For those of you who’ve been following me on my twitter account, you should have gotten a feel for my thoughts regarding Anime Expo this year and will know that none of the available concerts have piqued my interest. I’m not a fan of Morning Musume by any stretch and visual-kei holds very little interest to me, which means the Moi dix Mois concert is completely out of the question since there are better things for me to waste time on. Since most of the value I derive from AX comes from the concerts, the lack of quality showings left me with little incentive to go, except I think I’ve found enough interesting stuff to warrant the trip. Read on after the jump to see what I will (and won’t) be doing:

First of all, I’ll only be attending on Friday, which means there’s a lot of stuff I won’t be doing, and that is a shame since they sound pretty awesome and deserve a shoutout and well wishes from me regardless (not that they’ll need it since I’m sure they’ll do great!). Animediet, AnimeGenesis, and Dancing Queen seem all set to run the Indecent Otaku Comedy Hour which they’ve been pushing pretty hard online. As if the content isn’t enough, the giveaways are just another icing on the cake, so I’d definitely encourage you all to check it out if you’re going. And of course, there’s the AX blogger meetup that’s been organized by IcyStorm and will provide an excellent opportunity to match names to faces so that you all can find out who’s behind all the mysterious posts that come up so often on all those blogs you read from time to time. Getting a chance to interface with the community is always enjoyable, but alas, I’ll have to give it a pass. Next year!

So no concerts and no community interfacing. Whatever shall I do? Turns out a lot actually. Here’s what my schedule is looking like:

Bandai Entertainment Industry Panel - 9:00am to 9:50am
Some announcements perhaps? That’d be nice to go and see what they’re up to and it’ll give me something to do instead of waiting forever for the Exhibit Hall to open while people are lining up to walk into there.

Daisuke Ishiwatari - 10:30am to 11:20am
Again, should be interesting to listen in on since I do like the Guilty Gear series of games. Not that I’m any good, mind you since I mostly play it for the music. Plus, BlazBlue got a release fairly recently and I’m wondering how they’ve done there, both from the gameplay standpoint and the music standpoint. A shame they don’t have a concert of Ishiwatari’s music though. That would have been awesome to hear “Holy Orders” live.

Anime Trivia Show - 1:00pm to 2:50pm
This is mostly to test what I don’t know because surprisingly, I don’t actually know a whole lot. My lack of knowledge about the popular stuff and mecha anime is absolutely going to crush me here. I’ve always wanted to participate in this in previous years, but somehow, I always seem to miss the day they’re holding it. Hopefully this one turns out to be enjoyable for those with limited knowledge like myself.

VIZ Media Anime & Manga Panel - 3:30pm to 4:20pm
This is actually a “maybe” since I’m not really all that into Viz’s properties. Except for maybe Monster.

Without Watching the Anime: Opening & Ending Themes - 6:00pm to 6:50pm
This is hosted by a group/person that calls itself Department of Alchemy and given the content of this blog, you can definitely bet that I’ll be showing up to this one. Not only am I interested in seeing what sorts of topics the panel runner will take us through, I’d like to be able to compare notes since I do have an article written on OP/ED themes that has yet to be published on a different website that I’ve been working on. In any case, I do look forwards to an insightful discussion here.

And that should be it! Not exactly planning to stick around for the AMV contest, but that’s effectively my tentative schedule. If there are any interesting going-ons that I’m completely missing on this list for Friday, drop me a line so I can plan appropriately!

Review: As I listened to this album, the first word that came to mind was “minimalistic.” Instead of trying to impress the listener through epic-sounding orchestrals, Toki wo Kakeru Shoujo’s soundtrack aims for subtlety by utilizing Kiyoshi Yoshida’s compositions in a way as to convey the ordinary behind the extraordinary. This approach suits the movie given that its story revolves around an ordinary girl who gains the extraordinary ability to travel in time, and instead of using that power to put some grandiose plan into action, she uses it for ordinary, almost trivial matters. By taking in this premise and combining it Yoshida’s music (along with a smattering of Bach), Toki wo Kakeru Shoujo’s soundtrack succeeds in charming the listener with its delightfully simplistic melodies that makes for an enjoyable occasional listen.

The first track, “Natsuzora ~Opening Theme~,” works towards conveying the breadth of Toki wo Kakeru Shoujo’s atmosphere. Starting with a slow, stately, piano melody, the piece begins its buildup through a Celtic section which gives off the feeling that something extraordinary is about to happen. The resounding chord at 1:26 serves as the clarion call by filling the air with a vibrant sound that carries with it a sense of excitement and wonder, as though to announce the extraordinary event. Before the instruments recede, the melody lingers, leaving the listener eager to find out how things will play out during the course of the movie.

Natsuzora ~Opening Theme~
[See post to listen to audio]

But before we can get to the exciting parts, this movie reinforces the sense of ordinariness through “Sketch.” The pizzicato captures the flow of day to day life through its repetitive melody, though the downside is that it won’t stand out a whole lot, leading to an altogether unremarkable track that gets the job done. It’s effectively light and simplistic music that doesn’t offer much to begin with. The full version doesn’t bring much to the table either because it differs only in the way it tosses in a few other instruments on top of the repetitive melody to create a more enjoyable listening experience, but only if you enjoyed that track to begin with. The slice of life themes continue with “Daylife,” which displays a mix of life’s more simple moments and a sense of contemplation through a quaint piano melody that drifts along in such a way as to leave you feeling at ease with all the time in the world to reflect and ponder.

