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Review: Michiru Ooshima has this knack for putting in at least one track that’s so beautiful and poignant it’s absolutely unforgettable. Fullmetal Alchemist had a few to choose from, but “Brothers” will be the one most people will point to and more recently, Sora no Woto’s soundtrack boasts “Servante du Feu” and “Un Bol d’Air” (my readers will say “Flanerie” deserves that spot too).

Of all the tracks on Yojouhan Shinwa Taikei (also known as Tatami Galaxy), “‘Watashi’ no Theme (Piano Ver.)” is that track. The original “‘Watashi’ no Theme” captures the protagonist’s romanticized thoughts of what awaits him as he enters university through the violin, which depicts an optimist, a dreamer, someone who fully embraces the idealized vision of finding not only a direction in his life, but also that special someone with whom he’ll spend the rest of his life. Beautifully dreamy, it’s a sharp contrast with the piano version, which is far more somber. The piano’s slower tempo has that tragic, empty feeling one gets when one’s ideals are completely shattered resulting in an outflow of regrets, sorrow, and loneliness. As the piece ends, I imagine the character wondering, “what if I chose differently?” That final thought that the piano leaves behind leaves tugs at my heartstrings and I won’t ever forget the impression it left on me.

‘Watashi’ no Theme

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‘Watashi’ no Theme (Piano Ver.)

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The protagonist’s theme isn’t the only one that shines. Ozu’s theme, carried mostly by the clarinet, is unsettling and mysterious. This presentation jibes well with his ghoulish appearance and his penchant for scheming; you can never really tell whose side he’s on until it’s too late, and the clarinet captures that effectively through the way the piece slinks along while the accordion adds a slimy touch to top it off. Akashi’s theme also has an aura of mystery about it, but that’s only because she seems like an unreachable ideal (think yamato nadeshiko here). The music captures her prim, no-nonsense nature and though it doesn’t quite succeed at nailing her idiosyncrasies, its melody is soothing and charming, which works since she is a calming, stabilizing presence in the protagonist’s life and he really does enjoy her company.

Akashi-san no Theme

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As good as the character themes are, they only form one part of what makes this album enjoyable. The rest of it lies in the music’s depiction of the hijinks and shenanigans of the protagonist’s college experience. His adventures end mostly in disaster and regret, but they can be a wild ride if you listen to tracks like “Kamo Oohashi,” which sounds wonderful in its use of dissonance. The way it crescendos in and out highlights the risks and dangers he gets put into, and the methodical pace in which it flows sounds like someone’s machinations being set into motion, bringing all involved to the brink of disaster.

Kamo Oohashi

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From the other tracks, you get an idea for the scale of the protagonist’s efforts at fitting in. “Eiga Circle ‘Misogi’” has all the ham-handedness of an epic movie with its larger than life personas, nailing down the film club’s direction in the process. “Jigyakuteki Dairi Dairi Sensou” is meant to be silly and ridiculous in the vein of a spaghetti western with its flamboyant introduction that suggests the players involved taking part in an elaborate display of saber-rattling before finishing the confrontation once and for all. But amidst that are tracks like “Maru wo Sagashite” which channels a yearning tone borne out of wanderlust. Sung by Higuchi in one the earlier episodes, the guitar and strings possesses a sense of finality and preparedness in moving on, suggesting to us that his job is done and that he’s ready to see new sights to quench his thirst for enlightenment, knowledge, or whatever else it is he seeks.

Jigyakuteki Dairi Dairi Sensou

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Maru wo Sagashite

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As I clued you in above, the protagonist’s adventures don’t end well, and nowhere is that depicted better than in “Yojouhan to Castella to ‘Watashi,’” which is seeped in loneliness, hopelessness, and despair. The piano’s poignant melody illustrates the extent of the protagonist’s dejection and the tragic feeling that accompanies it makes him easy to empathize with. But there is hope, there is redemption. The protagonist, when deprived of the experiences finally realizes what was lost. “Yojouhan Ki Owari” describes this sudden realization perfectly, and the trumpets and the strings create a call to action, urgently pushing the protagonist to proactively seek out his oasis of happiness through the experiences he might not have noticed before. That the instrumental portion of the OST closes on out on that track is fitting, leaving behind the message that you might not necessarily get what you’re looking for when you do something, but there will be moments to cherish and experiences to take in, so enjoy them for what they are. Don’t ever lose sight of that.

Yojouhan to Castella to ‘Watashi’

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Yojouhan Ki Owari

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Tatami Galaxy’s soundtrack just goes on to demonstrate just how versatile and consistent a composer Michiru Ooshima is and that no matter what genre or show she’s assigned, she will put forth a solid effort each and every time. This soundtrack won’t eclipse her fine work with Sora no Woto, but it sure is an enjoyable outing, especially when paired with a show that is one of the best to come out this year.

