Tracklist

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Review: From under one corporate umbrella are two car companies unlike in dignity.  In Volkswagen, the image of fun but frugal prevails.  In Audi, the sleek sexiness suitable for the likes of Iron Man.   Prudence dictates that these companies shouldn’t compete between themselves and cannibalize sales from each other. With that in mind, consider that, in 2002, Volkswagen released a car called the Phaeton, the very antithesis of this business concept. The car had an Audi engine, an Audi design, an Audi-like interior, all at a near-Audi price; it was essentially a rebadged Audi.

Naturally, I questioned this decision. Why make the car so similar to an Audi?  Why even call it a Volkswagen? Why go through the trouble? Why not just make another, better Audi?

It was then I realized I was missing the point.

The Phaeton wasn’t about being the undisputed sales leader or profit center. It wasn’t about being a world-beating, do-everything car. It was more emotional than that, more passionate.  It was a challenge; a declaration of what Volkswagen could accomplish in the luxury market that they had previously dared not tread.

The result?  An exquisite, roomy, comfortable, cutting edge, powerful, handsomely-designed sales disaster. But, again, that’s not the point.

This brings me, finally, to Platina Jazz Vol.2.

The album may be surprising in a number of ways. Those expecting lightly-rearranged, jazz-flavored covers of their favorite anime songs will be sorely disappointed; if you’re looking for the same sort of sparkle and flair of the originals, you’ll find little to like here. The versions of the anime staples here are entirely reimagined, totally deconstructed, rebuilt-from-the-ground-up jazz songs that are unapologetically just jazz. Think less the Beatles’ version of “Twist and Shout” and more John Coltrane’s version of “My Favorite Things,” and you’re getting the general idea. These songs only have a passing resemblance to their originals. In fact, some numbers are barely even recognizable as the songs to which they’re supposedly paying tribute.

I wondered at one point why Rasmus Faber even decided to base an album off of anime tunes. Why even bother? Why target a niche market of a niche market? Why make the songs so unrecognizable? Why not just make another, better, purely jazz album?

Again, I was simply looking at it the wrong way.

Platina Jazz Vol.2 is a variety of expression, loving fandom, and delicate homage that I had simply not encountered before. The point of this album is not to regurgitate the anime songs over again in a jazz setting. Rather, it aims to translate everything that was great about the source material into an entirely different paradigm. It’s only once you understand this and only after you remove yourself from unfair expectations that you begin to realize how clever the adaptations are and how beautifully this album is executed.

Hajimete no Chuu

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Consider “Hajimete no Chuu,” a slow-and-steady power ballad turned buttery-smooth big-band smoocher in the vein of Sinatra and Crosby. Though not totally indicative of the style of the rest of the album, it sets a high standard in terms of execution and quality. The lively, bouncy instrumentals are typical big-band fare, but Niklas Gabrielsson’s vocals are what really steal the show. Low key and unflashy, his voice work here is just so spot-on in a velvety coddling leading-man sort of way that, not only will women be attracted to him, men who thought they were heterosexual may be compelled to reconsider.

But it’s “Hajimete no Chuu” that’s the anomaly; much of the remainder of the album takes on a very west-coast vibe. Ironically anticlimactic, hyper-cool, and irreverently laid-back, Faber’s exhibited style here is less Monk/Bird than it is Brecker/Desmond.

Bouken Desho Desho?

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“Bouken Desho Desho?” of Haruhi fame is a perfect example of this approach. The melody and chord structure carries this one quite well into a bossa nova interpretation. The intricate arrangement and energy in the original are replaced by a more thoughtful, relaxed persona. In the typical jazz style, an opening recitation of the main melody is just used to introduce the chord progression that will be the basis for improvisation. The piano and bass solos are tame as far as jazz solos go, but the key words here seem to be “tasteful” and “understated.” The way the piano plays off of the bass during the latter’s solo is very well done and a lot of fun.

Preparade

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Much the same can be said of Toradora’s “Preparade,” though some wind instruments have been thrown into the mix. Like “Bouken Desho Desho?,” “Preparade” is a somewhat mellowed, funky Latin take on its namesake. The melody is played rather straight by the winds, but is peppered with some delicious improvised counterpoint from the piano. The trumpet and tenor sax provide some of the more satisfyingly rambunctious solos on the disc, though they may be a bit strange and off the wall for the uninitiated. Those with jazz inclinations will find much to like, however.

