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.

Review: What makes “Renai Circulation” so catchy? I can’t speak for others, but I’ve had this song on repeat for these last few days and it never seems to get old. But articulating why I like it? Well, that’s harder to pin down.

Maybe I’m just enthralled by this song for non-musical reasons. After all, Sengoku is a very charming character and you cannot divorce her character and personality from this song. As you watch her behavior and listen to her dialogue in the anime, her shyness, earnestness, and honesty already go a long way in making her an appealing character.

But while the association to Sengoku Nadeko is there, “Renai Circulation” derives its enjoyment from the way Kana Hanazawa brings out her character. In the beginning, you can hear Sengoku feeling doubtful and wavering over whether to confess her feelings to Araragi. The soft rapping part that follows captures her anxiety-filled monologue quite well since the thoughts aren’t totally coherent and she jumps around a bit. But through it all, Kana Hanazawa’s speed and tone is light and gentle, fitting Sengoku’s demeanor like a glove. This is especially true of the chorus where the fluffiness and cutesy levels are completely off the charts which result in an endearing performance overall.

The only part that even gave me pause was the bridge from 2:33-3:05, but that’s hardly a deal-breaker since I’m willing to write it off as Sengoku repeating a mantra to herself to summon the courage needed to take action. Also, the instrumentation doesn’t play as strong a role save for maybe the tuba which helps keep up the rhythm and tempo. Since the focus is pretty much on Hanazawa’s performance anyways, that isn’t really a problem either.

Between this song, “Kimi no Shiranai Monogatari,” and “staple stable,” Bakemonogatari has a comfortable monopoly on the catchiest themes of 2009. But it should be noted that these songs have the power to endure. Getting me to listen to “Renai Circulation” repeatedly after it airs is one thing. But doing so about 4-5 months afterwards is a testament to it being more than just a fly-by-nighter. I wouldn’t bet against me listening to this song years down the road.

Rating: Very Good

Renai Circulation

Track List:

Show »

Review: I swear that someone at Sunrise told Kawai Kenji to make the music so recognizable that if any random track were to be played everyone who has ever watched Gundam 00 should know where it came from. With few exceptions, this OST falls in line with the first soundtrack, flaws and all. Each track ranges from decent to excellent, but the overall OST is hard to bear in one sitting due to the sheer amount of repetition and numerous similarities across the tracks.

I am quite thankful that the best piece is the first one on the disk since it saves me the trouble of searching through the clutter.  Full of sorrow and majesty, “Imperial Princess” is the song that will keep you coming back for more.

Imperial Princess [See post to listen to audio]

There really is not a single track here that is particularly bad, but the vast majority of songs feel like above average stock music that provides some nice music to paint scenes but are otherwise dull.  You need to jump to near the end of the OST to “Counterattack” before things really get mixed up.

Counterattack [See post to listen to audio]

For a music editor, it is actually quite nice to have a large number of different songs that ultimately converge to the same style.  This allows the music to become strongly associated with a particular show, and it allows the central theme song to be played over and over again, with just enough variation to feel both fresh and familiar each episode.  The problem is that it makes for a poor listening experience unless adequately spaced out over a long period of time.  As a result, stuff like “Forward” would have gotten a stronger reaction with me if it wasn’t yet another throwback to the main theme.

Forward [See post to listen to audio]

Also, one begins to wonder if Kawai Kenji really had to remix virtually  every tune in the series.  For instance, did you enjoy “Setsuna” from the first OST?

Setsuna (Gundam 00 OST 1)[See post to listen to audio]

How about supplementing it with the flute version?

Sorrow [See post to listen to audio]

The piano version?

Love Song [See post to listen to audio]

Or strings for good measure?

Separation [See post to listen to audio]

I finally understand how Gundam 00 managed to get away with playing the same theme music three times every single episodes: the creators had around 50 million iterations of it. I can honestly say that I’ll never be able to forget some of songs but I don’t know whether it is out of love of the material or a cause of repetition that has jackhammered the tunes into my head.

Considering that any one of the numerous remixes of “Setsuna” left a greater impression on me than many of the other songs, I wonder why the others couldn’t have been just as good.

Rating: Decent

2002 brings in more shows that I’m now more familiar with, though the one thing to keep in mind is that I didn’t watch these shows in 2002. It was a time where I was transitioning into a new environment and all of the excitement and anxieties that come with doing such a thing. So I ended up putting off anime for a whole year until 2003 rekindled my interest in the medium once more with a spate of shows that proved to be pretty damn awesome. Well, you weren’t really here to read my life story, so I’ll spare you the details for another day when it might actually be relevant.

