Tracklist:

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Review: It’s a given that sometimes there’s no rhyme or reason why I pick up an album and though it isn’t entirely the case here, it’s pretty close. It was a comment on twitter that made me curious enough to check out Kämpfer’s soundtrack despite not having seen the anime mostly because I wanted to see how terrible a listening experience I’d get out of it. I was prepared to expect the worst out of Tatsuya Katou’s compositions, and yet, I still found myself pleasantly surprised by the sheer diversity of music that he serves up. Here is an album stuffed to the brim with different genres from rock to jazz to Spanish dances and organized somewhat haphazardly, but I could not resist this wonderful musical hodgepodge since it was so different from the albums I was used to. After the first run-through, I knew I had to have more and this time, listen to it and savor each note and chord as I went.

That was a mistake and my hopes did not survive a second listen.

The problem with Kampfer’s soundtrack materializes rather quickly if you pay any attention at all to its music and admittedly, I did not the first time through. Katou’s messing around with musical genres is a double-edged sword and while Kanno and Iwasaki are able to draw forth memorable music by doing so, Katou displays no such skill and ends up cutting himself badly because he’s simply not good enough to deliver wide-ranging music that consistently engages the listener.

And it shows when you listen to Kämpfer’s music. The task of composing a diverse musical portfolio taxes him to the limit and he doesn’t have a whole lot to give. In the early part of the track, there’s a glimmer of promise; the melody is solid, catchy even, and just when you enter the bridge, you come back face to face with the opening melody. Development? What development?

Take “Aa, Sakura-san” with its soft, jazz-lounge flavor or “Iya na Yokan’s” use of the flute backed by the rhythms for instance. Both of these tracks aren’t standouts, but they’re not bad either and had Katou been able to develop these pieces at all, we could have had an enjoyable if not groundbreaking soundtrack on our hands. But he does not. The snippets that you hear are pretty much all that the track consists of: an attention-grabbing introduction followed by the main melody which then proceeds to repeat itself. It skirts the edge of droning except the jazz/rock/whatever melody Katou uses more often than not keeps it from being too monotonous, but not by much.

Aa, Sakura-san
[See post to listen to audio]

Iya na Yokan
[See post to listen to audio]
What a disappointment and a waste of potential! An eclectic album such as this should be bold, but fun, but alas, it falls far too short of what it could have been. As you can probably guess, most of the BGM all have this same problem. There are a few that buck the trend like “Koigokoro’s” pleasant piano melody and there are a few that are nonsensical like the weird, seal-like noises tacked on to the synth in “Natsuru no Kunou” that you wouldn’t ever touch, but those are the exceptions. There is not much that can redeem this soundtrack aside to provide us an excellent lesson on how to make jazz sound boring and uninspiring. It’s a lesson that I don’t care to hear more of at any rate.

Koigokoro
[See post to listen to audio]

Natsuru no Kunou
[See post to listen to audio]

Rating: Not Good

Disc 1

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Disc 2

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Review: A snap judgement of G.A. Geijutsuka Art Design Class would be to label it a poor man’s Hidamari Sketch. Both focus upon the day to day lives of a group of girls in a special art program, both feature an OP sequence sung by the show’s seiyuu, and both make use of a soundtrack that is relaxing, employing light jazzy melodies to depict its scenes. In each of these instances, Hidamari Sketch comes out ahead, but the gap in the quality of the soundtracks is much smaller. This bodes well because those who liked Tomoki Kikuya’s compositions for Hidamari Sketch will feel perfectly at home with Jun Abe’s score for GA.

Before we actually descend into the nuts and bolts of the score itself, I’ll just briefly go through the first disc which contains the OP, ED, a few insert songs, a nonsensical ditty, a super sentai theme parody, and a soft piano version of the OP. The OP itself is enjoyable enough, but doesn’t really leave a lasting impression like Hidamari Sketch x365’s “Hatena de Wasshoi” simply because it doesn’t come with a catchy segment to draw me in. On the other hand, the piano version is pretty in the way it captures the light-hearted, gentle mood of the series, thereby preparing me for the actual score.

GA OP – Osaki ni S’il Vous Plait »

As for the EDs, those are a mix batch. I do like the soft accordion in Haruka Tomatsu’s rendition even if the vocals feel off since I’m more familiar with her energetic pieces like “motto☆Hade ni ne!” Of the five, Kaori Nazuka’s mature-sounding version backed by the gentle, soothing swing melody is the most enjoyable and the result is what you’d get if marble decided to add a dab of jazz to their music. The others do not catch my fancy and of those, Yui Horie’s performance is the most obnoxious since it insists on injecting a heavy pop beat which ends up overshadowing her singing completely.

GA ED – Coloring palettes Kyoju iro »

While the vocal tracks vary in quality, it’s the score itself that wins me over. Up to this point, I haven’t heard enough of Jun Abe’s compositions to form an opinion, but I was enthralled with his offerings here. The main theme catches your attention through an upbeat, jazzy keyboard that makes way for a rhythm and light melody that draws forth the undercurrent of energy and enthusiasm from each scene as the characters move from one art genre to another. I loved the way the many instruments transitioned in and out of the melody, making it a perfect depiction of the characters’ creative, playful exploration into the world of art.

GA ~ art design class
[See post to listen to audio]

That it’s really catchy doesn’t hurt either and Abe takes advantage of this to arrange several variations, doing it in a way so that the theme never outlasts its welcome. For example, “Sakura Blossoms” offers a slow, wistful melody that conveys a wonderful spring morning through its light touches on the piano. “Sunset Smile” has the flute playing a slow air as its purpose is to bring the day to a close while retaining the optimism that tomorrow will give rise to new adventures and new discoveries. Every variation adds a different perspective, allowing the main theme to encompass all aspects of the girls’ lives.