Sketch
[See post to listen to audio]

The excitement picks up with “Karakuri Tokei ~ Time Leap,” which opens up with a melody created by tinkling bells that bring to mind the sound one would expect out of an old-fashioned clock tower. It doesn’t take long for this nostalgic, serene mood to fade away as it’s replaced by the violin section which creates a sense of tension and chaos as it builds up towards an exciting finish, leaving the listener with an impression that the protagonist has succeeded in breaking the boundaries between time and space. At this point, the protagonist realizes what she’s capable of doing, and that means it’s time for the fun and games to begin. The second use of Bach’s Goldberg Variations works towards creating that mood by conveying the excitement the main character feels when using this ability to make her life easier and less stressful.

Karakuri Tokei ~ Time Leap
[See post to listen to audio]

With such a power at her disposal, the character was bound to confront the consequences of her reckless behavior sooner or later and reality brings her back down to earth rather quickly. “Seijaku” captures the emotions going through the character’s mind when she realizes the gravity of what she’s done as the piece channels despondency and regret through a mournful piano melody. The approach this piece takes is rather interesting: the piano plays for 3-5 seconds and letting the note linger, allowing 3-5 seconds of silence to creep in. This alternation between music and silence creates that sense of isolation, as though the protagonist was trying to search for answers except with each passing step, things feel even more hopeless and with no end in sight. While it does fit the overall mood, if you’re not altogether fond of Yoshida’s approach to this track, “Seijaku” can feel ponderous.

Seijaku
[See post to listen to audio]

But as we come closer to the end, the mood begins to shift slightly upwards. “Insert Song ‘Kawarenai Mono’ (Strings Version),” starts a sense of yearning to it as though it depicts the character pining for simpler times. Slowly, but surely, the piece gradually shifts, as a sense of realization creeps in and explores a myriad of mindsets, ranging from a contemplative section from 1:26 to 2:00 to the peak at 3:54 where the main character experiences a wave of relief pass over as circumstances turn out all right in the end. Finally, Hanako Oku’s “Theme Song ‘garnet’” works to sum things up through a lovely ballad that captures the feelings of the main character while providing a sense of closure to all of the events that have happened during the course of the film.

Insert Song ‘Kawarenai Mono’ (Strings Version)
[See post to listen to audio]

It’s really hard to peg where this album falls. Most of the pieces are evocative and do an excellent job of complementing the scenes in the movie and yet, when you listen to the tracks on their own, pieces like “Natsuzora” will stand up pretty well while others like “Seijaku” sound overly drawn out. So the mileage that one can derive out of this album depends on how well one can appreciate the way this soundtrack captures the essence of ordinary extraordinary ordinariness. If that’s something that’s right up your alley, then this album becomes a solid recommendation. Otherwise you may want to skip this one in favor of something that isn’t as slow and sluggish.

Rating: Good

Voting Thread

Unjustly or no, J-pop does have a tendency to be viewed as a genre that’s rather homogeneous because there’s very little diversity within the set of works out there. Sturgeon’s Law seems to hold a pretty strong grip, but the folks over at the MAL music club did manage to get a hold of some rather enjoyable tracks out of this supposedly inane genre and I was quite pleased with the selections. So let us take a look at what people thought merited a listen after the jump:

Shin Mazinger Shougeki! Z Hen - Kanjite Knight
[See post to listen to audio]
I have no complaints with starting things off with a rock track as a means of preventing the stale air of J-pop from getting too strong of a hold right off the bat. JAM Project and Lazy work together to unleash a torrent of energy that fits right into the whole old-school giant robot genre as they sing with a great deal of PASSION. Very awesome, though with all the picks that we’ve had this week, there are other tracks that catch my fancy just a bit more, but this one is not bad by any stretch.

White Album - Glass no Hana
[See post to listen to audio]
I’m going to say lazy on this one to excuse myself from having to write up something of substance in praise of this track because from the time I wrote this entry until now, my opinions of the song have not changed. (+2)

Macross: Do You Remember Love? - Ai Oboete Imasuka
[See post to listen to audio]
Now to get to the real stuff, starting with a piece that has quite a bit of history behind it though I can’t really claim to like it as much since Mari Ijima’s delivery here doesn’t age quite as well as I had hoped. Mind you, I have no issues with the melody or the way the song is executed; rather, my issues stem from Ijima’s voice in that it doesn’t seem powerful enough to project the sort of emotions that this track is capable of delivering through its poignant melody. Compare this performance to Megumi Nakajima’s version on Macross Frontier to note the differences and to see why I prefer the later version much more than this one.