Rating: Very Good

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Review: TAMUSIC is notorious for taking perfectly serviceable pieces from visual novels, Touhou games, and anime music, filtering out all traces of what made the piece interesting to begin with, and arranging it to the blandest violin music you’ll likely ever come across. Somehow, their Angel Beats! arrange album avoids the specter of boredom that characterized their previous works, but just because this album is a massive improvement doesn’t make it good. Still, I’ll take it since Angel’s tracks succeed in catching my interest rather than put me into a stupor.

It’s still a long ways from being superb though. TAMUSIC has no grasp for composing music suitable for two violins. Their arrangement of the OP for two violins only works when the violins are playing the same melody in unison. Otherwise, good luck making heads or tails of the clashing tones in “My Soul, Your Beats!” When each violin veers off onto a separate melody, the cacophonous result is unbearable and comes pretty close to violating my musical sensibilities.

My Soul, Your Beats!

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“Brave Song” doesn’t suffer that bad a fate, but I suspect that’s because the arrangement is more straightforward, and so, still fails to appeal to me because of TAM’s lack of creativity even if the jarring violin duo is toned down. The piece sounds like a straight-up violin transcription of the original, except slightly blander and I just wished they’d put more effort and emotion into their music.

In the Girls Dead Monster tracks, TAMUSIC doesn’t seem to realize that just because a song exists doesn’t mean that it can be easily arranged for violin and unfortunately, TAM doesn’t have the musical talent to elevate the arrangements beyond inoffensive blandness. “Crow Song’s” execution borders on clumsy at times, since it never has quite the energy that the original strove for and its melancholy take is not compelling, “Alchemy” is decent, but too close to the original to warrant notice, and “My Song” doesn’t deviate from the original much while its violins are at their most grating in this piece more so than in any other.

Crow Song

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The three tracks that keep this album from becoming a tedious listening exercise are the Angel versions of the OP, ED, and the insert song, “Ichiban no Takaramono.” These tracks have me utterly convinced that TAMUSIC can make good music; all they have to do is to let the piano take the reins or let one violin propel the melody forwards while the piano stays in the background. Making such pieces sound good is no easy task when you consider that Angel Beats! soundtrack itself has piano arrangements which have set a very high bar, but they have done it.

Ichiban no Takaramono (Angel Ver.)

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“My Soul, Your Beats!” starts out slowly, taking its time to build up and develop its melody, and as it does so, I’m swept in by how well the entire piece is put together. The piano’s pace, with its light touches, is rich in emotion as it conveys its love through its serene, poignant delivery. Its efforts at deviating from the original through a few bars of improvisation feel like a welcoming departure from the blandness of the previous tracks. “Brave Song (Angel Ver.)” isn’t that different from the original, but its intro, while long, helps set the piece’s foundation wonderfully, putting all of the loving emotions out in the open to help immerse you into its warm sentiments.

Brave Song (Angel Ver.)

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Angel Beats!’s music is joined by three tracks from Key’s visual novels. These pieces feel more like a return to TAMUSIC’s bad form; the violins are a bit overbearing, especially in “Promise,” which would have done better to let the piano take charge of the whole thing. “Natsukage” isn’t that bad, but I feel that TAM’s approach is a little off somehow. Perhaps its stately air feels like a mismatch and that a poignant approach would have worked better in being true to the original’s spirit. Finally, “Nagisa” has most of the touches of the original and here, the violins aren’t too obtrusive, making it a decent way to finish the album out altogether.

Nagisa (Clannad)

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The most surprising part about this album was that it proved to be a listenable experience though the reasons for why that is can range from them improving musically or because Jun Maeda’s music is difficult to ruin. Whatever reason it is, Angel is TAMUSIC’s best work in recent memory. Sure, that statement might not mean much, but any step towards improvement is a positive one. Now whether they can keep up that momentum, we’ll have to see.

Rating: So-so

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Review: Eve no Jikan’s movie soundtrack represents background music in its purest form. Its tracklist consists mostly of short snippets that serve as musical cues to trigger a story event while the lengthier tracks work primarily to channel a character or location’s aura. The music works well with the show’s visuals to depict the charming, sometimes eccentric nature of the titular cafe and its patrons, but beyond the nostalgia value for people who have seen the ONA, this soundtrack is unlikely to leave much of a lasting impact.