Note: Youtube videos are spoilered, clips contain the entire track, and with that, let’s go! God help us all if your connection can’t get these clips fast enough or this site experiences slowdowns. Be patient!

You could probably guess that my fanaticism for Taku Iwasaki was fervently in full swing as it carried over from 2002 and even further back since he has not yet disappointed in the slightest. After all, we’re still three years away from the atrocity that was Black Cat. So needless to say, his work on Getbackers and Witch Hunter Robin, was a continuation of his great run in form.

Of the two albums, Witch Hunter Robin is by far the more consistent as it juggles between the soft, mysterious-sounding stuff and action-y tracks. The main draw of WHR was, as you might expect the action when you have Robin, Amon and the rest of the crew at STN-J rushing in and engaging in combat. Of those, “Flame” gives me goosebumps every time I listen to it as I anticipate the battle that is to come. Though there’s not whole lot in the way of development, I’m willing to give it a pass because of how much I’ve come to associate it with the fight scenes in this series. I suspect that for me, part of the attraction is the way in which each stage of the fight feels deliberate as the melody and rhythm shifts around a bit at certain points.

Flame
[See post to listen to audio]
Of course, the other part of what made the soundtrack enjoyable is the theme of the eponymous character, “Robin.” In listening to it, you get a taste for both her earnest and gentle nature. There is a hint of mystery surrounding her, which I think this track captures well and it does make for one of the better character themes out there. Maybe it’s because of the nostalgia factor.

Robin
[See post to listen to audio]
The OP and ED also deserve mention because “Half Pain” and “Shell” are pretty damn awesome, and though I don’t listen to rock all that much, these two tracks see quite a bit of playtime still even after all these years. OK, well, only one is actually rock. The ED is more piano plus an aura of loneliness or something with a bit of longing thrown in for good measure. I like it.

Witch Hunter Robin OP & ED »

Getbackers is not as good as Witch Hunter Robin because it’s not as consistent, but it’s pretty hard not to like the damn thing. Here, Iwasaki employs a healthy dose of jazz to mix things up a bit, and the result is a soundtrack that’s really fun to listen to. The sheer amount of style it oozes out of every pore cannot be praised enough, especially in the main theme, which demands your attention right off the bat with its badass action that is all too fitting with the pulpiness that this series is just filled with. The show itself is decent up to a certain point since the writing quality does drop quite a bit, but the soundtrack, especially the first disc, is one that I’d highly recommend giving a shot.

Getbackers
[See post to listen to audio]
Full Metal Panic offers a different sort of action from what Getbackers provides, and its serious tones are fitting with Toshihiko Sahashi’s compositions. I don’t think I’ve ever heard Sahashi compose a bad soundtrack, and maybe that’s because I haven’t been looking hard enough. Either way what’s always impressed me is how well he handles the orchestra bits, and his work on FMP is certainly no exception to that. His militaristic themes are always consistent; they won’t necessarily wow you per se, but they are a notch above some of the action tracks that I’ve heard. “Plan 1056″ shines particularly brightly because of the urgency that you get through the drum section.

Plan 1056
[See post to listen to audio]
The slice of life moments are also enjoyable with its mix of easy listening tracks, which goes to show how versatile of a composer Sahashi is (and it’ll be something that’s in full display in 2003, mark my words). And if you want an awesome homage, look no further. The infectious A-Team Theme can be found here, and its inclusion earns my unconditional praise.

Tokkou Yarou
[See post to listen to audio]
Ootani Kou’s name should be familiar to many a VGM fan since he was responsible for the epic tracks in Shadows of the Colossus, but the intensity of the giant battles are almost nowhere to be found on his score for Haibane Renmei. Haibane’s peaceful, soothing score delivers upon so well is the way it conveys the feeling of rusticana through tracks like “A New Plate’s Rondo” and the upbeat “Starting of the World.” The former’s harpsichord and flute work together really well to immerse you into the setting as you alight upon a world that is far simpler and more relaxed, though I imagine people looking for an energetic start to the day will strongly favor the latter since it has the rhythm and tempo to create a hustle-bustle atmosphere. If that was all there is to it, this album wouldn’t be so highly regarded. The emotional piano tracks that pop up on occasion draw out the feelings of pain and regret, delivering it poignantly so that you, too, empathize with the characters’ struggles.