Sakura Blossoms
[See post to listen to audio]

As we move away from the theme, we find that the soundtrack delivers on the other aspects of the show such as the character depictions. Kisaragi’s theme is sweet and mellow as it moves at that slow tempo to match her easygoing nature while Noda’s is more energetic. Though I’m not fond of that heavy accent that precedes each section in the latter, the way the piece jumps around captures Noda’s eccentricities and ADD tendencies perfectly. Like with the EDs, Kyouju’s theme is my favorite since it’s more dignified and even a bit mysterious. But probing deeper, one can hear a playful aura that shows how she’s able to have fun in her own way while exuding calmness in spite of her occasionally chaotic surroundings. As for the rest, Tomokane’s is more energetic, employing a funky style that nails her tomboyish attitude while Namiko’s normal personality is reflected through a piece that doesn’t stand out a whole lot. Ironically, it’s all too fitting because that is how she is presented in the show as well.

Kisaragi (forget me not blue)
[See post to listen to audio]

Kyoju (Silver Lining)
[See post to listen to audio]

Tomokane (Funky Strawberry)
[See post to listen to audio]

Jun Abe also incorporates other sounds and experiments around so as to cover the myriad situations that the girls find themselves in. “So Many Minds’” synth and sound effects create the feeling of vastness of space before introducing a fast, electronic melody that feels like an explosion of life coming forth from the void as various new life forms parade out. As far as experiments go, I enjoyed “Talkin’ Bass” because the dissonant notes come together to create a monologue replete with moans and groans amidst the murmuring from the background instrumentals. It’s off the beaten path musically, but the execution is cleverly done. Moreso than Natsume Yuujinchou’s soundtrack anyhow.

So Many Minds
[See post to listen to audio]

Talkin’ Bass
[See post to listen to audio]

Though the remainder of the album is diverse, GA’s focus on smooth jazz music and the way variations on the main theme help tie it all together makes this soundtrack an enjoyable listen. Compared to shows of the same genre that use a similar style of music (Sketchbook and Hidamari Sketch), GA’s is the weakest offering, but not by much. Its use of jazz still feels fresh, instilling within you the joy and energy that the characters experience in their daily lives and making this album a good recommendation if you’re looking for relaxing fare.

Rating: Very Good

Added Note: For those who don’t know, Kyoju is the one in the upper left corner eating paint. No, I don’t know what this means when I say I enjoy her character themes the best. Maybe I need to get myself psychoanalyzed. orz

I’ve been fairly busy lately with three reviews on my plate: two soundtracks for this blog and a single for OriginalSoundVersion where I’ve pretty much settled in as their J-pop reviewer even if I prioritize on anime-related songs. Combine all of that with the workload from my day job, and that doesn’t leave me with a huge chunk of time.

Anyways, that was me trying to say that despite the catchy title, this isn’t going to be a regular column or anything. There are a couple things that caught my attention last week, and I just thought that I’d combine them all here for the sake of convenience. Take a look after the jump.

One thing that I do want to promote is Peter Shillito’s radio show for The Cat, which records out of Crewe and Nantwich in the UK. His show, titled “Neko Desu,” focuses on anime music, mostly OP/ED stuff rather than BGM, but it promises to be an hour long and should have some interesting songs for people to check out. I found out about this through his twitter request for music and I think one of my suggestions got picked. Which one it is, I don’t know, but I’ll certainly look forward to finding out. After all, a man who likes Hidamari Sketch and anime music can’t be all bad.

The inaugural broadcast starts at 10 PM this Wednesday GMT which you can tune in here. So for folks living in the West Coast of the US, that would be 2 PM local time.

Jeriaska over at GameSetWatch posted an interview he had conducted with composer Kenji Kawai. Kawai’s background should be pretty well known to anime fans since he scored the soundtrack to shows such as Seirei no Moribito and Eden of the East and this interview focuses on his game compositions and film scores moreso than the works that he’s produced for TV series.

Much of the information given here isn’t really all too new. One question that I did find interesting was when Jeriaska asked:

Question: There is a haunting female chorus that appears in the intro of both Ghost in the Shell films. Was there a particular motivation behind finding this sound that so many viewers associate with the films?

Answer: At first the director had requested primitive drum sounds. I felt it would be even more effective if there were a chorus on top of it, something in a Bulgarian style. There are folk singers with very distinctive voices in Japan, and that’s who we found for the vocal roles.

It turned out to be quite different from my original concept of a Bulgarian style. This vocal section was extremely challenging to get right because Japanese folk songs traditionally do not have a chorus. They aren’t set to these particular rhythms, either.

Directly after the movie was released I noticed no one mentioned the music. That made me a little worried. Now that I think about it, I guess no one could critique it because it was such an unusual kind of music that no one had ever heard before. Innocence was basically a direct continuation of Ghost in the Shell, so I retained almost the exact same style.

Piece in question can be heard here.

First off, it gives a bit of an insight into the music composition process for anime series for those of you who aren’t aware of how the it all works. The other thing is that it’s indicative of Kawai’s ability to bring out the haunting atmosphere really well through the use of the chorus in general. I’m not a huge fan of his by a long shot, but the music he composed for Fate/Stay Night had a pretty good mixture of creepy and tragedy floating about and I feel that he’s at his best when he’s channeling that heavy atmosphere (it didn’t work in the case of Higurashi however).

Finally, if you wanted to know about the inner workings of the Japanese music industry with all its warts and corruption schemes, you can check out the interview that Tokyo Damage Report conducted with SATOH-SAN, a former Visual Kei record executive. While a lot of this is more on what visual-kei bands go through, it wouldn’t surprise me if a significant chunk of this applied to J-pop either, like that line about how the labels focus more on image than the actual musical content. That might explain why so many terrible artists are still given the opportunity to torment us with their singing, but I guess my niche would be dissolved if all the music that gets released were all good.

My second favorite part deals with the fans and the urgent need for all fans to be taken in by the fantasy that visual-kei bands have created for themselves so that they will attend the band’s concerts. Even better is how far aggressive fans will go in order to gain the status of the #1 fan of a given band. Fisticuffs aren’t unknown and their other activities described in the interview feel like something sports hooligans would do.

