Whether you’re new to this article series or you’ve hung around since its inception, here are all of the posts exploring the past, located in a list for your convenience. Feel free to reminisce along; there’s no expiration date when it comes to gushing about the music that’s defined some of your favorite shows:

• The Introduction – From Whence this Idea was Conceived and How the Journey Began
• Anime Music of 2000 – Love, War, and Guitar Smashing. (Love Hina, Inu Yasha, and FLCL)
• Anime Music of 2001 – Read it or Die & Miss Out on Kajiura’s First Major Success (Noir, Kenshin, Spirited Away)
• Anime Music of 2002 – Drinking at Cafe Alpha in Purgatory (Haibane Renmei, FMP, 12 Kingdoms)
• Anime Music of 2003 – Feeling the Gravity While Aloft in the Grand Stream (Gunslinger Girl, FMA, Kino’s Journey)
• Anime Music of 2004 – For the Love of Life, Dolls Materialize Beyond the Clouds (Mai-HiME, Rozen Maiden, Elfen Lied)
• Anime Music of 2005 – Chronicling a Summer-lit ARIA in the Silhouette of a Breeze (Blood+, Honey and Clover, Nanoha)
• Anime Music of 2006 – Lost My Music in the Host Club’s Red Garden (Paprika, Ergo Proxy, Welcome to the NHK)
• Anime Music of 2007 – Two Sketches that Pierce the Heavens (Moribito, ef, Romeo x Juliet)
• Anime Music of 2008 – A Spicy Library War Lacking in Deculture (Code Geass, kurenai, True Tears)
• Anime Music of 2009 – A Finale to the Design Class’s Summer Wars (Erin, Xam’d, KnK, Bakemonogatari)

On top of all this, I’ve gotten close to two dozen recommendations for stuff I should be listening to, from the near-unanimous cry for giving Toshihiko Sahashi’s Simoun score a shot (many consider it to be his best work), to Yasuharu Takanashi’s Towards the Terra, to a couple shots completely out of left field in Kaze no Shoujo Emily and an anime baseball movie. There’s obviously a lot to try out, and as the Fall 2010 season has shown so far, the quantity of good soundtracks continues to pile on with no end in sight. I’d go as far as to say 2010 has been an enjoyable year musically, and you can look forward to a summary once the year ends.

When all is said and done, I’m left with a huge queue of stuff to review and as daunting as it seems, I really look forward to exploring the albums of yesteryear while keeping my ears alert for newer stuff. I’ll also try to come up with another article series to give myself some breathing room between review writing just to mix it up a bit. If you’ve any suggestions on what could make for a fine article series, feel free to send them my way.

Random thoughts that prevent this post from being content-free:

• Is there a Japanese-run anime music blog that does what I do here? Even if I have to run that site through Google Translate, I’d still like to know. Save for contests like Saimoe, there seems to be very little cross-pollination going on between the fanbases in Japan and those in the West. I’d like to see that changed somehow. For now, links to anime soundtrack sites is sufficient.
• While we’re on the bit about cross-pollination, what about the lines drawn between anime and game music? Will there be more artists who cross the lines and work in both mediums? Already, names like Nobuo Uematsu, Kou Ootani, Hitoshi Sakimoto, Taku Iwasaki, Michiru Ooshima, Yoko Kanno, Yuki Kajiura, among others, have worked on both game and anime music, and I expect this number to increase as games become more and more cinematic, and so, will have similar requirements for their melodies.
• To stir the pot a little, my top 10 soundtracks from the last decade are, in order: Spirited Away, Red Garden, ARIA (entire franchise), Gunslinger Girl, Kenshin Seisouhen, Romeo x Juliet, Ouran High School Host Club, Mai HiME, Haibane Renmei, and Spice and Wolf. I expect some vehement disagreements here and that my responses to at least half of those will be: “I haven’t listened to that soundtrack. Sorry. :p”
• The above list is a boring concept. I should come up with a list of the best soundtracks you’re not listening to though given my readership, I don’t know how well that’ll fly since you might be listening to them already.
• One short project up for consideration is to determine whether the soundtracks to all yuri anime are solid and enjoyable. Number of counterexamples found so far: 0
• Composers who aren’t as well known, but who I’ve learned to look out for: Masaru Yokoyama, Makoto Yoshimori, Shougo Kaida, Ken Muramatsu, Akihiko Matsumoto, Kotaro Nakagawa, and Hiroyuki Sawano.
• Composers who need to write more anime music: Kaoruko Ohtake (maybe I should just listen to more Natural Highs), Takeshi Senoo, John Williams (I can dream, right?).