Skies of Love

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Just as you’re settling into the jazz club style, the album suddenly takes a sharp right to more straightforward fare. “Skies of Love” is a beautiful ballad that maintains much of the romanticism of the original. Emily McEwan returns to contribute her vocals from Platina Jazz Volume 1, though her typically clean and sensitive delivery could have used a bit more emotional oomph. The star of this tune is undoubtedly the piano solo, especially in how heavily it deviates from the source material compared to the rather no-nonsense vocals. It’s amazing how different a song can sound with a piano solo dancing around chord tones. The bass is always the unsung hero in any genre, and I must commend it here for exhibiting some fantastic and subtle call-and-response.

Akatsuki no Kuruma

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Rasmus throws us another curveball with “Akatsuki no Kuruma.” Featuring a string quartet, the arrangement is certainly impressive but feels somewhat out of place on the album, with a too-short, too-straight piano solo. It adds up to be an absolutely beautiful ballad and one of my favorite numbers on the disc, but a few more notches of jazz would have done a lot to make this song truly great.

Sobakasu (Freckles)

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“Sobakasu (Freckles)” is probably the most successful translation to jazz displayed here. The song is instantly recognizable as its source material while being totally in another genre. It works shockingly well as a swinging big band barnburner. Constantly upbeat, it has some great, densely harmonized, sax soli work that seems to sparkle as the wonderfully subtle drums scurry things along. It was also nice to see Martin Persson on piano get out of the way for a bit to let the winds have their time to shine, even going so far as to feature a bari sax solo. A baritone sax player myself, I was pleased to hear that the largest of the (common) sax family was mixed very prominently in the overall mastering as well. Definitely one of the highlights of the disc.

Kigurumi Wakusei

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Fans of Hanamaru Kindergarten should rejoice, as my favorite song on the disc hands down is the second ED song “Kigurumi Wakusei.” If this entire album is one great expression of fandom, then this tune represents the pinnacle of a loving fan tribute. The cleverest of all the songs here, “Kigurumi Wakusei” is a knowing wink to all fans that says “Yeah, we’re in on the joke, too.” When you consider the squeaky-voiced, dramatically drawn out irony and tongue-in-cheek mock-space-opera nature of the original, it’s downright hilarious how deadly serious they play this one out. The arrangement is absolutely fantastic. Blurring the line between big band jazz and wind ensemble neo-classicism, the score is satisfyingly dense and busy while allowing enough room for soloists, which, much to my delight, includes a bari sax. Everything down to the last detail from the original is lovingly translated to the big band style; the faux ending and teary trumpet lamentation were particularly well done in this regard.

It’d be a mistake to dub this disc a cover album. The songs here pay tribute in a less obvious way. There’s more love, more passion here than I expected. It’s one thing to be able to express your fandom by imitating your source material but quite another to truly make it your own. Think a claymation version of your favorite anime; a portrait of your favorite character done in the style of Picasso. True, some songs could have used a bit more polish, and the songs aren’t for everybody, but no one blamed Volkswagen for making a bad car.

My inner jazzfag says:

Rating: Excellent

Tracklist

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Review: The first Clannad image album, Sorarado, features six arrangements based off tracks from the Clannad Original Soundtrack and sung by riya, Eufonius’ talented lead vocalist. The entire album is extremely impressive: where the temptation might have been to make six songs that stick strictly to the pop formula, we instead get arrangements that show a great deal of sophistication. New layers are constantly added where appropriate, vocal harmonies echo and depart from the main melody, and, more often than not, the standard verse-chorus structure is ignored. The result is an uplifting, almost surreal experience that, ironically, is grounded by its meticulous arrangements.

The Girl’s Fantasy

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“The Girl’s Fantasy” starts off slowly, and riya sings above a lingering bassline with deliberateness. The song is in no rush… it isn’t until more than two minutes in, after steadily adding layers, that the song takes on a more urgent tone, at which point percussion is introduced. It’s here that the song takes on a more dreamlike feeling, one which will become fairly familiar by the end of the album. The vocal harmony is hymn-like, and the overall song almost feels like it’s set in a peaceful savannah. The end of the song crescendos, building up not to a climax, but a perfect segue into the next track, the iconic “Over”.