A New Plate’s Rondo
[See post to listen to audio]

Starting of the World
[See post to listen to audio]
So yes, Haibane might not be a show that I can say anything intelligible about, but thankfully, I can describe my feelings about the soundtrack. Its blend of calm, serene fare and the sadness that it imbues is really wonderful. And lest I forget, the OP, “Free Bird,” deserves a mention for its ability to distill the setting in a nutshell.

Haibane Renmei – Free Bird »

Finally, we come to Yokohama Kaidashi Kikou. Back when I watched the original OVA, I wasn’t quite able to come to grips with it, but in Quiet Country Cafe, I was slowly drawn into its fading world. The soundtrack, played by the Choro Club (and Taku Iwasaki might have a composer’s role here, I’m not sure), is beautifully serene. Yes, I’m quite the sucker for soft, pretty music like this and Choro Club has never failed to impress. As good as their work is here, I really like their work on a certain franchise a whole lot more. Look forward to it!

Cafe Alpha – Main Theme Orchestration
[See post to listen to audio]

Yuunagi no Jidai
[See post to listen to audio]

Hall of (My) Shame:

There’s a lot of patching up that needs to be done here, unfortunately, and I guess if there’s a year that can be called the “Lost Year” in the realm of anime music for me, it’d have to be 2002 since I’m missing quite a few gems (that people should comment about if they like this stuff!). Twelve Kingdoms is bound to get a listen one of these days once I find the time to actually watch the series. Ryo Kunihiko’s work on this anime, of the little I’ve heard, is positively epic. In listening to the opening sequence, it’s easy to get one’s breath taken away by the scope of what the series seemingly offers. And seeing how much praise it gets from people’s Decades lists, this show is a matter of “when I’ll get to it” rather than “if I’ll get to it.”

Twelve Kingdoms – Junigenmukyou (full version)
[See post to listen to audio]

.hack//SIGN also came out that year, and its snail-like pacing undermined its interesting premise. Through this show, I was convinced that Yuki Kajiura would only stick to mediocre anime (this prediction would be proven resoundingly wrong, by the way) but the little music that I’ve heard from this series does garner a favorable impression. Rahxephon’s absence is another headscratcher since its OP, “Hemisphere,” has been so widely praised. I hear the score is pretty good too.

Rahxephon – Hemisphere »

2002 also saw the release of Chobits, and aside from a very catchy OP, in “Let Me Be With You,” I haven’t watched it and cannot comment further beyond “what’s with Clamp adaptations and their catchy openings?”. Even more damning is the lack of Yoko Kanno’s soundtrack for Ghost in the Shell: Stand-Alone Complex. This was the series that brought Origa to my attention through her excellent performance of “Inner Universe” that leaves me feeling floaty because of her ethereal voice. Given Kanno’s stellar reputation, this soundtrack definitely demands a listen, but like all that’s been afflicting me as of late, the lack of time means that it’s sitting on the backburner. Along with about 3 dozen other things vying for my attention simultaneously.

Chobits – Let Me Be With You »

GitS: SAC – Inner Universe »

Hmm… now that I look back upon this lengthy entry, 2002 was an impressive year music-wise, wasn’t 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:

Show »

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
[See post to listen to audio]

Kantai Shiki (Gundam SEED Destiny)
[See post to listen to audio]

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
[See post to listen to audio]

Beating
[See post to listen to audio]

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
[See post to listen to audio]

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
[See post to listen to audio]

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

Going into this concert, I can’t really claim to have much in the way of knowledge of Hikaru Utada or many of her works. My particular focus on J-pop is mostly confined to whatever is packaged with anime series or video game music so in this instance, her work on the Kingdom Hearts franchise is about all that I’m familiar with. Still, after listening to this performance, I can see why she is held in such high regard. That she composes her own music and writes the lyrics herself is already something that earns my respect. When you combine that element with her ability to sing live, I can’t help but be impressed by her completeness as an artist.

I should not have been surprised when I saw the line snake around the block right in front of the House of Blues on LA’s Sunset strip. After all, it had been about three years since she last performed in LA and people were looking forward to seeing what slate of songs she would be singing this time around. On my end, this concert would be a new experience since not only would I be introduced to more of Hikaru Utada’s repertoire, it would also be the first time I’ve attended a concert where it was standing room only.