It took me the better part of the year to get all the way to 2009, but getting that chance to revisit all the music from shows that I’ve watched and those that I only know of through the music feels like a long, but rewarding journey. I’ll express more of that joy and nostalgia in an afterthoughts post consisting of what I’ve learned, new stuff to check out, etc; this one is reserved solely for 2009′s shows, the year that brought us the divisive, but popular K-ON!, an end to the enthralling Kara no Kyoukai movies, and, of course, the excitement and mystery embodied in Eden of the East. Musically, this year saw names like Masaru Yokoyama and Akihiko Matsumoto put their stamp down while video game composers I’ve enjoyed have made ventures into the realm of anime music. There’s a lot to talk about, that’s for sure.

So as usual, full clips are delivered here, Youtube ones are spoilered. I’ll be cheating a bit and linking to reviews when warranted to save time else I’ll be repeating myself a bit too much. Beyond that, just sit back, and enjoy the bevy of tunes from the recent past!

Queen’s Blade
Let’s start with a surprise. Yes, Queen’s Blade’s reputation has preceded it because of the multitude of T&A on display in every episode. It’s understandable why that might make Queen’s Blade so off-putting for many, but there’s a not insignificant number of writers who can vouch that underneath the fanservice is a solid story. And though I can’t personally vouch for the show’s content, I can vouch for its music. Masaru Yokoyama’s contributions to the soundtrack have been solid, and I’d definitely put his name on my radar since he looks like to be a very strong up-and-coming anime composer. I especially like the way the main theme for the series turned out. The first does have a strong, adventurous spirit behind it in the vein of the type of music you’d expect out of medieval fantasy epics while the second conveys the end of a long, victorious, heroic journey.

Main Theme A

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Main Theme B

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Guin Saga
And while we’re dwelling on fantasy epics, Guin Saga certainly fits the bill given its roots as a series of fantasy novels penned by Kaoru Kurimoto that served as a major influence in Kentaro Miura’s work on the popular Berserk manga. From all the reports I got, the Guin Saga anime is found wanting, and that’s not too much of a surprise since adapting a 100+ volume novel series into 26 episodes and expect some sort of finality is sheer folly even in the best circumstances. I did catch bits of it early on and that was mostly because of Nobuo Uematsu’s involvement with the score. If you’ve listened through the Final Fantasy series where Uematsu serves as the composer, Guin Saga’s music should sound familiar since his style from the FF games does carry over to the anime. “Grand Opening – The Thread of Fate” draws forth the anime’s epic scope and makes for an appropriate opener for the soundtrack. The entire “Mongaul Suite” is also worth giving a listen, but of the four tracks that comprise the suite, it’s the “2nd Movement (Sortie)” that reminds me the most of Uematsu’s FF scores somehow.

Grand Opening – The Thread of Fate

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Mongaul Suite – 2nd Movement (Sortie)

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Kemono no Souja Erin
Here, we have another fantasy anime. This one isn’t as action-oriented, but from all the screenshots and summaries that I’ve seen and read, the story looks to be compelling, filled with plenty of drama brought about by solid writing. The setting is also one of its other strengths. If you’ll recall the review I wrote of Kemono no Souja Erin’s soundtrack, one of the points I made was that composer Masayuki Sakamoto brings out the “long time ago in a fantasy world different from our own” tones through good use of traditional instruments, evidenced in tracks like “Kodai no Kamigami” and “Ashita,” with its upbeat flute melody.