Top wo Nerae! 2 Diebuster - Groovin’ Magic
[See post to listen to audio]
Oh god, this track is so campy but oh so sweet. Seriously, the “Ahh ahh ahh ahh ahh ahh ahh ahh Oooooh ooh oooh ooooh” part just gets me every time because of how ridiculously catchy it is that I can’t seem to let that out of my mind. ROUND TABLE feat. Nino has always been outstanding with their music, producing excellent tracks like the Chobits OP as well as several EDs for ARIA. And in this performance, they’ve created an incredibly catchy pop piece that manages to win me over with its pacing as well as it’s ability to put a smile on my face through its cheesiness. Needless to say, I love it! (+1)

Kashimashi ~Girl Meets Girl~ - Michishirube
[See post to listen to audio]
I really do like this track because it fits my reserved tendencies. It’s soft and quiet, with an air of subtlety that’s really gentle. I think the piano and acoustic guitar parts in the background along with Yuumao’s rhythmic delivery is what secures this piece as one of my favorites since it allows a feeling of calmness to wash over you while you examine your feelings. Yuumao, in particular, helps in that area by dispensing with the subtle sense of longing well when she sings. A very solid track overall!

Kimikiss ~Pure Rouge~ - Wasurenaide
[See post to listen to audio]
I figured someone would nominate this track since it’s definitely Suara’s strongest performance as she pours forth a large amount of emotion backed by the piano which complements the song nicely. Her delivery is just so beautifully done that one can’t help but be swept away by the music as a whole. Of all the tracks selected this week, this one is my favorite because of how the vocals and the instrumentation just combines together to feel just right, making it an enjoyable track from start to finish. (+2)

Ai Yori Aoshi ~Enishi~ - I do!
[See post to listen to audio]
Of all the tracks selected, I think this one is closest to pure, unadulterated pop. In light of some of the pieces we have at our disposal, this one also comes off as being closest to generic, as nice as it sounds. The singer’s voice is pretty soothing and the chorus part does work as far as being catchy goes. This track is something that I can see myself listening to once in awhile, but it’s not likely to become a mainstay in my audio player.

Mahou Tsukai ni Taisetsu na Koto ~Natsu no Sora~ - Fly Away
[See post to listen to audio]
A victory for diversity in the form of THYME who delivers a track that has an impeccable sort of pacing that makes for a contagious listen because of how you get sucked into the opening chorus section. The electric guitar and THYME’s voice complement each other well throughout the chorus and even if I’m not as thrilled with the main verses, I really do enjoy the way it builds itself back up to the chorus part. In addition to providing variety as far as the week is concerned, this song also has its own internal variety throughout each verse’s execution, which keeps the song engaging and fun. The shift in the key does feel a bit bizarre as you close in towards the end, and I think that’s the tiny dinger that makes this track lose out on points just barely.

Tsukuyomi ~Moon Phase~ - Neko Mimi Mode
[See post to listen to audio]
What. OK, my objective side tells me this should not get any points at all, but how can I not? It’s so moeeeee that I’m going to die from the sheer cuteness overload. No, I have not seen Tsukiyomi Moon Phase, so I’ll have to picture this in mind with Chiwa Saito’s other characters: namely Rebecca Miyamoto. Seeing Miyamoto-sensei put on cat ears while indignantly saying those lines in the song just conjures up imagery that’s just far too hilarious that I can’t stop laughing in delight. It becomes even more adorable when she starts making those cat noises which grab at your attention and make you go “dawwwww,” a feeling that gets enhanced when she makes that pouting, whining noise. I gotta give it to this track for being able to keep me entertained… and for getting into my head. I can’t stop putting this song on repeat! I’m in DESPAIR!!! (+1)

Code Geass R2 - Masquerade
[See post to listen to audio]
I’m apparently not quite as knowledgeable about this artist, but I can say that this track doesn’t catch my attention at all. There’s a sort of airiness that I really don’t dig and the Gothic feel that this song pushes forth doesn’t really sit well with me unlike Ali Project’s Rozen Maiden fare. I just don’t like Hitomi’s delivery. Sorry.

So there you have it! My point distribution can be found below. Week 6’s theme will be based on traveling, so if you want to get a head start, feel free to start digging into that week’s selections. A voting thread will be created once I compile all the music together, but I look forwards to giving them a listen! And I also hope to see some new faces turn up!

(+2) White Album - Glass no Hana
(+2) Kimikiss ~Pure Rouge~ - Wasurenaide
(+1) Top wo Nerae! 2 Diebuster - Groovin’ Magic
(+1) Tsukuyomi ~Moon Phase~ - Neko Mimi Mode

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

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

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

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

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

Rating:Good

Honjitsu, Mankai Watashi iro!

Review: K-ON! is destined to fade away into the mists of time since the series offers little in the way of ambition and enjoyment and unfortunately, the soundtrack takes after it distressingly well. While the soundtrack’s lack of ambition is not a huge issue given the show’s scope as a moe slice of life, the soundtrack’s blandness is problematic and completely inexcusable especially when one compares it to other shows that occupy K-ON!’s niche. Hidamari Sketch x365’s music stands out by virtue of its catchiness and generally pleasant melodies. And even a cursory listen just shows how wide the gap is in the quality of Tomoki Kikuya’s compositions versus Hajime Hyakkoku’s. K-ON!’s music is so boring that I’d venture to say that I wish it’d violate my musical sensibilities because that way, I can derive some sort of value from the listening experience. At least that’s better than being put into a catatonic state by this dull affair.