Those who have seen Eve no Jikan are probably able to remember a handful of tracks. There is, of course, “CODE:LIFE,” with its catchy rhythm that slowly grows more chaotic through the addition of other instruments. It displays a disharmonious kind of harmony; there are times when the instruments take off in different directions, resulting in a hubbub that resembles the pleasant, chatty atmosphere of a crowded cafe. The show’s eponymous track, “Eve no Jikan,” picks up where “CODE:LIFE” leaves off with a charming piano melody early on before blooming radiantly as a cavalcade of chaos creates a chorus that re-energizes as though it were opening a gateway to a utopia that offers a fresh, mind-opening experience, dissonant and harsh though it may be.

CODE:LIFE

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Eve no Jikan

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Beyond the tracks that are over a minute long, it’ll be tough finding memorable pieces. Most of the tracks that follow are fairly simplistic, and because they’re so short, are fairly undeveloped. For example, “Rikuo Rensou Kyoku’s” melody consists of a piano meandering around a minimalist fabric that, while fitting in its depiction of an everyman, just doesn’t curry one’s attention because it never expands upon that theme. I’d rather hear themes like “Akiko,” where the lively accordion gives way to a dapper sound that captures the titular character’s upbeat personality or “Yasashii Jikan no Naka de’s” jazzy sound that carries a hopeful air with an upswing that ends with a phrase that could be taken from any smooth piano jazz piece (think Vince Guaraldi’s “Linus and Lucy”).

Rikuo Rensou Kyoku

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Akiko

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Yasashii Jikan no Naka de

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Unfortunately, such catchy melodies and upbeat displays are in short supply as Tooru Okada rightfully aims for a more subdued soundtrack to make sure the music never eclipses the anime’s scenes. The ambiance that emanates from tracks like “Kanoo no Nakami” does well to sculpt some of the more tension-filled moments while also adding a layer of electronica to emphasize the show’s robotic theme. But more often than not, the atmosphere of fear is overblown as it is in portions of “Rinri Iinkai” and “Android,” where the dissonance isn’t exactly pleasing to the ear, especially with the latter’s use of a siren that sounds grating 5 seconds in. It doesn’t leave behind a strong impression at any rate.

Android

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“Eve no Kanata” does end it all on a hopeful note with its stately, subtle tones, but by then, the soundtrack has passed me by, and aside from the few tracks that stood out, Eve no Jikan’s soundtrack is largely forgettable. It’s understandable why Tooru approached the music the way he did given the scope of the project, but a part of me thinks a better composer could have succeeded in the face of such constraints. If you’re like me and enjoyed Eve no Jikan, you’ll find that the soundtrack is good for one or two listens to capture the nostalgia. But no more than that. It just doesn’t stand the test of time.

Eve no Kanata

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Rating: So-so

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Review: Disko Warp Music’s Anime Love Hardcore follows the same formulaic approach that has been used in anime electronica albums since forever and the results are predictable. When the modus operandi consists of speeding up the tempo, adding a rhythm and a few flourishes to the piece, and having someone sing it, there isn’t going to be much in the way of creativity. Expecting these arrangements to expand the scope of the music is pretty much a fool’s errand.

While the means by which the music is produced might not open up the new avenues I’d prefer to hear, the least the artist can do while arranging is make sure that the tracks are skillfully produced. To Pete Ellison’s credit, the instrumentals are never worse than slightly annoying, with random swooshes, gibbering noises, and chiptune sound effects like the ones that pop up on the non-vocal “Theme from Lupin the 3rd ‘78″ being the only things that really got on my nerves. While I thought that “Theme from Lupin the 3rd ‘78″ does stick too religiously to the original, I can empathize with wanting to take a safe path in the production of this album. It won’t raise heads, but at least it didn’t grate on my nerves.

Theme from Lupin the 3rd »

The same cannot be said for the vocal tracks however. If any subsequent volumes of Anime Love Hardcore are to be released, one of the first issues that need to be addressed is to either find artists who can sing well or assign songs to artists who are capable of belting out a song in the best possible light. I had a lot of problems listening to Toki’s performances because her voice felt lifeless. Her voice has this girly sound to it, making it perfect for songs like “Catch You Catch Me,” except I never once felt the ebullience that the track is capable of instilling. That’s still nothing compared to “Sorairo Days” though, which sounds ugly the whole way through. Off-tune singing aside, the progression into the lilts carry little more than a speck of emotion that would indicate she’s doing anything other than going through the motions. Perhaps the addition of a vibrato to her delivery would have helped matters because as it stands, she just cannot engage my interest with her performances.

Sorairo Days »

Diana Garnett, while she sounds like she’s singing with a stuffy nose, fares better, especially in the lower registers. I was put off at first by her delivery in Rurouni Kenshin’s “Sokabakasu” because of how weird she sounded while singing the higher notes, but I’m willing to give that a pass because I’ve never had positive associations with the song to begin with. As the album progresses, I heard slight improvements in her performance of the now-overplayed “Zankoku na Tenshi no Thesis” and “Grip!,” but it’s not until “Moonlight Densetsu” that she really hits that perfect stride. As a whole, the last song on the album is the best; not only does Garnett put forth a good effort, the song retains the mystical aura that the original possessed and the arrangement worked well at drawing me in.