In other words, the antics in Detroit Metal City are funny, but its depiction might be frighteningly accurate.

Hat tip goes out to JPMeyer for that last article via GRSI.

In looking at a list of shows and movies released in 2004, the one thing that I notice is the huge gulf in the quantity of shows released during 2004 versus 2003. When I look at such lists, it becomes a constant reminder of what great shows I’ve missed out on. For instance, 2004 was a year that saw the airing of titles like BECK: Mongolian Chop Squad, Elfen Lied, and Paranoia Agent and I have yet to see any of those. Perhaps time will be kind enough for me to go back to give these shows a fair shot, but at this stage in my life, that’s not exactly an option.

So what of the shows that I did see? It’s so huge a list that to cover them all requires me to spend days happily rolling a soundtrack and taking in every note and chord that comes my way and describe it in elaborate detail. In short, it’s not practical, so I’ll keep it as short as I can and leave it to you readers to reminisce and explore these soundtracks on your own.

Note: Once again, youtube videos are spoilered, clips contain the entire track, and with that, let’s go!

It’s really hard for me to believe that Mai-HiME came out in 2004 since it’s always seemed like only yesterday that I watched the action and drama unfold. Maybe a part of that is because how often I give Yuki Kajiura’s score a listen and how tracks like “Ensei ~Omou Kokoro~” are always going to impress me in the way it weaves a mix of mystery and beauty while tracks like “Gakuten-Ou Kenzan!” never skimps out on the action. The soundtrack covers its bases pretty well, and it’s not a surprise that of Kajiura’s soundtracks, this gets the most listens from me.

Ensei ~Omou Kokoro~
[See post to listen to audio]
In contrast to Mai-HiME, Fafner in the Azure might have had action, but it left me utterly bored. The effect that this had was that I ended up paying a whole lot of attention to the soundtrack because it was that good. I really marveled at Tsuneyoshi Saito’s compositions because his orchestral melodies that bordered on the epic while retaining a sense of the melancholy. While the orchestral bit is usually enough to win me over, he also puts in a piano concerto in “-SHOKO-,” which elevates the soundtrack further. I just love the way “-SHOKO-” brings out the depths of despair as we are constantly reminded of the tragedy. Also, you won’t find any atmospheric pieces as this soundtrack brings a really strong focus on the melody which is something I can definitely appreciate.

-SHOKO-
[See post to listen to audio]
We depart from the action-oriented shows and get into the taboo love that characterizes Koi Kaze. Not only were they able to bring out a really mature story given the setup they had, the soundtrack was also a blast with Takumi Masanori and Makoto Yoshimori at the helm. I’m particularly won over by the former’s piano tracks through with stuff like the “Main Theme” catching my attention really well. Maybe that’s just because I’ve really enjoyed it after listening to it on loop in the DVD’s menu. The general atmosphere is emotionally rich, yet restrained which reflects the taboo-laden nature of the relationship between the two siblings.

Main Theme
[See post to listen to audio]
Since we’re pretty heavy on the themes of love, Tenmon’s soundtrack for Beyond the Clouds: The Place Promised in our Early Days is always worth a listen. There might be quite a few similarities across Tenmon’s works, but this consistency allows us to compare how he depicts his love themes. “Beyond the Clouds” might start a bit heavily, but as the piece progresses, it sure does an excellent job of bringing those heartfelt loving feelings to the surface.

Beyond the Clouds – The Promised Place
[See post to listen to audio]
Finally, we come to Rozen Maiden, which features a good mix of violin, piano, harpsichord, and other instruments scattered about the album which works together to match the show’s setup. In a way, this show requires the mix that you get from a show like Mai-HiME; that is, you need many different kinds of themes to capture both the serious and the whimsical moments that the show serves up. For the most part, Shinkichi Mitsumune succeeds in delivering them unto us.

Bright Red
[See post to listen to audio]

It ain’t over yet though. This list is already getting too long and is sorely in need of a page 2 where I’ve cobbled a list of OPs (and an ED) that I found to be worth my while. They might be worth yours too.

On to Page 2

This really should have been written up sooner, especially since Shinmaru over at Unmei Kaihen has put up a good post outlining the purpose behind those OPs and EDs and I’ll just expand on it a bit further. I think that for most of us, the idea behind those sequences are fairly obvious, but it never hurts to put it in writing so that any misconceptions (mine or the readers’) can be dispelled.

So yes, Shinmaru covers the business side by noting that these sequences are a way for music companies to bring new artists to light and expose their music to different audiences. If you want to divide the domains between OPs and EDs, then OPs generally give us an idea of what the series is about and since it’s generally the first thing the viewer will see, it’ll most likely use good art/animation to draw the audience in.

That’s not to say that there are times when the studios will try to be misleading. If you want a good example, look no further than Renkin 3-kyu Magical? Pokaan, which creates expectations that the series would involve some great magical, cosmic struggle with some yuri thrown in for good measure. Of course, audiences hoping to get that kind of action are bound to be disappointed by the story, which is mostly about us watching the characters in the OP go through hilarious hi-jinks as they try to adapt to modern-day society. But hey, if the goal was to make the audience curious about the show, it worked!

Anyways, my favorite OPs tend to be relevant to the story, so the ARIA OPs are always going to get a thumbs up from me. But when it comes to a strong mesh between the opening and the actual story, I think Gankutsuou’s “We Were Lovers” stands out the most. That the lyrics are in English gives us a grasp of what’s going on in the way it captures Edmond Dantes’s sentiments and the feelings of vengeance that stir deep within him. So taken in sum, the music is really poignant in the way it captures the pain, the lyrics give the audience a feel for how the story unfolds, and the art/animation gives us a glimpse of Gonzo’s effort in the series. That it was composed specifically for the anime rather than sell CDs probably helps too unless I’m gravely mistaken and this got a lot of people to buy Jean-Jacques Burnel CDs.