If nothing else, this soundtrack manages to stay true to the concept of light music. Each track is simple to the point of being nothing more than ditties, but Hajime Hyakkoku delivers a consistent effort in sticking to this framework while conveying many different moods and feelings through his music. For example, “Have some tea?” presents a lackadaisical melody that fits in perfectly with the light music club’s slacker tendencies while “Morning dew” has an upbeat tempo that is suggestive of a bright, sunny morning packed to the brim with possibilities. Both tracks also succeed at being fairly nondescript. The former sticks with a repetitive melodic line that becomes grating after about the third listen and the latter has all the flourishes necessary to display its upbeat feeling, except that it’s marred by a feeling of soullessness. These two issues aren’t isolated to these tracks alone. As you go through this album, you’ll recognize that the problems are pervasive and although they will be an annoyance at first, the feeling of boredom will be exacerbated as you move further along.

Have some tea?
[See post to listen to audio]

And it doesn’t even take all that long for that to happen since the succeeding tracks bring forth the same sort of bland inoffensiveness that afflicts the first two tracks. “Kawaii Inbou” and “Virtual love” both attempt to throw funky electronica for a bit of variation, but those efforts fare poorly since both songs focus so much on the beat that it comes at the expense of their melodies which are far too dull in their repetitiveness to be enjoyable. “Genki!” is different in that there’s some effort put into the track, which is fine if it didn’t try so hard to convey that upbeat feeling. By coming across so strongly, the track feels disingenuous as though Hyakkoku were trying to get in your face in his attempt at emphasizing the amount of energy that “Genki!” possesses. As you move further along, “Karui Joudan” will jump out, mostly because this track feels like Hyakkoku’s attempt at channeling Koji Kondo by composing a piece that’s close to Kondo’s compositions for Nintendo’s Mario franchise. Unfortunately for Hyakkoku, “Karui Joudan” demonstrates that he neither possesses Kondo’s skill or execution in composing memorable themes, rendering it completely forgettable.

Genki!
[See post to listen to audio]

Karui Joudan
[See post to listen to audio]

You still have to give Hyakkoku credit for making an effort to make sure that the rock-oriented aspect of the show isn’t overlooked, even if some of the pieces fall flat. The rock portion starts with “Dead soldiers,” which is an abrasive piece that feels like a cheap attempt at conveying a grim mood because the piece’s blaring approach is excessive to the point of being unconvincing. “Hold on your love” is a slight improvement because it actually puts forth some amount of emotion into the melody, making it a decent listen. The improvement in the rock-ish vibes culminates in “Falling reinforced concrete” which feels really out of pace in the series since the tempo and melody are more suited towards a racing video game (Bowser’s castle came to mind when I first heard it), but at least I can at least enjoy what it has to offer.

Falling reinforced concrete
[See post to listen to audio]

That rock segment is decent enough relative to other tracks on this album though by no means are they the only decent tracks. While the best tracks in this album barely reach the point of being above average, look hard enough and you can find a few. “Ii Yumemite ne” is enjoyable since the keyboard’s slow, meandering, mellow atmosphere feels serene, as though it were depicting a sense of security and tranquility. And as far as piano goes, “Hesitation” isn’t too bad either since it does carry a sort of tension borne from uncertainty as though it were describing someone soul-searching and encountering some difficult obstacles, whether they be physical or mental. The only thing to note though is that while these tracks are decent enough, in a better soundtrack, they wouldn’t really stick out as being particularly remarkable. Given the sorry state of this album, I’ll just have to take what I can get.

Hesitation
[See post to listen to audio]

As you approach the end of the album, you will come across a few arrangements which run the gamut from being noticeably better than the original tracks to being as drab as the originals. “Tea at the night of Christmas” falls into the former category because I enjoyed the way it infuses some energy into the piece, making it a nice picker-upper once the main theme in “Have some tea?” makes its appearance. “Dress ni Crepe wa Niawa nai?’s” execution makes it more enjoyable than “Crepe wa Ikaga,” because the arrangement succeeds in bringing forth a wave of hope tempered by a sense of melancholy while the original sounds muted and boring to begin with. However, “Koneko no Ensou Kai” would fall into the latter category because its simple melody fails to be engaging by sticking to the same uninspired melody that mars the original track. At least the album makes a valiant attempt at ending on a happy note with “Happy End,” even if the generic melody becomes painfully obvious in the first few seconds.

Koneko no Ensou Kai
[See post to listen to audio]

It doesn’t take long for the disparity in the quality of the vocal songs and the soundtrack to become apparent, which just goes to show how much thought and care (or lack thereof) was put into the background music. This soundtrack was an utterly dull, uninspiring state of affairs that amounts to little more than a waste of time. Although an argument can be made that so long as the music manages to fit the series, it has served its purpose, but even if it is looked within the context of the series, K-ON!’s BGM is so generic to the point that it sticks out like a sore thumb. So my message to Hyakkoku, should I ever meet him, is this: Take some risks! Be controversial! Do anything to avoid being boring!

Rating: Not Good

(Added note: It seems to me that Hyakkoku could have had a decent career being a composer for Nintendo since his style isn’t all that different from many of Nintendo’s composers.)

Voting Thread

As of this blog post for this week’s anime music selections, there are less than 4 hours left before I close things up and prepare for week 5’s stuff.