Over

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“Over” is most recognized among anime fans as the insert song that plays at the end of the episode 18 of the first season of Clannad. It’s vastly different from every other song on the album, but while it stands out, it also stands tall. It’s more of a traditional J-pop song than the rest of the tracks, invigorated by a vibrant energy which so suits Fujibayashi Kyou, the character whose theme song, “Sore ha Kaze no Youni,” “Over” is based on. It’s catchy, cute, but also extremely well-sung and is just as multi-layered as the rest of the tracks on this album. The bridge is a bit more typical of the general tone of the album, emitting the same abstract, removed feeling as many of the other songs. I don’t think anything would rock my face off harder than to hear Hirohashi Ryou sing this song.

Roaring Ocean

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There’s something earnest about riya’s singing at the beginning of “Roaring Ocean.” Soon after the introduction, riya becomes subdued as a tender piano melody plays, but she quickly breaks out into a strong voice, showing, in a very short burst, just how versatile a singer she is. My only complaint is minor, but this song weakens with the introduction of percussion about halfway through. It is almost as if the song had run out of things to do, and needed to extend itself, but the percussion undermines it, sounding tinny and obviously synthesized (or poorly recorded).

Memories of a Distant Journey

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“Roaring Ocean” melts into “Memories of a Distant Journey,” again an example of the impeccably-executed segues that allow Sorarado to flow. “Memories of a Distant Journey” is almost a sadder version of “Roaring Ocean” and has something of a Celtic feeling. Riya deliberately lets her voice waver, adding emotion to it and again demonstrating her skill. The harmonies in this song are much deeper than most of the other songs, and also have a hymn-like feeling.

Ten Thousand Places

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“Ten Thousand Places” is a rather flighty song compared to the more slow-paced arrangements that dominate Sorarado. This is the point in the album where the multi-layered transforms into the eclectic, and the song has some rather abrupt transitions that, for some bizarre reason, work. The percussion is also tinny here, which is unfortunate, but riya’s short burst singing accompanied by a sitar (of all things) is again striking. The vocal harmonies both echo and preempt riya’s singing, and continue to be a highlight of each arrangement. An almost entirely new song breaks out during the bridge, a much more subdued theme reminiscent of the tone of Clannad’s background music, before suddenly snapping back to its normal energetic self. It’s not a bad song, but it sticks out, even moreso than “Over”, and if this album has a weak point, this is probably it.

Shining in the Sky

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The introduction of “Shining in the Sky” is almost like a lullaby. riya’s voice is soothing, and the violins that carry her voice are smooth and continuous. However, the lyricless middle section of the song is arguably the highlight of the entire album. A mixture of choral harmonies, violins, a recurring piano melody and an irregular baseline, this segment is surreal and haunting but also, strangely, warm and sweet.

Rating: Very Good

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

Tracklist

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Review: It’s a given that good arrange albums are going to be difficult to find and while I could have gone for some Gundam rock, my bent for jazz has me looking in that direction. So enter Platina Jazz, an album arranged by Swedish musician Rasmus Faber, which takes 18 pieces from a variety of anime, ranging from oldies like Lupin the Third: Castle of Cagliostro to more recent fare like Macross Frontier. Its chronologically diverse lineup looks promising enough to spur my curiosity. And since it’s so different, why don’t we listen to the music in a laid-back, close-knit setting that complements the mood that Platina Jazz wants us to feel comfortable in. Let’s head over to the Fasching jazz club in Stockholm, Sweden, and watch the performers strut their stuff.

To start, this album settles us in with an arrangement of Haruhi’s “Hare Hare Yukai.” The original channeled its excitement through an addictive melody, but Platina Jazz departs from that by delivering calmer fare. Its moments of fun can still be heard, but the overriding goal, it seems, is to be relaxing, fitting in with the jazz club setting. So while it might not be faithful, it works as an atmosphere-setter.

The issue with faithfulness is not limited to “Hare Hare Yukai” either, but its success depends on the way the arrangement is executed. Energetic pieces like “Genesis of Aquarion” take on a mellower tone while Laputa’s “Carrying You” is more melancholy than breathtaking. The former shines through as a result of Emily McEwan’s job on the vocals, which guide us through the lyrics to bring out the feelings of love and sentimentality that lie at the heart of this song. McEwan’s contribution to this album is what pushes it up a few notches, and I’ll come back to explain why later.