Gankutsuou – We Were Lovers »

But EDs. Yes, it’s true that there’s no real discernible pattern that one can put one’s finger upon, and the closest that I’ve come is to suggest that it’s there to ingrain themselves in the viewer’s mind by providing the lingering effect that will allow people to contemplate on whatever has just taken place in the show or to make us look forward to the next episode. That most of them don’t really deliver this kind of effect means that it’s probably wrong and that there actually is no pattern, so I’ll just save myself the hassle and say that the ones that I enjoy the most do achieve this effect, and I love them all the more for it.

So which shows manage to nail this down pat? Well, Wolf’s Rain’s “Gravity” definitely comes to mind. The lyrics within the song give us an idea of how long the wolf pack has been searching for their paradise, and though the conditions are right, there’s still a struggle that they must overcome if they’re to reach it. These feelings tie in with the show rather well and definitely leaves that lingering effect as we too come to empathize with their need to seek out that sanctuary and their determination to make it.

Wolf’s Rain – Gravity »

Or how about Welcome to the NHK’s “Odoru Akachan Ningen.” That sequence sure ties in well with in the series. Kenji Ootsuki’s harsh vocals are pretty good at capturing the insanity possessed by those who are looking to regress by turning into that “kidult” rather than live up to the demands of society and nails Tatsuhiro Sato’s state where he withdraws from society rather than confront it directly. The lyrics and animation do a good job of capturing his delusional tendencies borne from his crazed mindset that it’s a mad mad world and this song nails it. I might not have a great deal of affinity for it, but I’ll be damned if it doesn’t leave that strong impression behind. I certainly remember it a lot more vividly than I do the show’s second ED at any rate.

Welcome to the N.H.K. – Odoru Akachan Ningen »

OPs are definitely more clear-cut than EDs and in general, they hit their purpose better. EDs are not as memorable because though we might want them to leave behind that strong association with the series, they generally do not. That’s why the two examples I cited will stay with me: they enrich the viewing experience by matching the content of the music and animation to the show’s primary plotline, ending each episode on a note so as to render the entire entity unforgettable.

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Tracklist and miscellaneous album information provided by VGMdb.

Review: I enjoy experimentation and heartily endorse efforts to mix and arrange music just to see how another person’s creativity can breathe new life into a musical work. But the ever present danger is the potential for the effort to backfire, resulting in a travesty.  While that word is too strong of a term in this instance, there are a few tracks in this ANIME HOUSE PROJECT album that are discordant enough to antagonize my eardrums if I listen for too long.

That IOSYS is inconsistent is nothing new. My experience with them comes from their remixes of Touhou music, and each track in any album will vary in quality.  For example, their Touhou Suisuisusu album includes fantastic big band jazz and gothic lolita themes, but those are offset by strange monologues in which the speaker appears to be stuttering or singers who screech horribly. The good generally outweighs the bad, but on the whole, an IOSYS album is like a box of chocolates.  You just never know what you’re gonna get.

Unfortunately, we really must have gotten unlucky with our box since ANIME HOUSE PROJECT vol.2 fails to reach the bar that IOSYS’s previous works have set. The main problem lies in the lack of a truly outstanding, memorable track to compensate for all the terrible ones because the better pieces lack the dynamism and creativity that we have seen from the group in the past.

It doesn’t start off too badly though.  “TOMARE!’s” jazzy flavor mixed with A~YA’s laid-back vocals showcases ARM’s ability to remix the original’s pop rhythms into something new while retaining the original’s energy.  The bass and keyboards that accompany the vocals during the verses and the trumpets that set the tone during the chorus section sculpt out a vibrant atmosphere that makes this arrangement a fun and enjoyable listen.

TOMARE!
[See post to listen to audio]

But immediately, “TOMARE!’s” creativity is offset by “Cagayake! GIRLS’s” sheer awfulness.  The background beat is about as bearable as being hit repeatedly by a sledgehammer, leaving one to ponder whether ARM was feeling particularly sadistic when he arranged this piece.  Though the vocals themselves aren’t terrible, it’s difficult to fully judge its quality when that pounding beat overshadows anything else in the song that could have been worth mentioning.  I knew this arrangement was doomed when it took me five tries to even get through this song.

Cagayake! GIRLS
[See post to listen to audio]

And just when you thought that “Cagayake! GIRLS” is about as bad as it could possibly get, the album decides to slam “Motteke! Sailor Fuku” in your face.  The song’s guitar groove catches your attention, giving you the false hope that minami’s arrangement will be ROCKIN’.  Unfortunately, the vocalist, Yuko Hirabuki, comes off sounding like some aging has-been rapper whose deep voice has seen better days.  When you keep in mind the shoujo rap origins of the song, this performance is so off-putting that it’s difficult to figure out whether you’re supposed to laugh or cry after listening to this disaster.

Motteke! Sailor Fuku
[See post to listen to audio]

The other songs are a bit of a mixed batch, but are decent enough.  “You’s” arrangement adds a techno beat on top of Chata’s calm vocals, but otherwise, the song doesn’t get a major facelift as the original’s poignant atmosphere is preserved well.  On the other hand, “Dango Daikazoku” manages to be a bit more enjoyable than its source and that’s because the techno beat along with a more dominant singer helps carry the song a bit better.  Same goes for “Super Driver.”  In spite of the weird keyboard opening, I found miko’s voice synthesizer-like vocals to provide an engaging experience since it is better than Aya Hirano’s boring rendition in the original.

you
[See post to listen to audio]

Dango Daikazoku
[See post to listen to audio]

Old school shows also get a nod in “Do You Remember Love” and “Tsuki no Mayu.”  The former song gets dressed up with a techno beat and through anporin’s singing, the song keeps its solitary feel and subdued, yet passionate feelings.  “Tsuki no Mayu’s” arrangement has more of an early presence because of the throbbing beat, but once Misawa’s voice enters, one cannot help but be entranced by the arrangement’s etherealness.  The feeling of loneliness is pervasive throughout this piece, bringing to mind a person drifting out in the far reaches of space without having a traveling companion.