Anyhow, this week’s theme focuses on legendary anime pieces and we’ve got a pretty decent set with plenty of variety ranging from the expected militaristic fanfares and majestic tracks to ROCKIN’ songs as well as songs infused with a Spanish/Latin flavor. The quality of the selections made it difficult to assign the points, but in the end, four tracks managed to get my favorable nod while the rest fell into the Honorable Mentions category. And with that, here are the tracks from this most legendary week:

Twelve Kingdoms - Junigenmukyou (full version)
[See post to listen to audio]
From the beginning, this track has an aura of mystery about it, as though it were depicting a world nestled away from the ravages of time. That atmosphere describes what I know of Twelve Kingdom’s setting really well, and it’s beautiful in that regard. Once the drumming section begins in 1:06, you begin to get a feel for the scope of this war-torn story, with its heroics and tragedies, bringing forth a sense of danger before leveling off into a sort of eerie tranquility which projects an image of the battlefield after a battle. The track’s depiction of the dichotomy between court life and the soldier’s life gives a complete picture of the political dealings of the bygone era, but it’s not over yet since the piece has one final surprise with the segue from the calm, courtly scene into a heroic, rallying battle-cry as you can feel the kingdom mobilize in an inspiring energy-filled melody. (+1)

Code Geass - Black Knights
[See post to listen to audio]
The Spanish/Latin rhythm makes for a wonderful effect, especially when combined with the male choral part to yield a piece that’s filled with a certain grimness and works to bring out the seriousness of the overarching plot as well as the intensity of the action-y moments. While this track doesn’t get points this week, it does serve as an enjoyable change of pace amongst the tracks nominated this week as a result of this unique mixture.

Gigantic Formula - Main theme v.0
[See post to listen to audio]
The fanfare in the beginning feels like a sunrise as it bursts forth in a showy display of brilliance. It’s not often that the hairs on the back of my neck raise up, but the introduction manages to achieve that like none other. The melody and the harmony complement each other so well in this majestic piece and I love the way the piece moves between the loud/majestic sections and the softer interludes that it’s difficult for me to feel bored listening to this. Awesome from start to finish and the images it instilled in my mind moved me to tears. OK, so I’m a sucker for this kind of stuff, but it’s definitely worth a listen. (+2)

Tengen Toppa Gurren Lagann - “Libera me” From Hell
[See post to listen to audio]
The opera part kinda fools you in the beginning into expecting some sort of brilliance like the Queen of the Night’s song in Mozart’s The Magic Flute, but that expectation is dashed once the rap part makes its entry. From what I’ve heard about TTGL (yes, I have not seen this series. BLASPHEMY!!!), I can see how it meshes really well with the themes it espouses. As for the music though, I have difficulty enjoying the opera singer’s performance since the part starting around 1:23 feels cacophonous and directionless even though (oddly enough) I found the rap part to mesh well with the instrumentals. At least it does its job in bringing out the epic side of things and had I seen the series, I think I’d be able to appreciate this track a lot more. As it stands though, the track is decent even if I wouldn’t elevate it to “amazing” status.

Heroic Age - Heroic Age
[See post to listen to audio]
Even though this stands out as yet another majestic track, I can’t seem to be able to get enough of them. This piece’s puts in my mind an aerial view of a nice, quiet, beautiful valley just before dawn as the glider you’re riding upon flies into the heart of this amazing view, instilling you with a sense of serenity, as though to show the vastness and beauty that the world offers. The mood then changes and the sheer regality comes fully into being with the crescendo around 1:30 followed by a fanfare around the 2:00. There, the totality of its majesty comes into being, and one cannot help but look at in awe as it brings out that sense of sanctity, duty, and destiny. Naoki Sato deserves props for conveying that epic journey/view/whatever it’s describing. (+2)

Berserk - BEHILIT
[See post to listen to audio]
Yes, this one is different and I wouldn’t call this legendary as much as lost… or maybe that’s because the track gives me the feeling I might get if I were in an untamed jungle where danger might lurk around any corner. You can sort of hear this from the harmony, which has an affect of creating tension through its tempo and repetitive nature. It’s a nice change of pace though, but not point-worthy in light of some of the better selections.

FLCL - I Think I Can
[See post to listen to audio]
This particular piece actually sounds pretty good with all the awesome guitar work going in the background to provide an interesting backdrop to the vocals with all its grooviness while going through the verses. However, my rating on this piece plummets around 0:41 when the words “I think I can” are being sung in the chorus section. Those lyrics are just too cheesy for my tastes because it puts the image of The Little Engine That Could into my mind and I can’t divorce those intertwining thoughts from each other, turning a ROCKIN’ song into one that’s silly. If you wanted an example of a piece that could be ruined by just one section, “I think I can’s” chorus section would be a great example of that.

Read or Die OVA - Bring all the wisdom to Great Britain!
[See post to listen to audio]
And yet… this piece also brings forth a bit of cheese, but it’s an enjoyable sort of cheese if you keep the backdrop of the series in mind since the concept of the British Library being in control of Britain’s super secret spy squad makes for an entertaining plot. The militaristic music is over-the-top, but I wouldn’t have it any other way and it makes for an enjoyable listen as you imagine the troops assembling to perform the task hinted at in the piece’s title through their objective of preventing powerful books from falling into the wrong hands.