Moonlight Densetsu »

Of the singers, Yosuke probably delivers the most consistent performance. He stumbles a bit during the parts in “Gekkouka” where the tempo goes by fast, but his rendition of Hokuto no Ken’s “Heart of Madness” comes off as a more energetic version of the original. I’d characterize the original as coming from the same vein as the music in Rocky’s training montage, and it fits with the scene it’s used in in the anime. The arrangement doesn’t stray too far from that aura with Yosuke’s soft-spoken voice carrying the 1980s feel while the electronica gives the song more energy while keeping its macho overtones.

Heart of Madness »

All told, this is a decent first effort and I do hope that the creators take these critiques as ways in which to improve their subsequent works. I’d love to hear a different take on a familiar melody, especially when it’s capable of revealing aspects of a song that I would not have noticed before, and I realize that such a task is really difficult, but the ability to do that is what separates the good happy hardcore music from the rest of the pack.

Rating: Not Good

Western anime arrangements are a lot more prevalent than you might think. Just go trawl on retailers like Amazon for anime music and you’ll stumble upon quite a few which often take the form of dance mixes or trance/techno albums. I’ve been tempted to check them out for awhile now, except that there are two reasons why I haven’t. First off, the quality looks suspect and second, I’m not sure which artists to go for. It doesn’t help that the music labels that produce such albums are relatively unknown and haven’t really made themselves known.

Some are making an effort. Pete Ellison at Disko Warp Music has been working on getting his record label’s name out there by promoting Anime Love Hardcore, an album consisting of 10 tracks from a scattershot of anime series that go as far back as Lupin III all the way to more recent fare like Tengen Toppa Gurren Lagaan. As you can probably guess from the album’s title, the music consists of techno remixes in the same vein as the music in the Exit Trance series with an emphasis on happy hardcore more so than trance music.

Pete has graciously provided me with the music from Anime Love Hardcore to listen to and review. But before I can even begin the process of giving that album a fair shot, I’ll have to start meandering my way around the techno/trance music and get a feel for the genre. It’s an area that’s less familiar to me compared to other genres.

Credit where it’s due: kevo’s post on trance and J-core is a great place to start. I’ve already given the artists he featured a good listen and my opinions regarding their works have changed only slightly. Aura Qualic’s music continues to channel that transcendent atmosphere that I enjoy so much out of trance music because it immerses you into the music and keeps you there. The components of the trance genre that kevo mentions – build, progression, and climax – come off beautifully. Same goes for Halozy, and the ambience that he puts into tracks like Air’s “Natsukage” and the soft touches interspersed with the electronica in his mix of “Toki wo Kizamu no Uta” are both solid and enjoyable. Even DJ Sharpnel has gotten easier on the ears with subsequent listens, and his rhythms no longer are as unbearable and overwhelming like they were initially.

Of the other prominent names, only REDALiCE has gotten time in addition to the artists mentioned above. I checked him out mostly because of the association I’ve had with him and Touhou Project, and on the whole, his stuff is decent even if it’ll take some time for me to get used to. Kevo also mentioned cranky as someone to look into, so I’ll probably head there next. Naturally, the Exit Trance series are going to get listens too.

A list of other artists to check out would be helpful just so I can get my already wet feet a little wetter. It doesn’t necessarily need to align with the preferences I’ve expressed since I’m looking to immerse myself in what people consider good so that I even have half an idea. After all, it’s a pretty wide field to check out, and knowing how popular electronica is amongst anime fans, I figure you guys probably have your fingers closer to that particular pulse than I do.

Disc 1

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Disc 2

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Review: If the lead composer for ANANT-GARDE Eyes isn’t Jun Maeda, you wouldn’t know it from listening to Angel Beats!’s soundtrack. Their music blends in almost seamlessly with Maeda’s compositions, and the only points of departure are the synth-heavy tracks that feel out of place from Maeda’s usual melodramatic fare but are nevertheless crucial to depicting the anime’s background.

The straightforward story is that Angel Beats! is set in a purgatory where a handful of people try to combat an entity who they believe is responsible for their unhappiness when they were alive. A more novel suggestion is that Angel Beats! is a video game. I prefer this explanation more for the purposes of looking at the soundtrack because its music reminds me of the music you hear in video games, specifically the type heard in JRPGs.