Tsuki no Mayu
[See post to listen to audio]

Lest the good arrangements like “Tsuki no Mayu” lull you into a false sense of security, you can always expect ARM to unleash a bit of silliness at the very end in “Fuwa Fuwa Time.”  The opening notes sound like some psychedelic piece from Katamari Damacy as it uses a vast array of synths to grab at your attention along with Ayu’s distorted vocals.  Once more, ARM goes overboard with the synth since it obscures the vocals far too often, making it really hard to enjoy the performance.  The whimsical nature of the original is retained save for the part where the singer has to speak some lines – that part has been changed to a rap – and though this is not usually my kind of music, I think the execution is amusing enough for it to pass by a razor-thin margin.

Fuwa Fuwa Time
[See post to listen to audio]

There are a lot of things wrong with this album and I suspect that a part of it is because IOSYS, and ARM in particular, has not been able to draw me in the way the way they used to lately, and this is a problem that plagues this album too.  The variety of tracks to be had range from headache-inducing to enjoyable, but none are truly outstanding.  If there’s one thing that I’ll praise it for, it’s that none of the tracks are boring.  But anyone looking for consistent, quality anime music arrangements are well advised to search elsewhere.

Rating: So-so

Track List:

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A copout review would simply advise you to get this OST if you like Yasushi Ishii’s Hellsing OST. And since no truer words can be said, I’ll spite the site’s conventional review format and get straight to the heart of why this will rock your world.

Dive into the 9 [See post to listen to audio]

Despise synth heavy songs like this one? Then turn up the volume since I swear there’s a classical piece playing underneath it all. Your ears bleeding yet? Good. That’s for being too narrow-minded to explore other musical genres.

“Dive into the 9″ is a wet dream for action AMV creators since it starts with a bang and just never relents.  It’s a single-barrel shotgun that explodes at the top of the OST and sets the bar sky high.  Monocle holding, tea sipping, old people may complain at the massive cacophony of sounds coming out of the less than crystal clear synths.  However, all the bells and whistles are far from superfluous and creates a kinetic, living atmosphere.  In my eyes, this song is pinnacle of excellence.  It’s catchy, creative, cool.  The only speck of complaint here is that the whole thing does not end after 90 seconds.

Savage Dog Cerberus [See post to listen to audio]

Galaxy Train [See post to listen to audio]

Ready the bass amps. Time to up the UNTZ UNTZ UNTZ.

If the pulse of music is the beat, this is Michael Phelp’s heart after warm ups.  Rhythmic and assertively pounding, “Savage Dog Cerberus” is Darker than Black 2’s go-to song for fight scenes, and there is no question why.  The song provides an energy jolt akin to a Red Bull, or cheaper, a “soft” kick in the pants.  Equal in style and effect, though very different in sound, is “Galaxy Train,” which chugs along hard and fast.   Normally, I would not a appreciate a piece that so heavily depends on a single catchy beat, but exceptions exist because of stuff like these. Despite some of Ishii’s less than successful experiments in distortion, these are tracks you will not soon forget.

Jesus Cloud [See post to listen to audio]

No, despite the title name, this is not a song about marijuana.  Ignore the fact that I do not speak or understand Japanese; the deep, profound pain espoused by the vocals compel me to believe that there is something truly deep here. Sure the singing may be – on a relative scale – horrible (ditto to every song in the OST), but this is a common man with a guitar which absolves him from any claims of talent.

If anything, the song is a great mood-setter outside the domain of high octane adrenaline.  Along with “Candraprabha’s Tears” and “Brand New Happiness,” this piece shows that Darker than Black is about more than just explosions and death.  Ultimately, what makes this all too common combo of the vocals and guitar truly special is how each additional layer of sound to the song builds to something greater.  Instead of piling on the sounds into a big brown mesh, Ishii effectively paints an intricately colorful piece.

Moonlight Guidepost ~Opening Edition~ [See post to listen to audio]

I put the opening song above many of the other great tracks in this OST not because it’s superior, but because I happen to disagree with Jen’s opinion, and the favorites section of my mp3 player won’t let her have the last say.  It’s not that the finer details of my opinion is different from hers, it’s just that the opening is such a solid generic, throwaway pop piece that it deserves its place in the sun before it’s forever forgotten.

At the end of the day, there’s a reason why despite all the crap Darker than BLACK 2 gets absolutely no one complaining about the music.  Epic tirades against the show come to a dead stop when it arrives at the issue of music, bringing with it a quiet, unstated appreciation… even reverence.

Often, people who deserve no claim in the world of art call their pieces “experimental” or if arrogant enough, “the next Picasso”, but Yasushi Ishii does not fit this mold.  His tinkering crops up an incredible amount of creativity and variety.  Though there may not be a jazzy undertone like in Hellsing’s OST, the music is hip, energetic and will set your playlist on fire for weeks to come.

UNTZ on.

Rating: Excellent

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Review: On the surface, Hatsukoi Limited appears to be a mindless romantic comedy until it hits you at unexpected moments by revealing its depth which can be probed further. You may have to traverse some of the sillier parts to reach the brilliant moments, but if you’re patient, the series rewards you through its depiction of the emotional ups and downs and the awkwardness of first love.

The soundtrack captures the main thematic element of the series quite well, lending its soft touches to strengthen the overall emotional impact, be it a sense of panic borne from the presence of a love rival or the clumsiness of arranging a confession only to have it backfire. It blends in with its scenes well and I hardly noticed its presence when watching the series. After listening to the music, it became readily apparent why: unlike most anime soundtracks, Hatsukoi Limited doesn’t contain a theme that’s readily identifiable nor does it contain a really strong, standout melody to pick up on. So while this allows its composer, Nijine, to convey many of the same emotions through different tracks, it’s not that memorable of a listen.