Princess Mononoke - Legend of Ashitaka
[See post to listen to audio]
I really love this piece and it’s probably one of the first soundtracks that caught my attention way back in the infancy of my anime experience. It captures the essence of the movie really well, starting off with the grim opening that paints Ashitaka as a man on a mission to cure his disease and in doing so, setting the epic journey into its proper perspective. It’s subtle, but emotionally stirring and it will always stand out as one of Hisaishi’s better pieces.

Mobile Suit Gundam: Char’s Counterattack - Segment III: Sally
[See post to listen to audio]
“Sally” feels grim and brooding with a hint of impatience, conveying the atmosphere and emotions that people feel right before a battle is about to commence. The air is thick with anticipation and both sides seem to be eager to rush forth and engage the opposition and with that crescendo, the piece moves into a rallying cry of sorts. At this point, you can feel the intensity of the battle as both sides send their troops forth (or “sallying,” if you will ) with cries for heroism and valor. Another strong piece that edges out the preceding one based on the novelty factor. (+1)

So there you have it! My point distribution can be found below. Week 5’s theme will be based on pop vocals, so if you want to get a head start, feel free to start digging into that week’s selections. A voting thread will be created once I compile all the music together, but I look forwards to giving them a listen! And I also hope to see some new faces turn up!

(+2) Gigantic Formula - Main theme v.0
(+2) Heroic Age - Heroic Age
(+1) Twelve Kingdoms - Junigenmukyou (full version)
(+1) Mobile Suit Gundam: Char’s Counterattack - Segment III: Sally

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

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

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

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

Euforia:
[See post to listen to audio]

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

Natsu Machi:
[See post to listen to audio]

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

Smile Again:
[See post to listen to audio]

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

Rainbow:
[See post to listen to audio]

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

Rating: Masterpiece

Name: John Kim

E-mail: supuhaznpbrein@gmail.com

AIM: seraphjei

Website: sunggyu.wordpress.com…

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

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

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

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

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

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

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

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

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

Voting Thread

Two back to back Piece of the Week posts due to a fairly busy week. At least that’s my excuse anyhow.

The pieces this week give off a different vibe that isn’t quite in-your-face or emotionally charged, making it really hard to evaluate them properly and dispense with the points. Most of the pieces did a good job of adhering to the theme though because of the theme, most of the tracks are fairly melancholy or downright despondent. While I had been hoping for more of the adventurous kind of lost-ness, the despairing mood largely prevailed, resulting in the following tracks nominated:

Kanon - Shoujo no Ori
[See post to listen to audio]
This piece evokes that whole feel of being lost in a winterscape, which, given the source of the song, makes it really appropriate. While it does carry an emotional charge for most of the way through, I thought the motive gets repetitive and the only part where this becomes more interesting is around 0:42 where the mood becomes really somber as it dispenses with the aforementioned emotional charge. Unfortunately, that doesn’t last long enough to receive any major development and transitions back to the repeating motive shortly after. For those who have access to the Kanon/Air Piano Arrange Album “Re-feel”, I’d give that one a listen since it’s a much better rendition. This version gets a pass from me seeing that there are far better tracks this week.

Hidamari Sketch x365 - Shinmiri
[See post to listen to audio]
“Shinmiri” has that lazy, drifting vibe that combines a sort of easygoing aimlessness as the subject is in a wonderful, dreamlike state. The introduction with the intonation brings out the aforementioned vibe, and if this piece were to consist entirely of that motive, it’d be plain boring. However, the solo violin around 0:35 marks a divergence that stands well on its own, and, when combined with the intonation and background instrumentation from the introduction, makes the piece a whole lot more enjoyable. This one deserves 1 point.

Pokemon Heroes - Search for the Girl
[See post to listen to audio]
Wow, this piece was certainly an eye-opener (ear-opener?) and though it may come from a somewhat maligned source, it still packs quite a punch through its mix of violin and accordion to create a sound that makes this piece stand apart from all of the other tracks in this week’s selection. There is an upbeatness that encourages the listener to seek out adventure and excitement in the beginning before transitioning into a flowing melody that brings forth more tension as the piece progresses. You can hear the atmosphere become more mournful as the feelings of loneliness and insecurity envelop the subject, but the way it keeps the listener engaged is what makes this piece truly shine, and listening to it felt like a shot of fresh air. Definitely deserving of 2 points.

Wolf’s Rain - Gravity
[See post to listen to audio]
I’m not all too surprised to see this track make an appearance because I do consider it Maaya Sakamoto at her very best. Her ability to convey that sense of longing is superb and the melody itself packs a pretty strong emotional punch as it draws you in and takes you for a melancholy ride. Enjoyable all the way through, this one gets 2 points from me. The only complaint that I have is why we haven’t heard tracks that are as high caliber as this from Sakamoto as of late (”Triangular” was terrible).

Zettai Shounen - Ho
[See post to listen to audio]
This piece is probably the most despondent of the lot because of how strongly it emphasizes that feeling of loneliness, as though there’s a hole in your soul. While such moods can be very powerful, this track’s execution doesn’t quite hit the mark because of a lack of development in that despondent theme. It also doesn’t help that this piece is just too short for anything meaningful to come out of it. There’s potential for “Ho” to be much more, but we didn’t get it in this instance.

