Review: Every once in a while, a music reviewer will be hard-pressed to give an album a rating simply based upon the amount of enjoyment he has derived over the course of listening to it. “Honjitsu, Mankai Watashi iro!” serves as possibly the best example of a guilty pleasure. I’ll say this now before the review ends on a bitter note: I like this album very much, and find myself listening to it constantly despite knowing better. If you’re a fan of Hayate no Gotoku this album is a must-listen. If you are a fan of Katsura Hinagiku, owning this album is more of a rite of passage than anything else. Her name is paraded throughout and the composer and lyricist feel no shame in taking full advantage of using her well-established popularity to reel in unsuspecting fans of the show, hook, line, and sinker. But every once in awhile, fan service benefits the overall quality of the album greatly, and in this case, allowing Shizuka Itou to actually sing is probably the wisest choice that the composers made. On the whole, the album has great energy, and an air of fun that is sometimes quite difficult to capture in general.

The album showcases three versions of the same song. The first track on the album is the original version of the song that airs on TV and is arguably the best of the three even if it is not my personal favorite. The song begins with a catchy bass-drum-centric beat that is reminiscent of the cheerleader chants that caught on in the 80’s. The song shines best during the chorus section, where we have an unbelievably catchy guitar riff that is accentuated in a manner that embellishes the backing synth rather than drown it, leading to one of the best combinations of rock and electronica that I’ve heard in quite some time. Sayuri Yahagi, Eri Nakao, and Masumi Asano interjections which are riddled throughout the song would normally act as a deterrent to my enjoyment of it, but in the context of the show and the song, it works well, and I find myself being drawn to their cute background antics just as much as the way I’m drawn to the main vocals. The bridge, or lack thereof, is perhaps my biggest qualm with the song. There is something severely missing from the bridge because it ends far too quickly as it tosses out a short piano piece and an uninspired guitar solo. Furthermore, the interaction between  Sayuri Yahagi, Eri Nakao, and Masumi Asano during this section made for a cute, quirky, side bit, but not using Shizuka Itou’s vocal abilities during the bridge was a mistake. I will say though, that the bridge does its job well in the end by leading us into the final chorus which provides a good amount of fan service that comes across as being cheesy, corny, and amazingly enjoyable.

The second track is more or less the same and features Shizuka Itou reprising her role as the lead vocalist though this time, they put Hitomi Nabatame as the background singer. The main background track itself is identical to the first track, so in a musical sense there is nothing new here, but the inclusion of Hitomi Nabatame as its principal backing vocalist is possibly the biggest weakness of the album. Her interjections are nowhere near as fluid or harmonious as the previous song, resulting in a backup vocalist who comes across as abrupt and often distracting to the main melody, which, come to think of it, suits Yukiji’s obnoxious personality rather well.

The third track is possibly my favorite, simply because it has a very unique acoustic guitar backing the main riff which feels like a very nice touch that was missing in the other two songs. The acoustic guitar adds a very authentic feeling to the sound and while much of the electronic vibe has been downsized, the song is a nice spin on the original. Mikako Takahashi provides backing vocals this time around and harmonizes with the main vocals the best out of the entire album. This version of the song is the only one on the album that offers anything new, and with the addition of a new instrument, it succeeds in sounding different without coming off as a segment that was tacked on at the last minute.

When it comes down to it, this album isn’t amazing or groundbreaking, but that doesn’t make it any less fun or detract from the overall quality. Although the album offers little variety, it is already geared toward a very set fan-base. The album knows what it’s doing and does well by playing on Hinagiku Katsura’s popularity as much as possible. It’s old-fashioned fan service done right, and the album’s cutesy atmosphere is a strong indication that rock pop can still be well-composed and well-written. If you weren’t a fan of Hayate no Gotoku before, this album certainly isn’t going to be the one that will convert you, but with catchy guitar licks and a great hook in the chorus, give it a listen anyway. You might like what you hear.

Rating:Good

Honjitsu, Mankai Watashi iro!

Review: Aria Piano Collection: Stagione, the first of two Aria Piano collections, is aptly named after the Italian word “Stagione” for “seasons.”

To have an air of simplicity that still has the ability to convey deep and powerful emotions is the fundamental ethos the Aria series lives by, and as such, the Aria Piano Collection: Stagione does well to follow the same standard. The arrangements done by the artists are thoughtful and well crafted, and although they are simple renditions of their original counterparts, the piano versions of each song carry enough of the original piece’s spirit, but are still distinct enough to carry a soul of their own. Stagione’s piano pieces are not nearly as intricate as other piano arrangement albums, but what they lack in complexity, they make up for in flawless execution. The various artists, who contribute their own unique rendition of our beloved Aria classics, give a very subtle touch to each piece and make it their own. Moving and captivating, Stagione is a prime example of an album that doesn’t rely on overly complicated musical riff-raff , but is instead fueled by a natural charm that very few albums manage to have, thereby offering an immersive experience that will captivate the listener for years to come.

Each piece in Stagione is utterly moving and stands as proof that less is sometimes more. It should be noted that one of the key aspects of this album that sets it apart from other arrangement albums is the ability for each song to have a very distinct touch that differs from the original. We are not talking about carbon copies; rather, each song carries a life of its own and has an invigorating effect upon the listener, while allowing the listener to explore a distinct array of different styles and nuances rarely captured effectively on one album. It isn’t all that rare for soundtracks to receive piano arrangement albums, but what sets Stagione apart from the rest is the way the album immerses the listener into the world of Neo Venezia, which makes the music feel the more real and endearing as a result.