It doesn’t meant the soundtrack is bad, especially if you enjoy pretty piano and violin pieces with a dash of the outlandish here and there. The music conveys the romantic mood well though. For example, the piano in “feel your heart” sets the tone of the soundtrack by taking things slowly as it depicts someone coming to terms with their romantic feelings for the very first time. The track itself brings out a pleasant atmosphere with that dab of euphoria that allows it to shines in its simplicity. As you go further, you’ll hit upon “first love impression,” which extends that atmosphere by adding a stringed section, creating a rich timbre and allowing that romantic aura to bubble up slowly and yearningly through the piano part. Its pacing is just right, and the way in which the instruments express the titular emotions makes this track my favorite.

feel your heart
[See post to listen to audio]

first love impression
[See post to listen to audio]
First love is anything but smooth sailing, and the soundtrack’s depiction of the romantic developments between Hatsukoi Limited’s characters accurately portrays the roller-coaster ride of emotions that they experience. One thing to keep in mind is that because this show is a comedy, the depressing tracks really aren’t that depressing. “Nayami no Genin wa…’s” slow-paced keyboard captures the despair and melancholia borne from a rejection, but not to the point that they’re disheartened by the setback so as to give up completely. And sure enough, you can hear the attempt at a restart through “Amanojaku na Kare to Kanojo.” The track features short piano segments that imitate the slow, deliberate steps of someone scheming to win the target’s heart. Unfortunately, the plan’s clumsy execution can be heard through the unwieldy tuba part and it’s a matter of time before the plan falls apart, resulting in the frenetic pacing of the synth melody in “Panic Web” as the hilarious aftermath unfolds before our very eyes.

Nayami no Genin wa…
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Panic Web
[See post to listen to audio]
The above tracks, while accurate in describing the turmoil and mayhem that the characters experience, just aren’t the types of pieces that get me excited. Then there is also one track, “Bonnou no Sasayaki,” that is just plain weird as it uses a percussive rhythm paired with a honking noise that sounds like a seal. Luckily, those tracks make up a minor part of the album; it’s slice of life tracks like “Soyokaze ni Notte” and “Narande Arukou’s” piano and guitar melody that are the mainstays. I didn’t find them especially memorable, but if that’s the kind of music you enjoy, you’ll be in good company for most of the way through.

Bonnou no Sasayaki
[See post to listen to audio]

Narande Arukou
[See post to listen to audio]
The soundtrack does end on a very optimistic note though “Anata ga Suki Dakara” and that’s one piece you’ll want to take note of. It depicts a realization of love especially well, especially in the strings during 0:15, 0:39, and again at 0:52 which emphasize the stirring of emotions quite well. You can’t help but feel the warmth creeping over you as the characters’ efforts pay off and they achieve the happiness that they have sought from the very beginning.

Anata ga Suki Dakara
[See post to listen to audio]
Hatsukoi Limited’s soundtrack isn’t going to be knocking anyone’s socks off, but the music is pleasant enough for you to be able to sit back and enjoy in a relaxed setting. But if you were looking for a more engaging experience that conveys the anxiety, but heartfelt moments of high school romances, then I’d look to Aoi Hana’s soundtrack, where its memorable musical themes result in a better listening experience overall.

Rating: Good

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Review: One of my favorite bands is the folk/Celtic metal band Eluveitie. Originating from Switzerland, across three albums, and with a fourth one expected later this year, they have challenged Awesome, slapped it in the face with a hurdy gurdy, and won.

Check them out:

Eluveitie – Inis Mona »

Now imagine how excited I was when I heard this in the first episode of the brand new Fairy Tail anime:

Fairy Tail Main Theme
[See post to listen to audio]

I was then instantly saddened when the next episode featured a lame remix of a tune that had me thinking a can-can line would march across my computer screen at any moment.  And given that this is Fairy Tail we’re talking about, I wouldn’t have been surprised if they had.

As far as music went, I was content with the fact that any time Natsu did something awesome it was accompanied by an equally awesome Celtic rock theme.  Other than that, I didn’t think much of the music.

But then episode twelve came along, and we got this little ditty in “Akuma no Deliora” which absolutely floored me.  From a series that until then seemed to rip all their music (save one) from classical composers, this came across as a shock.  I was amazed at how well the music set the tone for the scene and instantly realized that not only was the quality of the anime going up, the soundtrack was turning out to be worth paying attention to.

Akuma no Deliora
[See post to listen to audio]

After listening to the soundtrack, I was in aural ecstasy.  None of the remixes used in earlier episodes were present and I was discovering music besides Natsu’s theme that I hadn’t even noticed.

The OST’s strength lies in its fast-paced, action-oriented themes.  The Celtic rock ballad fits the anime perfectly in the way it single-handedly fleshes out the world.  It adds a new layer to the culture of the world that previously hadn’t been there for me.

On the other hand, I wasn’t entirely impressed by the slower songs.  Though that may have more to do with personal preference.

Yasuharu Takanashi did a great job expanding  Hiro Mashima’s world through the character themes.  The pieces themselves are extensions of the characters’ personalities.  For example, Erza’s theme starts on a graceful note, before shifting into a faster-paced, epic theme, that establishes strength and power, while still retaining an element of her feminine nature.

Erza no Theme
[See post to listen to audio]

Gray’s theme is straight up rock, with a hint of punk.  Like Erza’s it starts slightly low key, before revving up into a faster pace.  It stands apart from the rest of the soundtrack to an extent in that it does not have the Celtic theme, but that just helps to express the character further.  It’s not my favorite among the character themes, but it suits him perfectly.

Gray no Theme
[See post to listen to audio]

Lucy’s theme is light-hearted and cheerful, exactly like the girl herself.  When I first heard the theme I immediately thought of the French Riviera; the upbeat music does an excellent job in lending a sophisticated air to fit the sometimes-vain Lucy quite well.  As you probe further underneath the surface of the track, you will find the same Celtic theme that comes up in Natsu’s theme.  It’s subtle, but it does hint at a connection between the two characters as the Celtic theme ties them both together, strengthening them so that they can overcome any obstacle in their path.