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I also really liked the way Gunslinger Girl -Il Teatrino-’s ED “Doll” turned out. The original’s slow and relaxing melody makes way for Rasmus Faber’s burst of energy. The opening might have a menacing hint surrounding it, but once the rhythm kicks in, you’ll want to snap your fingers along with the upbeat arrangement. Toki Wo Kakeru Shoujo’s “Garnet” (spelled as “Gaanetto”) is similarly more energetic and demonstrates that this departure can increase your appreciation for the original by exposing you to a subtle aspect of the piece made more apparent through creative arranging.

On the other hand, “Carrying You’s” tone isn’t as effective. Its sense of longing is maintained in the arrangement, and when you look at it holistically, it’s a solid, cohesive piece. However, the piece’s atmosphere is far too melancholy, and I would have preferred an arrangement that not only captures the forlorn tone of the original, but also that sense of awe and wonder evoked as the characters explore the floating city. The “Main Theme from Honneamise” didn’t catch my ear either and my attention drifted in and out as the piece played. It doesn’t help that I’m not familiar with Honneamise, and so, I could never get into this piece.

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Even with these duds, there’s still a lot to like. Macross Frontier’s “Seikan Hikou” still carries the flashy, J-pop flair that the original possessed and the piano improvisation made for an enthralling experience all around. I was also won over by “Mizu no Akashi,” with its beautifully expressive jazz ballad. The warmth that emanates from the melody comes out ever so slowly, but it nails the wonderful, floaty feelings that leaves you soothed and comforted.

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Though these tracks make Platina Jazz a consideration, its Emily McEwan’s work that really makes this album shine. I’ve already mentioned how well she conveys the “Genesis of Aquarion’s” sentiments, and that’s just the tip of the iceberg. Her frenetic sense of worry in the arrangement of “Thanatos -If I Can’t Be Yours-” along with the neurotic delivery perfectly reflects the original’s vibe. My favorite track by far brings out the hope and optimism in “Children of the Light.” The way the instrumentals are layered give it an orchestral touch along with an ethereal feeling, and once McEwan enters, her emotive singing and radiance lifts your troubles away, leaving you warm and happy from the experience.

There’s certainly room for improvement, and I think a large part of that can be corrected if more care was placed upon track selection and making sure the originals can survive the transition to jazz. Still, Platina Jazz’s chronological and stylistic diversity have managed to delight if not impress, and so, I hope that it is successful enough to warrant a Volume 2. I, for one, would love to see how far Faber’s creativity can extend should he work on any follow-ups.

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Rating: Good

Track List:

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Review: As much as I love listening to and reviewing anime soundtracks one after another, there are always those moments where I want to get away from it all and listen to something tangentially related to anime, but is different enough to be refreshing. That situation cropped up fairly recently for me and when I saw that seiyuu/anisong blogger j1m0ne released her debut album Limited Chords Works Vol. 1 seemingly out of the blue, I knew that this was the change I was looking for. After all, it’s pretty rare that I ever get a chance to listen to an anime doujin album to begin with; it’s even rarer that such an album originates from someone in the English-speaking blogging community.

Alas, my eagerness was tempered somewhat when I actually read her post talking about this album since her commentary seemed closer to the sort of thing you’d see on a jar of rat poison. It seemed to shout out to me, “DO NOT LISTEN TO THIS ALBUM!!! IF YOU MUST, DO NOT CONSUME WITH FOODSTUFFS OR LISTEN TO IT WHEN WORKING WITH HEAVY MACHINERY!!! MUSICIAN IS NOT RESPONSIBLE FOR RUPTURED EARDRUMS!!! IN THE EVENT OF ACCIDENTAL USE, DUNK HEAD IN ICE-COLD WATER AND CONSULT YOUR PHYSICIAN OR PSYCHIATRIST!!!” Such a disclaimer seemed overblown, and I figured that since I had been listening to Aya Hirano a few days prior to this, I was fully inoculated from whatever j1m0ne could possibly throw at me.

So with that, my journey began as I explored the album, filled with 33 anisong covers featuring j1m0ne and her guitar. The first thing that struck me about it was the title of the album, Limited Chords Works, which serves as a preview for what is to come. I suspect the name is a tongue-in-cheek reference to the guitar part, which, when you listen to the arrangements, doesn’t deviate all too much from the base harmony that it provides for the vocal part. That is, there’s nothing wild or experimental about the guitar work and it serves its role as mellow background music well enough, even if it does pique my curiosity as to what an Unlimited Chords Works album would sound like.