The album begins with Akari Mizunashi, the lead character of the Aria series, welcoming us into her world of Neo Venezia, and her soothing voice sets the perfect mood for the rest of the album. Organizationally, the album is separated into four different seasons, each introduced by a cast member of the show, hence the album’s title, “Stagione.” After Akari’s brief introduction, the album starts off with Mina Kubota’s rendition of “Euforia,” which functions wonderfully as a gateway to a widely varied album. With a soft, and gentle touch, Mina plays “Euforia” with unparalleled grace that complements the album’s simplistic nature.

Euforia:
[See post to listen to audio]

It is spring in Neo Venezia, and the new season blossoms forth through Sasako Shigeharu’s tender rendition of “Aqua” and “Hanabie” and ends with “Natsu Machi” played by Shouri Kitagawa. All three songs blend seamlessly and complement the “spring” portion of the album quite well, but it is “Natsu Machi” that stands out from the three as being the principal track that captures the essence of this season. The song gives a very distinct warm feeling that is arranged by Kitagawa to accentuate the back melody rather than the vocals of the original song. The chorus segues into an almost ballad-like direction, which is a step away from the original piece, but does not detract from the overall arrangement in any way.

Natsu Machi:
[See post to listen to audio]

As summer and fall pass by in Neo Venezia, three of Aria’s most recognizable melodies play. “Tooi Kobune” and “Smile Again” represent the summer season wonderfully. “Smile Again” is arguably one of the songs that makes the biggest departure from its original counterpart, but once again, the piano rendition is just as every bit as beautiful as its source. Takeshi Senoo opts to take a far more mellow and melancholic approach to the song, whereas the original is far more upbeat, but that doesn’t mean Senoo makes the song depressing. Instead, he chooses a very light and airy nuance that brings a whole new dimension to the song. “Undine” is the principal track in the album’s fall cycle. This arrangement sticks close to the original rendition, but Mina Kubota’s playing of “Undine” is exquisite, and reflects her serene style previously seen in her rendition of “Euforia”

Smile Again:
[See post to listen to audio]

And now as the last season of Neo Venezia, winter, dawns upon us, Takeshi Senoo lends his talent once more and plays endearing arrangements of “Shourou no Patori” and “Santa Claus no Sora” which fit the season’s atmosphere perfectly. Ou Akioka arranges a wonderfully emotionally balanced rendition of “Soshite Fune wa Iku” played by Takeshi Sonoo. So as the album comes to a close, and the female cast share parting words with the listener, “Rainbow” plays as the fitting final piece to end our journey. “Rainbow” is arguably the song on the album that takes the largest stride away from the original, but it is given an entire new aura that is lacking in its counterpart. The feeling of the song is far more somber than the rest of the album, but even so, the wistful tone of the song still has an air of tenderness that invokes deep thought and reflection.

Rainbow:
[See post to listen to audio]

The first time I listened to this album, I realized that very few albums have the ability to touch the listener on a very raw human level; where music can come to life, and become something far deeper and more meaningful, where notes on a piece of paper become something so tangibly relatable, that it becomes embedded into a person’s very being. Stagione dares to be one of those few albums, and executes its goal to perfection. Whether you are a fan or the Aria series or not, the album is fit for almost any occasion, and if you are in the mood to simply relax, and ease the aches and pains of your day, Stagione is your best bet.

Rating: Masterpiece

Name: John Kim

E-mail: supuhaznpbrein@gmail.com

AIM: seraphjei

Website: sunggyu.wordpress.com…

Favorite Anime: Clannad ~AS~, Tengen Toppa Gurren Lagann, Toradora!, Kanon, Aria the Origination

Favorite Manga: Yotsuba, Aria, Welcome to the NHK, Monster, Unbalance x Unbalance

Favorite Literature: Jude the Obscure, Crime and Punishment, The Stranger, The Merchant of Venice, Death of a Salesman

Favorite Musicians: Tommy Emmanuel, Kotaro Oshio, Depapepe, CYNE, Damien Rice

Hobbies: Playing guitar, visual novels, rhythm games, writing short stories, and of course watching anime and everything associated with it.

General Information: It was just a few months ago when I approached zzeroparticle and asked him for a position on his writing staff for his Anime Instrumentality blog. After a long hiatus I’ve finally started to contribute to the site, so it seems that it is a good time to introduce myself, and give the readers of Anime Instrumentality a little bit of background info.

My name is John Kim, otherwise known as sung gyu on the site, and I have been a dedicated fan of all things anime related for five years. I’ve been managing my own blog Hara Hetta for a little less than 6 months, and have been reviewing music and anime for about a year. Currently, I am enrolled as a freshman at my university, and plan to major in English. I have been working as a musician on the side, playing acoustic guitar at local cafes, and producing hip hop instrumentals in my free time. My music experience includes playing piano for 10 years and guitar for 8 years. Much of my music specialization is in classical guitar infused with new-age techniques.

As for anime, I have been deeply involved in anime culture for many years and have become quite obsessed with the anime industry as a whole (perhaps as a deterrent to my own health and well being.). I enjoy watching all kinds of anime, and have only one golden rule when it comes to anime: “A good anime will allow the audience to reflect upon their own lives, and leave a profound impact on the watcher for years to come.” I am very lenient, and always tend to give shows the benefit of the doubt, but the same can’t be said when it comes to music though. As for genres, I am a huge fan of slice-of-life and magical realism, but also tend to like philosophical and psychological anime as well and I rank Clannad ~After Story~, Tengen Toppa Gurren Lagann, Toradora!, Kanon, and Aria the Origination among my favorites.

It’s a pleasure to meet you all, and I’m looking forward to the comments and feedback. If you have any questions, don’t hesitate to e-mail me or IM on AIM.