The line was pretty long, comparable to her Seattle concert shown above (photo courtesy of @erwinwijanto)

You could feel the excitement brewing once you entered the venue. A few of her fans had brought posters wishing her a happy birthday which made the event feel all the more special. Gradually, more and more people filed in until it was pretty jam-packed, and there wasn’t anything left to do other than to wait. After what seemed like forever, the band finally got into place, and Utada started off with “Opening – Crossover” and show went under way.

I was pretty much lost at this point because I wasn’t familiar with her songs, but then again, I didn’t really care. Her performance was absolutely entrancing. Whether it was because of the venue or the crowds bringing out the right atmosphere, I felt that the pieces she sang had a greater level of expressiveness than the ones that I’ve randomly stumbled across. Just hearing the little flourishes that she puts in here and there made me enjoy the performance a whole lot more.

Even the songs that I did recognize sounded a bit better. “First Love” felt like it had just a bit more emotion put into it, and I could feel the sense of longing that the song’s lyrics conveyed. Her rendition of “Simple and Clean” (this was one of the encore pieces) was also solid with its boldness, energy, and optimism.

This was definitely different from the J-pop concerts that I’ve been to at Anime Expo in that it was more polished (no surprise) and as a result, yielded an awesome experience. Live performances always seem to offer much more than what the CDs are capable of delivering upon because of the atmosphere and the crowd experience, and this concert was no exception. Utada Hikaru fans will derive a lot of satisfaction out of this, but even for neophytes like myself, it was fantastic, and I would highly recommend going if you’ve the time!

Other notes:

There was one segment where Utada Hikaru sang and played on the keyboard. No, I unfortunately don’t remember which song it was. Yes, what she was playing wasn’t that complex and shouldn’t be that amazing, but it was a nice touch all the same since many artists don’t have any talent beyond just singing.

The musicians played “Happy Birthday” and she jokingly joined in. It was silly, yes, but I really liked that moment. A serious business concert just wouldn’t be fitting.

Track List:

Show »

Review: For those of you who still subscribe to Time magazine, you may notice a column with a vertical arrow containing a spectrum of points covering news items that are “Shocking,” “Predictable,” and “Shockingly Predictable.” If one were to take this spectrum and place anime music spinoffs on there, Christmas Album ~La Vierge Marie Vous Regarde~ might not be “Shockingly Predictable,” but it’d be pretty close to that mark. After all, it does not require a big leap of logic to see the Marimite seiyuu cast, all of whom play Catholic schoolgirls, sing Christmas carols.

That said, it is hard to determine whether or not this is supposed to be a joke album. In a nutshell, imagine the cast of Marimite singing Christmas carols in engrish, and you will have succeeded in distilling this album down to its core element.

With names like Kana Ueda and Mamiko Noto making appearances, the renditions of these carols aren’t going to be spectacular. Noto, in particular, lacks that strong presence when she sings, making her performance in “Silent Night” feel just a bit too fluffy for my tastes. As for Ueda, she sings using her Yumi Fukuzawa voice decently, though she does inflict the most damage to the English language, but that could be because she sings two-thirds of the songs on this album. Other than that, the songs themselves are standard Christmas carols and would not raise too many eyebrows if it weren’t for the mispronunciation going on.

Joy to the World
[See post to listen to audio]

Silent Night
[See post to listen to audio]
If there is any reason why people would pick up this album to begin with, it would be the engrish. Unfortunately, there’s only so much amusement value that one can derive from seiyuu proudly declaring that “Santa Craus is coming to town” before it gets old. At least the producers were kind enough to mix it up a bit in “Angels We Have Heard on High” by having the seiyuu massacre Latin. That’s a novel idea I’d like to see milked for what it’s worth.

Santa Claus is Coming to Town
[See post to listen to audio]

Angels We Have Heard on High
[See post to listen to audio]
In the end, the Marimite Christmas Album lacks staying power. Sure, it’s makes a great gag and a novelty item the first time through, but because there’s nothing truly outlandish, it’s hard to fathom why anyone would give this album a listen-to more than once a year, if even that. For those of you looking for a hilarious joke album, you’d best try your luck with Pun-colle (aff). Seiyuu singing punk rock? Now that’s real comedy!