The other thing to notice are the track names which range from the hilarious “HERUPPPU MIII.” to the curious “D=.” Some track titles clues one in as to which track is being covered like with “Banana de Fly (Tokyo no Juice)” (it wasn’t that long ago that I praised this track from the Taisho Yakyuu Musume soundtrack) while others are jokes based on the song lyrics like in “Futari ni Got BREAD” (“God Knows” from Haruhi). Either way, scanning the track list provided good amusement value and the choices of songs to be covered that I could identify looked fairly promising. It was time to plunge into this album!

Banana de Fly (Tokyo no Juice)
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The best way to describe the listening experience here is to compare it to a journey of discovery where you’re not looking for breathtaking sights so much as for the perverse delight to be had when you stumble upon j1m0ne’s rendition of a song that you recognize. It’s not that she’s a bad singer by any stretch since her mature voice earns a nod of approval from me given my disenchantment with artists who try to pass off high-pitched screeching as actual singing. Rather, it’s in the hilarity, especially when her performances of songs like “Ichigo 100%” contrasts so sharply with the original, in this case, Ichigo Mashimaro’s OP “Ichigo Complete.” Hearing a mature voice in place of the sugary original leads to a weird dissonance, but the results had me laughing and I was thoroughly delighted. Given her vocal range, it also makes me wonder how it’d go if she were to mirror the original as closely as possible, though I think this is one of those questions best left unanswered.

Ichigo 100%
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Things get even better when you come across a familiar tune and then realize with a feeling of shock and horror just what song j1m0ne is covering. Such was the case with “Nomo no Ekiaki Uta” and what an experience that was. At the time, I didn’t have access to the romanized tracklist, and so, hadn’t readied my mental defenses for what was about to come and when the song started I was feeling quite content since it moved at a slow, relaxing pace with a warm, mellow voice that made for an enjoyable listen. It wasn’t until the words “Fine Purayy” came up that I realized where the song had originated. All I can say is that I’m thankful I heeded the warning not to listen to this while eating or my keyboard would be in a sorry state from the laughter borne from a mixture of delight at hearing the Nomo drawing song from Cross Game and horror along the lines of “ohmygodwhatisthisIdon’teven-.” Needless to say, it was great and I approve of this cover!

Nomo no Ekiaki Uta
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If there’s one thing that this album made me realize, it’s how weak my power level is as far as anime music knowledge goes. There were many instances where I’d hear a familiar tune and scratch my head, trying to figure out the name of the original track before giving up completely. As expected, there were also tracks whose originals I had not listened to before, and though I enjoyed it regardless, I would like to know the source of the pieces since it would help me appreciate the arrangements all the more. (She did say she’d put a list up, so I’ll be waiting for that!)

So yes, like j1m0ne says on her site, there are times where her timing is just a bit off and she sings slightly out of tune, especially in the lower registers, but when dealing with fan-created works such as Limited Chords Works, I’m willing to give a bit more leeway, especially when it’s done in good fun. The most important requirement then is that a fan-made album be entertaining; I’m not concerned whether it’s done by impressing me with the quality of the arrangements or the artist’s amusing antics. Through this criterion, this album largely succeeds on the basis of keeping me delighted and amused even if it could have been made a bit better by being more cheesy and going all out. But boring it isn’t and if you’re looking for a change of pace, I’d definitely suggest giving Limited Chords Works a shot!

Rating: Good

Author’s Note: The album can be found in j1m0ne’s post here. The Surgeon General warns that those listening to this album may experience fits of nostalgia and delight, prompting those affected to declare it’s AWSM. Enjoy.

Tracklist

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Review: Suzumiya Haruhi no Gensou’s release was met with some skepticism from two fronts. The first had to do with TAMUSIC’s colossal failure in The Recital of Haruhi Suzumiya, which raised the question as to whether an orchestrated Haruhi album could actually be done competently. The second related to the fact that much of Haruhi’s BGM wasn’t exactly memorable because after looking through this album’s track list, I couldn’t say I was able to recall any of the melodies beyond Shostakovich’s “Leningrad” Symphony and the songs like “God Knows,” “Bouken Desho Desho?,” and “Hare Hare Yukai.” The latter issue isn’t as much a problem since context, while helpful, isn’t a necessary component in making this album enjoyable and thankfully, the former concern doesn’t raise its ugly head when you have Shiro Hamaguchi doing the orchestral arrangements. With his solid track record in arranging Final Fantasy music to piano and orchestra, there is reason to hope that he can work his magic with Haruhi.