The three facets of JRPG music that I outlined earlier – battle themes, location music, and character themes – are all scattered across Angel Beats! soundtrack and should be easy to pick out. RPG battle music manifests itself in “Decisive Battle.” The dissonant chords opening the track create the sort of backing you’d hear in Masashi Hamauzu battle themes for Sigma Harmonics and SaGa Frontier II, and those mostly stay in the background, creating a chaotic layer while an ephemeral woodwind weaves in and out when the synth isn’t at the reins. In listening to this, and other battle themes like “Attack!!,” the combat music doesn’t reach the level of Hamauzu’s transcendent themes since they rely too much on the synth, and heavy-sounding synth at that, but they do pack the requisite amount of chaos and energy to stand out well enough.

Decisive Battle

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Locales aren’t nearly as prominent as the battle themes, but both the slice of life parts and the more ominous dungeon-like themes are represented. You get the initial feel for the former in “School Days” which sparkles in its simplicity, but I take more to “Girl’s Hop’s” laid-back chiptune-y goodness. Both pieces have a carefree aura to them, and their repetitive tones make it seem like time stands absolutely still. But hey, such is life in purgatory. “Enemy Country” hits on the typical RPG dungeon themes, with its thick, tension-filled atmosphere that segues into an emphatic rhythm as the dangers ramp up. Like the battle themes, there’s a lot of heavy synth leading the way and it can be overbearing for those not fond of synth, but it works to immerse you in an underground zone filled with traps and adversaries.

Girl’s Hop

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Several tracks later, “Niku Udon” bears mentioning. Though it’s not what people would think of as RPG music, it’s chaotic chiptunes does sound like video game music, with a melody that’s reminiscent of old games blaring out their music in unison in arcades of decades past.

Niku Udon

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Last, but not least, Angel Beats! offers some character themes, though it’s limited in that it focuses on the characters Kanade and Otonashi. Of the two, Kanade’s theme sounds the most like an RPG’s character theme, with a chiptune segment around the middle of the track to drive that comparison closer. The rest of the track is solid, featuring Jun Maeda’s bent towards piano melodies that glimmer down like sunlit beams, sharing its warmth upon those who receive its light. It’s soft, it’s soothing, but it’s determined when it needs to be, making “Kanade” a perfect reflection of the titular character’s personality.

Kanade

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I won’t be talking specifically about Otonashi’s theme though since that’s just an arrangement of “Theme of SSS” with the cello taking over the main melody. Rather, it’s “Theme of SSS” that deserves the focus. The desperation the piece emanates jibes with the SSS’s seemingly hopeless goal of fighting the entity in charge of purgatory. Through the tragic piano melody that opens the track, you can sense not only the depths of the pain and suffering surrounding the SSS members’ backgrounds, but also the resolve to which they will go to fight the perceived source of injustice. Its stark depiction of tragedy comes off poignantly, and it works in hitting all the right emotional spots.

Theme of SSS

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And what’s a Maeda soundtrack without some utterly beautiful piano pieces that really tug upon those heartstrings? Both “Ichiban no Takaramono” and its instrumental version, “My Most Precious Treasure,” progress brilliantly. The pieces start with a gentle piano that comes slowly, carrying with it an air of finality. As they progress, you can sense the load of regrets and heartaches that the character has gone through, but all of that’s coming to a close as death approaches. The feelings of acceptance dominate the melody, and even though the time of passing is near, I’d like to think that it ends on an optimistic note to reflect that the person has firmed up their resolve and is prepared to move on from this life. I do prefer “My Most Precious Treasure” because it succeeds in conveying those tones without the need for words to get in the way. In short, it brings out the emotion in what I consider to be its purest form.

Ichiban no Takaramono (Original Version)

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My Most Precious Treasure

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And before I close out, I’ll just give the piano version of “My Soul, Your Beats” my full approval. The vocal version did feel a bit too messy when I listened to the background instrumentals, and Lia’s voice was what kept the song alive. The piano version, titled “My Heart,” does not suffer from that problem. Like “My Most Precious Treasure,” the heartfelt emotions feel much stronger, instilling within us the love the characters feel, along with the sense of hope of being able to flee this endless cycle of the purgatory while leading others towards a better end.

My Heart

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For all the failures of Angel Beats!’s narrative, its soundtrack manages to shine wonderfully. The heavier synth tracks make a good backdrop for the action and the locales, but those play second fiddle to the stunningly heartfelt tracks that, once again, demonstrate the extent of Jun Maeda’s composing abilities. I’ve yet to hear a bad Maeda track so far, and here, he demonstrates once more that he’s the best composer on Key’s staff.

Rating: Very Good

Notes: Eternal offers his own thoughts as well and his makes for some very good reading.

As a note, the backlog will be on hold until I can get Angel Beats!’s soundtrack reviewed. Right now, I’ve just been letting my ears drink in Jun Maeda/ANANT-GARDE EYES’ musical brew, and listening to it did bring some thoughts that I tossed haphazardly on my twitter account.