Rating: So-so

The information is a bit old by now, but if anyone has been following Hiroaki Yura’s blogging activities, you may have noticed that he’s made a post regarding the recording of the soundtrack to the Disappearance of Haruhi Suzumiya movie which is currently looking towards a February release date in Japanese theaters. Satoru Kousaki will still be the composer as usual and I’ll be looking forward to seeing how his minimalist style interacts with the orchestral work that Eminence puts out. Somehow, my gut feeling tells me that they won’t be using the entirety of the Eminence ensemble. Maybe something on a smaller scale unless they’re flying Kousaki out to Australia to do the recording. Still, a fully orchestrated movie score is something to look forward to at any rate.

As a note, the minimalist piece heard in the one-minute trailer for the movie is apparently Erik Satie’s Gymnopédies N°1. My pretensions to having a hefty amount of knowledge about classical music took a beating that day. (Thanks Smankh! :p)

Speaking of Eminence and Australia, those of you out in Perth have the Destiny: Promised Legacy concert event to look forward to if you’re planning to attend the Perth Anime Convention (or PAniC) on January 23. The concert is going to play a few of the songs used in the Project Promise album using around 7 of its musicians. Tickets can be purchased here. Also, if you’re not that big on Makoto Shinkai and are more of a game music fan, Yasunori Mitsuda will be making an appearance, so that’ll make your trip worth your while.

More information here.

We’ve affiliated ourselves with the Nihon Review as their main provider for soundtrack reviews (and they’ll be contributing soundtrack reviews from time to time as well). To help them out, we’ll be linking to their reviews from time to time. Do take a look at what they’ve put out because their reviews come highly recommended and are definitely worth reading. Also, their staff blog makes for good complementary reading to the reviews so that you get a chance to pick at their minds. If you’ve the time, do join their forums and say hi.

And if you’ve even more time, you can apply to write for them. They’re running a staff contest right now with the objective being to add a few more writers to their review crew. If you’re looking for a fun experience and an avenue to strengthen your writing chops, do apply! They have spots open for blog writers too.

Finally, I’ll be contributing a bit to Original Sound Version in the area of J-music that isn’t VGM. It’s nothing time-intensive and will not detract from my focus here, but it’ll be fun helping out their blog team which I’ve worked with a bit over at Eminence. They’ve done an excellent job at keeping their pulse close to the VGM scene, and since I’m on break from Eminence at the moment, it’ll give me something to do in the meantime.

And that’s it. We should have a few reviews coming down the pipeline as well as a resumption of the Decades Reminiscing thing that I’ve been doing.

Why yes, I have been quite busy as of late.

Anyhow, it was nice getting that chance to look really deep into the shows that aired in 2000 since delving to those lengths is a luxury from here on out, mostly because of how my interest in the medium grew somewhat around this time period. I say somewhat because there was a bit of a lull from 2001 and 2002, but that is a story for another day.

But with the focus on 2001, I can say that I saw a lot of enjoyable shows surface and some not-so enjoyable shows that nevertheless had some pretty awesome music.

Disclaimer: I unfortunately have not been able to solve the problem on how to turn myself into a being who no longer requires sustenance or sleep, both of which cut into my being able to watch copious amounts of anime and listen to all of their soundtracks. As such, it will be a given that I will not be able to touch upon all of them in this series. If a particular show that came out during the year highlighted did not receive a mention and you believe that it merits one because of its soundtrack, feel free to note that in the comments section. Being the soundtrack freak I am, I will add it to the list of stuff I should listen to. After all, if I can sit through Lingerie Soldier Papillon Rose’s soundtrack, I figure I can stomach anything you can throw my way.

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

The Read or Die OVA gave me a lot of things that I found to be awesome. The production values were superb, the animation was crisp, the plot wasn’t something I had seen before, and, of course, the music was fantastic. The soundtrack oozed that cool vibe with its blend of jazz, electronica, and orchestral music into one enjoyable package that has had a remarkable amount of staying power. Even now, when I need a bit of energy and inspiration, I’ll turn to tracks like the glorious-sounding “Bring all the wisdom to Great Britain!” and the “Read or Die Theme” with its groovy, jazzy flavor that reminds me of those 1970s spy flicks.

Bring all the wisdom to Great Britain!
[See post to listen to audio]

Read or Die OVA OP »

So yes, the R.O.D. OVA OST cements Taku Iwasaki as one of the most consistent anime composers in my book (at that point). And as if his reputation needed any further bolstering, he also goes on to compose music for the Kenshin Seisouhen OVA which is utterly fantastic.