Right off the bat, Hamaguchi’s arrangement of “Koi no Mikuru Densetsu” is impressive. At first glance, this off-tune variant of a cheesy magical girl OP doesn’t seem to be a particularly viable candidate for serious orchestration, but the arrangement manages to prove these initial thoughts wrong. I enjoyed how it provides a different spin on the original by upping the tempo, giving the track a sense of urgency that, when combined with the orchestra, yields a piece that is absolutely epic. While it focuses more on the serious side, a lighthearted moment pops up in the “Come on let’s dance, baby” segment, which helps keeps the listener engaged all the way up to its glorious conclusion.

Koi no Mikuru Densetsu
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By starting out so commendably, Hamaguchi sets a high bar for his arrangements and the succession of pieces manages to meet these lofty expectations. As we go further into the album, we’ll find that most of the pieces are the result of combining various themes from Haruhi’s BGM into a cohesive medley. Even though my memory of Haruhi’s music is spotty at best, I still found most of the medleys to be enjoyable since the transitions from one theme to another are handled quite well.

Take, for example, “Kouchou Kouchou ~ Mikuru no Kokoro ~ Chiisaku demo Shiawase ~ Oioi ~ Comical Hustle,” which explores many aspects of day to day life. The bustling, energetic theme meanders about before settling into the next two sections which offer a mellow, heartfelt atmosphere, leaving the listener feeling calm and at ease. Around the 4:40 mark, the orchestra builds up bombastically towards a sillier air as it depicts Haruhi while she’s executing one of her hare-brained schemes. Although it starts off softly, the mischief grows in scope and excitement before going into the final section where it draws upon its storehouse of energy to bring about a rousing finish. By capturing both the exciting and relaxing moments of day to day life so well, this medley succeeds in being enjoyable and engaging.

Kouchou Kouchou ~ Mikuru no Kokoro ~ Chiisaku demo Shiawase ~ Oioi ~ Comical Hustle
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Other tracks to note include “Sunao na Kimochi ~ Aru Ame no Hi ~ Haruhi no Omoi” which relies on the piano to touch upon a wide range of emotions, from contentment, to introspection, to hope, as the piece reassures the listener that the future has never looked brighter. And of course, the arrangement of “Hare Hare Yukai” deserves a mention for taking a different approach from the original. The sense of joy and excitement doesn’t appear until you reach the middle section, and even then, the fun is muted compared to the original as the piece aims towards an epic experience rather than a fun one. Although I do enjoy this interpretation of “Hare Hare Yukai,” my preference favors the original which captured that sense of happiness and joy far better than the arrangement.

Sunao na Kimochi ~ Aru Ame no Hi ~ Haruhi no Omoi
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So while these arrangements are good, the same can’t be said for Aya Hirano’s songs. It’s no secret that her live performances are pretty bad and I think that the nicest thing that can be said here is that she doesn’t ruin the overall enjoyment of this album. Nevertheless, it’s kind of painful whenever she sings off tune or employs a grating vibrato which makes her performances impossible to ignore. Of all her songs, “God knows…” is her worst song on this album since, in addition to the previously mentioned problems, her performance during the chorus part sounds awkward since she seems to be trying so hard that she forgets to breathe, resulting in a windy delivery that lacks impact. The other performances aren’t this awful, but they are a step down in terms of quality, even if the orchestration is decent all around.

God knows…
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On the plus side, Minori Chihara manages to put forth an enjoyable performance in “Yuki, Muon, Madobe nite.” where she switches between her Yuki voice and a more emotionally-charged voice, but overall, it’s a passable job. There are a few points where I think she struggles a bit, especially when she has to sing those lower-pitched notes at a fast tempo, but even with that considered, I wasn’t displeased with how the song turned out.

Yuki, Muon, Madobe nite.
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Finally, the inclusion of the first movement of Shostakovich’s “Leningrad” Symphony, while fitting in the way it employs a steady, militaristic melody to complement the scenes in the computer game episode, fails to be engaging because of its repetitive nature. Yes, I am aware that this is the point of a movement that uses the same form that Ravel uses in his Bolero, but when the option exists to choose a more compelling piece like the 4th movement of Tchaikovsky’s “Pathetique” Symphony, the “Pathetique” should take precedence over the “Leningrad.” That said, the “Leningrad” isn’t bad and it offers a nice introduction for people not familiar with Shostakovich (though his 5th Symphony is still my favorite).