Anyhow, that thought received a response! A response that I’ll fully admit I wasn’t prepared to tackle because of how difficult it is to come up with a set of criteria that would differentiate a game score from an anime score. After all, both have their place in setting the atmosphere for their respective media and there’s enough commingling going on that it might as well be useless. (As an aside, when a game soundtrack sounds like something more than just a game soundtrack, I don’t say, “it sounds like an anime soundtrack,” I just say “it sounds cinematic.” See The Unsung War. )

Still, I did make that statement, I continue to stand by it, so I suppose I ought to explain what I meant.

Considering that my first love for VGM started through playing RPGs, the tracks typical to that particular genre still remain as a sort of unconscious bias that I use to determine whether something does indeed sound like video game music. So once I hear a collection of tracks that consist of battle tracks, character themes, and various locales, all of which that sound like they could be looped, it’s about 75-80% of the way there to being labeled a game soundtrack.

Of those characteristics, I’d say the looping trait is an important one. While anime scores do exhibit the tendency to loop, it’s not quite to the same extent. With games, it’s done practically by design since one can never predict just how long a player will stay within a certain area and how long it will take for the player to complete a given battle. And so, each track will start out with a catchy section, shift over to a variation of the first section and ending it so that it can segue into where it wants to go, be it taking a side path to develop the piece further or just toss its hands up and loop back to the original section to close it out. The game music that I really go for tends to develop the tracks a bit while the ones that aren’t as strong will opt for the latter approach, and that’s when I’ll complain about the music being repetitive and boring.

The other component that puts a soundtrack closer to a game’s would be a wide scattershot of tracks that reflect locales, people, and events, but not the overarching story. Pick out any of the older Final Fantasy scores from the PSX era and back and you’ll see what I mean. Can you listen to FF6 and say with any sort of certainty as to what the story will encompass? It’s hard to figure that out based on listening to the battle themes, town themes, and character themes and the only way you can get a feel for the game’s narrative scope through the music is by actually playing through the game and letting the music instill the nostalgia to provide the mental imagery. In anime, you can figure a lot about the anime’s plot simply by listening to its soundtrack.

You can bring up Angel Beats! heavy use of synth to bring the association closer to game music, but it doesn’t eclipse the two factors. In listening to the soundtrack, you cannot figure out what the story will encompass beyond maybe suggesting it to be a typical RPG plot and the music uses frequent doses of looping, fitting of game music’s idiom. Combine that with the knowledge that Jun Maeda primarily composes music to visual novels and it’s even easier to categorize it as game music.

And Jun Maeda… who knows what his role is in this soundtrack anyways? I’ve had some back and forth conversations with relentlessflame and ETERNAL about ANANT-GARDE EYES’s role and frankly, I’m clueless. There really isn’t a whole lot of information out there about who ANANT-GARDE EYES really is, and so, I’ve taken to mindless speculating.

My thought is that ANANT-GARDE EYES is a group of musicians who primarily take the works that Jun Maeda has composed and arranges them. At least, that was before they were given composer credits to the Angel Beats! soundtrack. After listening to its music, a lot of the tracks credited to ANANT-GARDE EYES carries Maeda’s signature style and so, I have this suspicion that Maeda works as a member of ANANT-GARDE EYES, taking charge of the more poignant tracks on the album while letting the other composers on the team take care of some of the more rhythm-heavy synth-oriented tracks. Each composer is assigned a track, and once complete, the members help each other refine the tracks until they take their current form. Composing by committee if you will.

Of course, I have no way to back it up and credible arguments can be made that the reason their works sound a lot like Maeda is because they’ve worked alongside him so much that they can replicate his style (and let’s be fair here, Maeda’s style is catchy, but not overly complicated). It’s food for thought anyhow.

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Review: I had plenty of misgivings going into this album. K-ON!’s soundtrack is an utterly dull affair that showcases composer Hajime Hyakkoku’s ability to swamp the listener in an endless flood of aural tedium, but in K-ON!!, you’d hope that he’s learned from the experience. So credit where credit is due: Hyakokku shows signs of promise with this soundtrack, and the result of his hard work is an album that is a marked improvement over the first season’s. The music is livelier and you can actually feel the energy that Hyakokku channels though the rhythm and tempo. These efforts aren’t enough to propel K-ON!!’s score into the upper echelons of music that come from the slice of life genre, but it’s listenable on the whole, and that’s a step in the right direction.

Already, the first couple tracks radiate life. The mundane aura that permeates K-ON!’s OST still remains in its reflection of the show’s seemingly pointless moments, but the tiny dose of energy that Hyakokku fuses in with the score is enough to put it a cut above the first season. This is especially noticeable in tracks like “Asahi wo Abite,” which employs an upbeat synth melody that brings an image of K-ON!’s characters having fun while trying to maintain some semblance of putting effort into practicing their repertoire to mind. The piece is light-hearted and its energy feels like a fresh breeze that blows away the first season’s soundtrack’s stale air.