Lucy No Theme
[See post to listen to audio]

So while Lucy’s theme is plucky and upbeat, Natsu’s fast paced and action packed theme paints him as a man of action.  It’s hard to imagine Natsu being greater than he already is, but his theme does exactly this, while still building on his already existing character.  By giving voice to what we already knew and adding many more elements to his character, it effectively renders this track a collage of everything that makes him Natsu.    This was the track that brought Fairy Tail’s music to my attention, and despite a slight dip in quality at first, it still cemented the soundtrack as something worth looking forward to.

Natsu no Theme
[See post to listen to audio]

The only other character theme is Mirajane’s, which is only one of two among the slower songs that I like.  The music is a perfect match for her character.  It’s peaceful and relaxing, with a motherly quality to it.  But, since there is more to Mirajane than is apparent to the eye, I can’t wait to see the variation of her theme in later episodes, especially during the Laxus arc.

Mirajane no Theme
[See post to listen to audio]

Finally, we come to the slow version of the Main Theme.  This is the other slow piece that I enjoyed a lot, and is rated five stars in my iTunes folder, along with Natsu and Erza’s themes.  It’s more than just an arrangement of the main theme with the tempo slowed down; it sounds almost nothing like the main theme, while sounding exactly like it all at once.  It is all encompassing, majestically powerful, and melancholy, all at the same time.  Every time I listen to it I get the chills.  As the last track in the OST, it’s nothing if not perfect.  And after all the emotions I went through listening to this soundtrack, this theme ends it on a decidedly powerful note.

Fairy Tail Main Theme (Slow Ver.)
[See post to listen to audio]

I don’t know why Takanashi chose to go with Celtic rock, but I thank him for doing so.  The music carries with it a promise of excitement and action, while depicting the anime’s epic characters and delivering a fun experience.  The first Fairy Tail OST makes for an enjoyable start, and I can’t wait to see how the music for this series continues to further the plot and the characters.

Rating: Excellent

Burning Lizard, also known as Derek Bown, will be contributing occasionally to Anime Instrumentality. You can read more of Derek’s work at Burning Lizard Studios, where he writes about manga, movies, and anime.

2003 brings back a lot of fond memories since that was the year that my interest in the medium was rekindled after going on a one-year hiatus. By that time, I had completely settled into my new environment, made quite a few friends, and more importantly, I had a sense of direction. That peace of mind helped free up more time and through a friend, I was compelled to give anime another shot since a lot of good shows were airing, some of which would end up on my all-time favorites list. It would be an overstatement to call this period an anime renaissance, but at the time, it sure felt that way to me.

Note: Youtube videos are spoilered, clips contain the entire track, and with that, let’s go!

Anyone who has known me for any significant length of time will know that if given the opportunity, I can babble on and on about how awesome Gunslinger Girl is. And how could I not? Everything about the show caught my attention straight away, from the crisp, detailed art and animation to the plot, and it effectively brought me back into the fold and held me there but good.

But the music… Gunslinger Girl’s soundtrack was an utterly beautiful piece of work that I would not hesitate in putting in a top 10 soundtracks list if I ever decided to sit down and take the time to cobble one together. Toshihiko Sahashi really outdid himself with the classical-style melodies that conveyed the action and the setting wonderfully. The “TEMA’s” are pretty much the foundation that the soundtrack is crafted behind, and I love “TEMA I’s” melancholy violin melody the best out of them all though “TEMA IV’s” intensity will always be a favorite too since it does a good job of bringing on the action. Concentrating on the themes alone would mean missing out on a lot of other excellent pieces such as “Bucolica” and “Ti Amo” which depict the characters’ day to day life in the European perfectly allowing you to immerse yourself in the setting.

TEMA I
[See post to listen to audio]

bucolica
[See post to listen to audio]

And lest I forget, the OP, “Light Before We Land,” also had the effect of tuning me into the Delgados, and I really like the music from their Hate album.

Gunslinger Girl OP »

The only other show that could hold a candle to Gunslinger Girl was Full Metal Alchemist, which kept me in rapt attention with its ambitious plot and enjoyable cast of characters. It also served as my introduction to Michiru Ooshima’s works which, as I’ve commented before, tends to be fairly consistent from anime to anime. I don’t think I’ve ever heard a bad soundtrack from her ever. She just captures the drama and action so well.

Whether it’s the novelty factor of hearing Ooshima for the first time or the nostalgia factor surrounding FMA, I don’t know, but I’m still tempted to call this her best soundtrack to date. The action sounds have the required level of intensity so that you can feel the sense of urgency floating about, but the drama inherent in the tragedies that the brothers Elric are forced to endure is conveyed most poignantly through “Brothers.” “Kiro” is also memorable in the way in which the scope of the series is brought to light by giving the listener a taste of the show’s ambition through the militaristic beats and the grand, epic orchestral pieces. That people lament the lack of Ooshima in the latest rendition of the FMA saga just goes to show just how strongly people linked her music to the series. Akira Senju’s compositions are good enough, but without “Brothers,” something still feels missing.

Kiro
[See post to listen to audio]

Brothers
[See post to listen to audio]

Since we’re on the subject of grand adventures, how about some Last Exile? That show had quite a bit of that, didn’t it? But while the militaristic tracks like “Chivalry Spirits” are fine in my book, the compositions from the show that stand out the most are the ones that evoke the feeling you get as you look upon the the rustic, Irish countryside through the mixture of accordion, guitars, violins, and woodwinds that this soundtrack is filled with. For that matter, it’s the Irish inflections in the sound that helps differentiate this album beyond your typical adventuring anime soundtrack and so, I prefer tracks such as “Morning in Norkia” and “Workin’ on the Cloud.” Also, Hitomi Kuroishi’s singing isn’t my cup of tea, so I’ll give her vocal tracks a pass when I listen to the soundtrack.