Kodai no Kamigami

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Ashita

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Bounen no Xam’d
You really can’t go wrong with Michiru Ooshima since the orchestral delights that she’s been serving up continue to persist along with the addition of a vocal work from the chorus that sounds suspiciously like the one used to sing FMA’s “Brothers.” It’s a series packed with action, making it a good match with Ooshima’s musical tendencies and I really hope that I can find the time to actually watch the whole thing since I’ve heard nothing but good reports flying in (well, except for the ending).

堕夢人のテーマ～現に一添えの想い～

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Kara no Kyoukai
Kara no Kyoukai’s atmosphere is downright heavy. There’s just so much darkness enshrouding the characters and setting that it’s a big part of why the movies are so immersive. And when it comes to sculpting that dark atmosphere, I can think of very few composers who can match the outstanding work that Yuki Kajiura has done. The tracks in the first movie are the most memorable ones and I wish I could give them names other than the generic tags like “M01″ which draws forth the mystical, haunting aura of the setup through Kalafina (who perform some excellent theme songs which I’ll cover later) or “M12+13′s” discordant opening that takes us into a heavy rhythmic section before dispensing with an utterly glorious section that combines grace and power in one awesome package.

M01

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M12+M13

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Tatakau Shisho: The Book of Bantorra
While I did not watch this show, the reports from people who have been watching suggest that it gets better and it all ties together rather well, which means patience is the key to enjoying this one. And while you’re trying to make out all of the religious/mythological elements or whatever it is this show throws at you, hopefully you do pay attention to Yoshihisa Hirano’s score. Of all the anime composers that come to mind, Hirano is probably one of the few who works the most in the classical style with his channeling of Mozart in Ouran High School Host Club and Orff in Death Note. I’m not quite able to identify the composer whose influence Hirano works off of in Bantorra (though Orff might not be a bad bet), but the work he does is compelling if you enjoy the heavy dose of ominous choral pieces that he scatters in this score.

Magic

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Antagonism

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Umi Monogatari
What is a Ken Muramatsu soundtrack that doesn’t carry the relaxing tones that he’s used from his previous works? If you’re going into Umi Monogatari expecting anything new from him, there really isn’t much to speak of. His music is still soothing as he, once again, employs that combination of traditional Japanese music with the light jazz that dominates his earlier works. It’s still a good listen, though the same can’t be said for the anime series, which didn’t really have that solid of an execution because one character in particular wasn’t too sympathetic. Good for doing homework since it blends right in without being distracting, yet still holds up even if you do focus on the music.

Eikyuu no Nagisa ~a dream in beach~ (Umi Monogatari Theme) – Shinrabanshou

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“Teidanuhikyari” (Shima Uta) – Aragaenu mono

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GA: Geijutsuka Art Design Class
I’ve always been partial to slice of life music with an upbeat tone to it, and I suppose that’s a major reason why GA: Geijutsuka Art Design Class’s soundtrack jibes with me so well. Its music stirs you with its energy that pushes you to expand your horizons by consuming a broad swath of enriching experiences and accumulate a storehouse’s worth of insights to help you think outside the boundaries of what you thought was possible. The characters’ approach to art lessons has an irresistible amount of gusto, captured in tracks like “GA ~ art design class.” Yes, I’m aware that this soundtrack isn’t for everyone, but it meshes well with my outlook, and so, it’s one that I’ll put on whenever I need that extra bit of energy to see me through whatever it is I’m doing.

GA ~ art design class

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So many minds

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Summer Wars
The fantastic adventure that Summer Wars brings to light is captured through Akihiko Matsumoto’s score, which combines glorious orchestral pieces along with heavier synth tracks in its depiction of the virtual world. As I commented in my review of the Summer Wars soundtrack, it does tend towards experimental music in the middle, making it less appealing to me since the tracks that I enjoyed the most were the orchestral tracks. That said, “Kasou Toshi Oz” certainly has its place since it unveils the bustling virtual world bit by bit, and the alarm-y nature of the track feels like a wonder revelation. Still, nothing beats the excitement that the “Overture” summons. Listening to that, you feel like you’re about to embark upon a grand adventure of a lifetime!