Asahi wo Abite

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Further on in the album, “Imouta no Asa” is one that stands out in the way it utilizes Japanese instruments in conjunction with the synth backing it up to create a blending of the traditional and the modern in a wonderful fast-paced track that grows as it conveys the zest that the characters have in their pursuit of enjoying high school life to the fullest. Closer towards the end, “Happy rainy day’s” presentation is quaint in that the twinkling harmony and percussion do an excellent job in their depiction of the slow raindrops pitter-pattering upon the streets and sidewalks. The mellow melody exudes the warmth and contentment of being inside, looking out and taking in the scene quietly, surrounded by friends who share in the wonderful experience.

Imouta no Asa

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Happy rainy day

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But if there’s one thing the samples above reveal, it’s that the melodies are incredibly simplistic, and so, I maintain that the reason why I can enjoy them is because of the harmonies that prop them up are implemented well. So woe be to tracks like “Tamamushi Zushi no Sankaku Jougi,” which fares poorly since its xylophonic melody feels bland and empty. Combine that with a drab rhythm backing it up and you have the kind of boring fare that composers should avoid like the plague. I’m also not that fond of “Gatten da!” either since its barrage of synth never supplies a catchy melody to latch onto. While there’s some funky vibes to be had, the track feels emotionally empty, and so, I’m not wont to listen to it outside the context of the anime (if I were to watch this series, that is).

Tamamushi Zushi no Sankaku Jougi

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Gatten da!

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Those tracks might be boring, but they’re harmless in that they don’t leave a painful impression. The same cannot be said for “Usagi to Kame” which is a testament to how terrible Toyosaki can be when she sings. I’m not sure what impression Toyosaki is trying to put forward here. Is she trying to sound like an 8-year old girl? She doesn’t. Is she completely drunk and someone had the misfortune of succeeding in goading her to sing like an 8-year old girl? Or is the idea to come off as an elementary school student who has self-inflicted one too many blows to her head? Either of those are possible. Whatever she’s doing, the screeches, slurring, and off-key singing are bad enough to warrant consideration of being in violation of the 8th Amendment should the U.S. government ever use this song as a tool for punishment. Ending the soundtrack with “Usagi to Kame” is a terrible way to go, spoiling Hyakokku’s otherwise decent efforts, and leaving me with a sour taste in my mouth.

Usagi to Kame

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Composing slice of life music is no easy task, and K-ON! was never known for having particularly good background music. Still, bad Toyosaki vocals aside, this album manages to deliver Hyakokku’s competent efforts that show some improvement over his previous score even if there are still areas that he needs to work on before his work can even compare to some of the more proficient composers out there. That day may come though, and so, I do hope to see incremental improvements down the line as he finally figures out how to compose decent melodies to seamlessly weave in with his harmonies.

Rating: So-so

Album Title:	Oshiete A to Z
Anime Title:	B Gata H Kei
Artist:	Yukari Tamura
Catalog Number:	KICM-1305
Release Type:	OP/ED Single
Release Date:	April 28, 2010

Track Title	Artist	Time
1. Oshiete A to Z	Yukari Tamura	4:04
2. Hadashi no Princess	Yukari Tamura	4:30
3. Namida no Loop	Yukari Tamura	5:01

Review: When it comes to anime voice actor pop idols, starlet Yukari Tamura is the gold standard of the bunch. She hosts a radio show, tweets cute things day in day out, sings at Animelo every year, and constantly appears absolutely adorable and girly. Her voice is very distinctive for anime watchers and listeners alike, and Yukarin is a master of singing in character because the stability  and natural sing-songiness of her acting voice. She’s been at this business for more than ten years now and has accumulated more fans than Jesus and a bigger discography than Sting, but don’t tell her that; she’s forever 17 years old after all.

Oshiete A to Z is Yukarin’s 18th single and it sounds pretty much like what she’s been doing her whole career. It’s cute to a fault, bubbly, and set to a catchy melody with sugary lyrics. The titular track (the opening theme) is an upbeat, lightly suggestive song that uses Yukarin’s relatively high register and distinctively lightly whiny voice well. It’s very simple — the same general melody comprises most of the song and it’s accompanied by a basic drumline and occasional guitar riffs and brass instrumental that’s common in contemporary anime pop. It functions well as an opening theme, the careless whimsy feel of the track fits the show and the OP animation does its job. As a commercial single, I expect more from Yukarin.