Anyone who has listened to his work on the Kenshin Tsuiokuhen knows that it’s a dark, brooding soundtrack that is wonderful to behold and I’d go as far as to say that it is probably his best work of all time! ALL TIME!!! Nevertheless, this followup manages to meet the expectations that the Tsuiokuhen OVA sets in terms of musical quality. To say that I love the orchestral pieces in Seisouhen is an understatement. Even though the Seisouhen OVA is a bit underwhelming at times, the music helps save it with awesome warrior-esque themes like “Heart of Sunrise” (now on a MALKeionbu Companion CD near you!) and the badass “The Duel in the Name of Love” which depicts the ebb and flow of a fight perfectly in the way it handles the intensity.

The Duel in the Name of Love
[See post to listen to audio]
It’s not hard to see why an orchestral fiend like myself enjoys this sort of stuff so much.

Moving on, we come no Noir. Though it’s not quite as badass as Iwasaki’s work on Kenshin Seisouhen, Kajiura’s first notable soundtrack managed to grab anime viewers’ attention with its use of vocals, fast-paced action tracks, and the slower, more introspective works. The amazing thing about all this is that Kajiura’s only improved with time and I’ve been very impressed by her advancement. It shows that when I give Noir a listen, I find it a bit lackluster compared to the music she’s putting out nowadays.

Still, you’ll have pieces that will remain classics no matter what. The action-oriented tracks are what really rule the day here, especially with the awe-inspiring “Salva Nos” which sounds like some divine entity delivering that bolt of judgement on all the sinners out there through the soaring vocals. It’s an amazing piece no doubt, one that’s practically unforgettable, especially if you’ve seen the show itself.

Noir – Salva Nos »

Angelic Layer also has some action-oriented moments given its plot revolving around a girl who competes in a doll battle arena tournament, but I don’t find the battle themes to be quite as riveting as the slice of life/character theme components. Kouhei Tanaka sculpts a very pleasing soundtrack overall though, and while some of the tension-filled themes can get a bit repetitive with its ominous rhythms (sort of like how Saki’s can get a bit wearisome), the light-hearted moments and the graceful melodies are the tracks that make this album a good choice for those pick-me-up moments.

Misaki’s Theme
[See post to listen to audio]
Speaking of light-hearted feel-good anime, Fruits Basket also came out in 2001. The soundtrack never struck me as being a memorable affair, but this anime does give us the poignant “For Fruits Basket” theme song which, for many anisong fans, carries a special weight because it’s hard not to think of Ritsuko Okazaki when one listens to it. Rest in peace, wherever you may be.

Fruits Basket OP – For Fruits Basket »

Finally, we also got two movies that are worth mentioning. Spirited Away is the better-known of the two and here, Joe Hisaishi once again leaves us in awe with his ability to compose a soundtrack that draws us into the movie’s setting. The music is light for the most part and there’s a dab of melancholy that permeates many of the pieces depicting Chihiro’s journey and growth as she goes from place to place, seeking out her parents while coming to terms with the changes in her life. Although tracks like “One Summer Day” is memorable, as it turns out, a lot of people like “The Sixth Station” much more (myself included).

One Summer Day
[See post to listen to audio]

The Sixth Station
[See post to listen to audio]
Princess Arete would be the other movie, and the only reason why I even watched this movie at all was due to Akira Senju’s compositions. While the movie left me wanting at times because it falls short of its potential, there’s no denying that the music leaves a very strong impression. The pieces in this movie are comparable to the music in Spice and Wolf in its incorporation of medieval/Renaissance themes. However, the piece that stands out the most here is the piece that introduces the anime, “Kiniro no Tsubasa.” Sung by Taeko Onuki, its melody caused me to melt in my seat, leaving me in a state of bliss the first time I heard it, reinforcing Akira Senju’s position as one of my favorite anime music composers.

Kiniro no Tsubasa
[See post to listen to audio]
Despite all that, there are a few notables that I left out that’s worth chastising me for. I have seen Millennium Actress and I’m sure it certainly deserves a mention if I ever get around to giving that album a go. Earth Maiden Arjuna also has some good music, but again, I haven’t seen the series or listened to the music enough to give an informed judgment. Finally, for all that one Kokoro Library track did to leave me impressed, I still haven’t gotten around to giving that soundtrack its time to shine even though it’s packed with piano melodies which is normally a sure winner with me.

Anyhow, as I mentioned, I’ve been busy as of late, but I’ll hopefully have a few news tidbits to toss around in the next few days.