Soukyuu no Fafner -Dead Aggressor- - Doubt | Mayoi
[See post to listen to audio]
“Doubt” is fairly similar to “Ho,” but it’s slightly better because of how well it uses dissonance to whip up an unsettling atmosphere that is similar to the feeling one gets in a forest after dark with no light sources to guide you through. While this piece isn’t going to be getting any points from me, it’s certainly more enjoyable even if it’s not remarkable.

Serial Experiments Lain - Signal of Loneliness
[See post to listen to audio]
I really like the melancholy vibe that you get from the guitar work in this song which, on the whole, gives this piece a nice, folksy feeling as though you’re listening to someone singing this song while around a campfire as the moon shines brightly. The singer’s tendency to go off-tune helps contribute to this overall mood by sounding genuinely folksy. A few minor gripes that I had was the repetitiveness, especially the “ahh nani wo” which could have had their iterations reduced by one so as to not draw things out for too long. Save for that (and it’s a very minor issue that doesn’t detract from the overall enjoyability), this song is solid and only slightly loses out to the next piece on this list.

Paprika - Shizuku Ippai no Kioku
[See post to listen to audio]
Looking back, it’s hard to believe that I disliked this piece. But that was back in the day when I had failed to appreciate the kind of vibe one gets out of the cacophony as chaos descends to reign supreme throughout this piece (and this movie for that matter). Having knowledge of the context in which this piece is heard helps a great deal because once you realize the nature of the parade, you’d be hard-pressed to come up with a piece that more accurately describes the surreal atmosphere. The deluge of visuals and sound that the parade scene throws at you does an excellent job of conveying the confusion really well, and by succeeding at getting me to feel really lost as I watched that film, this piece definitely deserves 1 point.

Casshern Sins - Memory Past
[See post to listen to audio]
This piece depicts the sense one gets from being lost by delivering it in a calm, quiet, and subtle track. The image I get while listening to this is that of a wanderer, a directionless soul who searches both within and without to find some sort of destination, but in spite of that effort, none materializes. It’s a poignant piece, but like a few tracks we’ve heard thus far, it feels too short. Had this been developed just a bit more, I could see it becoming a stellar track.

Bleach - Nothing Can Be Explained
[See post to listen to audio]
This piece is yet another pleasant surprise and I particularly like the way it manages to make you feel as though you’re in an alien environment through that discordant opening bit followed by the voice work which drifts in and out, as though it were a disembodied spirit trying to drive you insane with its echoing, ephemeral chatter. “Nothing can be Explained” executes the feeling of being lost really well as the vocals leave you feeling uneasy, as though you’re trapped in a landscape that’s so strange you have no clue where to even begin going in search of an escape route. I especially liked the use of the round, which emphasizes the element of lost-ness, making this yet another solid track, even if it loses out on getting point nods from me.

So there you have it! My point distribution can be found below. I think the theme of lost was a bit more difficult to find good pieces for, but the good thing is that there were a lot of tracks that stood out as being interesting and made for a nice listen all in all. I think that Week 4’s legendary theme will be a bit better as far as track quality goes, so I’ll definitely be looking to see what people come up with.

(+2) Pokemon Heroes - Search for the Girl
(+2) Wolf’s Rain - Gravity
(+1) Hidamari Sketch x365 - Shinmiri
(+1) Paprika - Shizuku Ippai no Kioku

Voting Thread

One of the best things about the MAL Keionbu (as Smankh so affectionately nicknamed it) is the voyage of discovery that one gets by listening to a plethora of anime music that revolves around a common theme and delving, even if it’s just a little bit, into what we all love so much about the medium and the music that powers the emotions on screen. We’re no strangers to this week’s theme and from my standpoint, there’s no end to the number of stellar pieces that describe love, whether it’s the one shared between individuals, places, or ideals. So with lelangir leading the way on the blog front (and many others leading the way on the thread post front), here are my thoughts on the ten tracks nominated this week:

5 Centimeters Per Second - Sora to Umi no Shi
[See post to listen to audio]
The piece starts out timidly and the soft piano melody gives me an image of someone acknowledging their feelings and in that moment, contemplating how to reveal them. As the piece continues, one can hear a certain amount of confidence settling in, indicating that they have an idea as to how to proceed and by the time you reach the climax at 1:01, the piece blooms wonderfully as it kicks into high gear with its expressiveness. The sort of emotional journey that this piece conveys along with “One More Time, One More Chance’s” heartbreaking poignancy, are what made 5 Centimeters Per Second such an unforgettable experience and it definitely makes for a strong track overall.

Gakuen Utopia Manabi Straight - Seioh Gakuen Kouka
[See post to listen to audio]
The imagery revolving around Manabi’s performance in the face of apathy is what makes this song particularly powerful and that pretty much lies in the presentation. It’s difficult to forget that moment as Manabi stood there like a beacon of light that pierced the cloak of apathy as she brought her emotions to bear and professed her love for Seioh. The way Yui Horie is able to impart Manabi’s feelings through the song is just spectacular. Everything about it flows naturally and convincingly, especially during the “ah ahhh seioh wo” moment that is nothing short of inspiring.

