely recognise them as being Gintama material.

Basically, “upbeat,” “noisy” and “fun” are the words I’d use to describe this soundtrack. If you’ve watched the anime, this soundtrack is an absolute must! If you haven’t, I’d still say “give it a go!” The energetic rock themes and pure wittiness this soundtrack brings forth are guaranteed to entertain.

Rating: Very Good