Workin’ on the Cloud
[See post to listen to audio]

Chivalry Spirits
[See post to listen to audio]

That adventuresome theme also means we turn towards Wolf’s Rain, where Kanno’s eclectic mix of Latin rhythms and orchestral works make for an enjoyable listen overall. As you can probably guess, I have a stronger bias in favor of her orchestral compositions, and so, “Shiro Long Tails” will always earn a firm nod for its memorable, melancholy melody. But also, let us not forget Maaya Sakamoto’s performance in “Gravity,” which should get some sort of award for being one of the most poignant ending themes ever. I mean, it’s survived this long and has been a fan favorite since it came out in 2003.

Shiro Long Tails
[See post to listen to audio]

Wolf’s Rain ED »

Chrono Crusade was also a show worth mentioning because it was my first exposure to Hikaru Nanase’s works. Her dark, gothic melodies earn a thumbs up from me, some of the sillier Rosette-oriented tracks are a bit annoying, only because one is an arrangement of the other and only a careful listen will really allow you to differentiate them. Still, the standouts are the OP, “Tsubasa wa Pleasure Line” sung by Minami Kuribayashi and the ED, “Sayonara Solitaire” composed by Yuki Kajiura and sung by Saeko Chiba.

Chrono Crusade OP »

Chrono Crusade ED »

Chrono Crusade might be one of Gonzo’s more underrated works. At least, I hardly see ever hear people discussing this show. All suspicions for this lack of discussion seem to center upon a mysterious organization known only as the Cult of the New.

And while we talk about shows that hardly ever get mentioned, I don’t see Scrapped Princess getting much love either. The few words that I can use to describe this is that for all intents and purposes, Scrapped Princess was a JRPG that was turned into an anime (Utawarerumono is a more egregious example of this). Also composed by Hikaru Nanase, I can’t claim to remember a thing from the soundtrack, and so, I must present you with the OP, “Little Wing,” since you can never go wrong with JAM Project.

Scrapped Princess OP »

To shift gears a bit, maybe someone can update me on what’s going on with Mikuni Shimokawa. I was first aware of her when I watched Full Metal Panic, but it was in the Fumoffu spinoff that I really appreciated her singing a whole lot more. During 2003 and for many years thereafter, “Sore Ga Ai Deshou” was my favorite anime song, and one that I’d foist upon any unsuspecting anime fans who had not heard that piece. The ED, “Kimi ni Fuku Kaze,” isn’t as awesome compared to the OP, but I also enjoyed that one a whole lot, probably because the little marching figures and the rhythm has driven it into my mind forevermore. Soundtrack is more of Toshihiko Sahashi from the first series, so you know what you’re getting into.

Full Metal Panic Fumoffu OP »

Full Metal Panic Fumoffu ED »

Kino’s Journey also features Shimokawa in the OP “All the Way” which was a really catchy song. It also was totally out of place with the general atmosphere that Kino’s Journey established through its vignettes. My guess is that they were trying to bring forth a sense of discovery since the song does a good job of making me want to pack my bags and explore the world so that I can marvel and experience all that life has to offer. After all, I maintain that traveling broadens ones mind, allowing one to see things from a different cultural perspective.

Kino’s Journey OP »

Finally, we come to Planetes, the show that I’m still guilty of not having seen to completion. In listening to the music by Kotaro Nakagawa (of Code Geass fame), I can’t help but feel a sense of grandiosity through the first track, “Outside Atmosphere,” which is marvelous as it gets you to think upon the pictures of Earth that we’ve all seen before in our textbooks. It’s an image most of us will probably never experience in person, but it never fails to leave me in awe and wonder as I look at it and realize that the sum total of the human experience is encapsulated on that tiny sphere. The rest of the soundtrack is good too, but I don’t think they deliver on as strong a first impression like “Outside Atmosphere.” Yes, I really do pimp this song a bit too much.

Outside Atmosphere
[See post to listen to audio]

Other Notes:

A limit does need to be set on the number of times I mention that I haven’t seen Someday’s Dreamers and my overriding need to listen to Takefumi Haketa’s soundtrack the whole way through since I was so impressed by “Where the Sky and Earth Meet” (found on a MALKeionbu compilation near you!). My advice is to grab the compilation, and if you liked what you hear, give the show a shot or the soundtrack a listen.

The RahXephon movie came out this year, didn’t it? I suppose that I could post the Steve Conte/Maaya Sakamoto duet in “Garden of Everything” that arranges the well-known “Polovtsian Dances” from Borodin’s opera Prince Igor since their voices intertwine beautifully, but I’ve always preferred the original Oh well, for your listening pleasure since I don’t want this section to be totally devoid of music:

RahXephon – Garden of Everything »

R.O.D. TV gets a lot of mixed opinions and I’m on the side that found the story to be enjoyable. It also gets a lot of flak for using the same themes from the OVA, but I don’t find this to be a major fault since Iwasaki arranges the main theme so that each variation is enjoyable on its own. But then again, I’m big on the whole “theme and variations” bit that composers do (“Rhapsody on a Theme by Paganini” comes to mind).

To borrow a joke from NegativeZero, Shingetsutan Tsukihime received not one, but two fan discs composed by Toshiyuki Omori. Surprising, isn’t it? The music uses the violins to create an overwhelming sense of despair that makes for a good listen, but there’s nothing that’s really really memorable here. Except maybe the OP song “Sacred Moon” and the way it hits on the gothic horror fairly decently. OK, there’s a really poignant violin track too, but this is getting to be a bit lengthy and I’m starting to feel lazy. (For those who don’t get the joke, there is no Tsukihime anime.)

Shingetsutan Tsukihime OP »

Anything else that I missed other than possibly Tokyo Godfathers? I’ve been meaning to watch that, but I just haven’t found the time. And by that, I mean muscle out a block of time since it’s been hard finding the free time to actually hit my backlog, what with the stuff that’s currently out. It’ll sit on the back burner along with just about everything else.