Hadashi no Princess is a ballad with a lot more feeling to it. The structure of the song is clever, with deliberating and fragile verses contrasting the bolder chorus sections. The song conveys a slight feeling of loneliness with its mood and lyrics but still delivers a happy, confident attitude. The allusion to Cinderella is cute, but I thought the guitar solo in the middle was a bit out of place. Instrumental breakdowns have their place in anime pop, but it’s probably not here. Namida no Loop is another airy ballad, but not as sophisticated as Hadashi no Princess. This track didn’t trike me as anything special or memorable in particular. It’s really repetitive — as if the first verse was on a loop. Oh I get it haha!

Overall, the single is decent. These songs are stereotypically Yukarin’s style: highly relying on melody, the melody being driven by Yukarin’s voice, and bland arrangement. There’s very little diversity in her work and I’ll take that as a good thing. Yukarin is very good at the niche of what she does and rarely strays outside (her misjudged experiments with jazz in her studio albums are a notable exception). It’s not her best work but it’s not bad by any stretch of the imagination. Catchy little pieces like this are what anime pop is all about and I for one accept and appreciate that fact.

Rating: Decent

Opening – Oshiete A to Z

Ending – Hadashi no Princess

Tracklist

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Review: I’ve had an odd relationship with mecha series in that I’ll avoid having to actually watch one the whole way through (I think the list of mecha shows I’ve completed stands at about 3 or 4 now), and yet, I’ll happily embrace the music because of the way it evokes the vast final frontier and the ensuing conflicts within through a majestic, orchestral sound that is heaven to my ears. Gundam SEED is no exception to that rule with Toshihiko Sahashi doing an excellent job helming that soundtrack. That said, exploring its four-disc soundtrack can be a daunting task. That’s why I’d recommend the Symphony SEED album for those who want to experience Gundam SEED’s music, but in bite-sized chunks. And delicious bite-sized chunks at that.

Gundam SEED’s symphonic album takes ten already-superb tracks, and polishes them further by having them performed by the London Symphony Orchestra. Pieces like “Opening” become nothing short of glorious, as the music alights upon our ears, beckoning us to dive into a saga just waiting to unfold before our eyes. The brass section’s fanfares and the occasional dipping into the heavier melodies hearken towards the militaristic side of the story, with its depiction of the battles between heroes and villains, and yet, it still leaves room for the strings and woodwinds to provide calmer, inspiring fare to assure us that the end result is a lasting peace with the heroes immortalized forevermore.

Opening

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With that kind of opener, one can safely infer that glorious and grand themes are going to dominate this album. Its approach is nono too subtle, and people who favor bombastic melodies and militaristic fanfares that announce their intent straight from the get-go will be pleased by what this album offers up. “Take off’s” pompousness in its opening lines possesses the sort of melody that works as a triumphant sendoff as the trumpets hail those departing as heroes bound upon the adventure that epics aim to retell. The same vibe permeates “Gundam,” except the strings starts out softly, allowing the listener to appreciate the mech’s structural beauty. Its war-making capabilities come once the regal, stately tones subside, unleashing upon us the mechs’ true potential, as the tempo speeds up, and the orchestra moves into a rousing, fanfare-driven finish that leaves no question-marks about its superiority as a weapon on the battlefield, one that is capable of inspiring fear and dread in enemies.

Take off

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Gundam

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So yes, these arrangements aim to get you pumped in anticipation of the action, and that can be a bit exhausting if there aren’t quieter tracks to provide some respite. To that end, “Memory” and “A Wish” work well in bringing an aura of tranquility amidst the fighting. I particularly like how the former conveys its gentle, longing tones through the woodwinds and xylophones as it reaches far into the past, bringing to mind the nostalgia of more peaceful times. The latter, though an orchestral arrangement of Lacus Clyne’s (cv: Rie Tanaka) “Shizukana Yoru ni,” is beautifully arranged. “Shizukana Yoru ni” is simple, but the basic melody is easy to latch onto, and when executed by an orchestra, “A Wish” is more poignant than the original. I love its progression as it blossoms from its quiet, calming air into an unforgettable piece dripping with sentimentality and happiness that settles one’s heart so that one can be at peace with oneself and the outside world.

A Wish

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Symphony SEED then ends with the wonderful “Finale,” which takes us through countless battles and emphasizes the intensity before slowly drawing it to a close, first, with the usual round of triumphant brass fanfares, before letting the horn, woodwinds, and strings carry the war’s events to the history books, where the brave deeds can be chronicled for future generations. And in closing, it never loses its sense of grandeur; the London Symphony Orchestra carries the heroism all the way to the finish line. The music isn’t subtle and it certainly doesn’t show Gundam SEED’s angstier moments, but it sure is hard for me to not be swept up by the epic melodies it serves up.

Finale

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Rating: Excellent