End of Evangelion - THANATOS ~if I can’t be yours~
[See post to listen to audio]
I do like the blues lounge singing atmosphere but wow, the part around 1:57 really threw me for a loop and the only thought I was left with after that moment was how inconsistent this track is. I’ll pass on the weird chantings because they feel a bit too out of place and this track would have done better to remove them outright.

Rurouni Kenshin - Tsuiokuhen - In Memories “KO・TO・WA・RI”
[See post to listen to audio]
This piece works wonders at complementing Rurouni Kenshin Tsuiokuhen’s grim atmosphere by mixing melancholy and tragedy together really well. The lonely vibe brings forth an image of the solitary swordsmen taking determined steps to overcome the obstacles in his path while reflecting upon his life choices. While my hazy memories do not allow me to recall whether he was reeling from his tragic relationship with Tomoe when this piece plays (it is pretty damn melancholic after all), this piece stands as a testament to Taku Iwasaki’s ability to bring out the strong emotions within that OVA. The amount of emotion it packs marks this one as my favorite piece this week, both in terms of its nostalgic value as well as its tragic beauty.

Bokura ga Ita - Fuan
[See post to listen to audio]
Bokura ga Ita is subtle in its use of music and the pieces that I’ve listened to focus on creating that romantic atmosphere as well as the accompanying feelings like anxiety and comfort that arise from such a situation. Still, this piece is just a bit too subtle and while it does get better after each listen, in the field of strong picks that are available this week, this one just falls a bit outside the range of receiving any points.

ARIA the NATURAL - Itsuka Kita Michi
[See post to listen to audio]
The Choro Club’s work on the Aria trilogy just manages to amaze me because I’ve yet to find any mediocre tracks in any of the three soundtracks. This piece in particular really fits the series’ serene mood and TheBigN’s writeup for this song in the nomination thread is spot-on when he says:

Though it can get schmaltzy at times, whenever I hear it, I think of Neo Venezia and Aqua in general. As the home planet is as much a character as the inhabitants that live on it (at least for the first two seasons), I’d to think that this is the “theme song” for the area. And I’d also like to think that this music goes though Akari’s head as she explores and enjoys her training to be an undine.

Beauty? Check. Serenity? Check. Love? Definitely! Hazukashii serifu kinshi!

Love Hina - Yakusoku
[See post to listen to audio]
The nostalgia value that I derive from this track is really high since this was my introduction to the romance harem genre way back in the day and even after all this time, this song still has not lost its touch. Yui Horie delivers yet another strong, heartfelt performance that becomes even more poignant within the context of the anime. While it’s been a long time since I’ve seen that series, I can never forget this melancholy piece because its emotional impact is so strong. In light of some comments I’ve made about a recent single, this piece would be a wonderful example of a piece that can and has withstood the test of time.

Cowboy Bebop - Call Me Call Me
[See post to listen to audio]
“Call Me Call Me” really does sound a bit too rough to fit in with my image of love and it’s also not quite as solid as some of the pieces we’ve heard so far, so I’ll be passing on this one.

Romeo X Juliet - Touch / Fureai
[See post to listen to audio]
OK, I admit it, I’m a sucker for Sakimoto and have been since I first heard his music from Final Fantasy Tactics. Because of that, it shouldn’t be a surprise that I love this soundtrack to bits, especially when Sakimoto brings out the sweeping, epic, orchestral melodies such as this. “Touch” starts out quietly, but it builds up oh so wonderfully, giving me goosebumps as it progresses by adding instruments to that motive until the song comes to life around 1:44. Here, the various parts of the orchestra work well together to create the graceful melodic fabric that would serve as a lead-in into the clarion trumpet call at 2:13 where it makes way for a dazzling melody that leaves me in awe. It’s definitely one of the stronger pieces on the soundtrack and one that definitely earns points for this week.

Giniro no Kami no Agito - Ai no Melody
[See post to listen to audio]
My experience with KOKIA isn’t as high as I’d like it to be, but between her performance in Gunslinger Girl -Il Teatrino-’s OP and Red Garden’s last few tracks, my opinion of her has been positive. The way KOKIA performs this song is closer to the intonation she uses in Gunslinger Girl -Il Teatrino-’s OP and it works pretty well in conveying her feelings towards the listener. For example, that wavering voice carries with it a sense of longing mixed in with serenity as she tries to reconcile her feelings in general. It should also be noted that there is a weird chanting bit that manages to succeed where “THANATOS’s” did not. Anyhow, this track has a certain sort lightness to it that carries strong, genuine emotions and makes it enjoyable through and through. The only regret I have is that I don’t have points to spare since this song is very deserving of a listen.

So there you have it! My point distribution can be found below. If I had a major gripe this week, it’s that the selections for the point distribution were really hard to make since many of the tracks were so enjoyable. Fortunately, that’s a good problem to have on one’s hands and I definitely look forwards to listening to people’s nominations for Week 3 where we’ll look into the theme of being “lost.”

(+2) Rurouni Kenshin - Tsuiokuhen - In Memories “KO・TO・WA・RI”
(+1) 5 Centimeters Per Second - Sora to Umi no Shi
(+1) Gakuen Utopia Manabi Straight - Seioh Gakuen Kouka
(+1) ARIA the NATURAL - Itsuka Kita Michi
(+1) Romeo X Juliet - Touch