Symphony No. 7 in C major, Op. 60, “Leningrad” First Movement
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From looking at the music here, Hamaguchi’s efforts yield a solid album through and through. There are a few issues that mostly crop up as a result of Aya Hirano’s inability to sing, but it’s not so bad as to ruin one’s listening experience. I wouldn’t go as far as to rate it higher than the ARIA piano albums, but it’s still really good and worth a listen as its excellent arrangements work well in capturing our favorite moments in Haruhi back when the show wasn’t looping endlessly.

Rating: Excellent

Information provided by Bigblah of VGMdb.net/Gamingforce.

Review: By this time, I can’t blame you if you’re sick of reading about Clannad ~After Story’s~ OP/ED “A Song Engraved in Time” and “TORCH” on this blog and hopefully, this review of the piano arrangement album will be the last. So to begin, I was mildly surprised that this album got released at all because in my review of the OP/ED Single, I noted that “A Song Engraved in Time” is an arrangement of “To the Same Heights” on the Clannad Original Soundtrack and that piece already has a piano arrangement on the Clannad/Tomoyo After Piano Arrange Album. As such, having yet another arrangement feels unnecessary and the only two reasons that came to mind as to why this album came into being was that someone wanted to make an arrangement that includes the introduction section in “A Song Engraved in Time” and arrange “TORCH’s” melody.

The piano arrangement of “A Song Engraved in Time” stays faithful to the original, which might not be a bad thing at first glance except that the similarities are just far too close, which leads to an underwhelming listening experience for those who were expecting something new. As such, this track’s biggest fault lies in the creative (or lack thereof) aspect of its execution. By being too faithful without adding in any meaningful changes to spice it up and make it interesting, the arrangement becomes stale simply because it brings nothing new to the table. Furthermore, it doesn’t help that the source itself is more enjoyable than the arrangement because the pianist simply can’t convey the range of emotions that Lia’s voice is capable of rendering. An excellent example is during the motive that plays between 1:55-2:14 (see sample below), which doesn’t feel quite as poignant and dramatic as it does in the original version. Admittedly, the faults are pretty small, but together, they make listening to this track feel less satisfying overall which, when combined with the lack of creativity in its arrangement, means that this track falls short of its potential.

Yes, maybe I am being a bit too harsh by chiding this arrangement since most people who are going to get this album simply want to hear a piano version of “A Song Engraved in Time.” And to be fair, they get a good track that is nowhere remotely as disastrous as TAMUSIC’s Haruhi arrangements. Still, my prior experience with piano arrangements of Key’s works had primed me for something a bit different and fresh, which is why I was disappointed with the way this track turned out. They’ve certainly done better in the past.

However, listening to “TORCH’s ” piano arrangement dispelled the disappointment since this track definitely improves upon the original, making it a worthy piece in its own right. The celebratory introduction is discarded in favor of going right into the part during which Lia’s voice enters the piece in the original version except this time, the harmony doesn’t jump around so much as to create the jarring transition from “A Song Engraved in Time.” The piece starts off with a slower, more melancholy feel that doesn’t quite possess the festive mood of the original, but it builds up slowly and wonderfully until it reaches the joyful chorus section which is still as upbeat and optimistic as ever. Maybe even more so. One thing to pay attention to as you listen to this track is the way the harmony adds a layer to the piece to make if feel just slightly more vibrant than before and the little flourishes here and there keep it fresh and interesting without feeling as though they were afterthoughts. The changes are fairly subtle, but by doing so, the overall mood and atmosphere of the original is enhanced and this arrangement makes for a very enjoyable listen.

Musically, this album is solid because both arrangements are fairly strong and their take on the original melodies are worth checking out. Although “A Song Engraved in Time” is too close to a carbon copy of the original, “TORCH” makes up for that creative deficiency with an arrangement that is more reserved, but stands out on its own as an improvement on the original melody through its more poignant rendition of the theme. So while I can complain all day long about the dubious amount of creativity in the first track, Clannad fans should not be dissuaded by the issue since it’s a competent arrangement overall. For everyone else, I’d still say that there’s enough mileage that can be had such that this album should be given a chance at the bare minimum.

Rating: Good

A Song Engraved in Time
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TORCH
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