Kasou Toshi Oz

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Overture to the Summer Wars

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Aoi Hana
This yuri anime offers up Takefumi Haketa and with that, a clear sign of what to expect: good melodies that have this tendency to reuse 2-3 thematic components. In Aoi Hana’s soundtrack, he doesn’t abuse this to the extent that he does with Someday’s Dreamer’s soundtrack, but it’s worth mentioning for people who are looking for greater melodic differentiation within a disc. For the rest of us who enjoy sweet orchestral and/or piano airs, this is a wonderful soundtrack to relax to.

Komorebi wo Kakeorite

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Date

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That was more than what I meant to cover and is indicative of how much my anime viewing habits along with my penchant for musical delving has come. But it’s not quite over yet! So take up that last remaining storehouse of energy and let’s rip through the OP/ED/Insert songs on page 2!

Really, I swear I’ll finish this before the year’s up.

As usual, don’t forget that all previous installments are filed under the “Decade List” tag and if you wanted to knock yourself silly by listening to the stuff I enjoyed from 2007 on back, that’s the place to go to.

Anyways, 2008 once again saw a slew of excellent shows gracing the small screen accompanied by solid music, even if, when compared to 2007, it felt like a bit of a drop-off. Still, there were plenty of notable shows like Macross Frontier which renewed fans’ interest in the Macross franchise while also bringing in a boatload of new fans, Casshern Sins would also hearken to older fans as well, while Code Geass would fire off a sequel with plot twists that became far too numerous to keep track of. Musically, it was a pretty strong year as well, with artists like Akihiko Matsumoto, Yoshimori Makoto, and Yuuji Yoshino putting their stamp on this year’s works.

So as usual, full clips are delivered here while the ones done through Youtube are spoilered. Be warned though the some of these will be short as I’ve already reviewed them someplace and if you want long, drawn-out thoughts, go check there. So with that out of the way, let’s explore this year’s offerings!

Spice and Wolf
I don’t know if this year had any clear winners since the quality of the music remained high though no one soundtrack really towered above the rest. Still, if there was one that stood out to me, it’d have to be Yuuji Yoshino’s work for Spice and Wolf. The dynamic between the two leads, Lawrence and Horo was already captivating, but what made it better was the way Yoshino brought the setting to life through his music. Tracks like “Shounin to Okami to, Tabi no Nibasha” and “Hikaru Wadachi” evokes the Middle Ages/Early Renaissance sound to help you get immersed into the show’s setting. To top it all off, the anime came with a solid opening theme in “Tabi no Tochuu” where Natsumi Kiyoura once again brings her dreamy voice which, while soothing, gets us started upon a long journey.

Shounin to Okami to, Tabi no Nibasha

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Hikaru Wadachi

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Macross Frontier
And competing with Spice and Wolf for my top spot is none other than Kanno’s soundtrack for Macross Frontier. The background music features some really eye-opening stuff reminiscent of Western film music, especially with tracks like “The Target” and “TALLY HO!” with their quotation of John Williams and Hans Zimmer respectively. But Kanno does show her bouncy, lighter side in “Test Flight Delight” which feels free in its expression, putting the feeling of flying in music really well. Age has also dulled my annoyance regarding May’n as my Anime Expo concert report will attest, though the wish that all the BGM were put on one disc still stands.

The Target

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TALLY HO!

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Test Flight Delight

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Code Geass
Speaking of action, one of my readers pointed out that I had completely forgotten to cover Code Geass in one of the previous years, and that’s my mistake really because Kotaro Nakagawa’s music has always been pretty enjoyable. Even though I’ve not watched the anime, I’ve always been enthralled by the music whenever it crops up during some MALKeionbu week. The feeling that I get out of Code Geass is its bent towards a Latin/Spanish flavor, carried through in works like “Black Knights” that also uses an awesome chorus part. But hey, there’s also a dab of Celtic in “Continued Story” (complete with ethereal Hitomi vocals) to enjoy too.

Black Knights

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Continued Story

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Kure-nai
Kure-nai’s soundtrack is wonderful, employing more of Ken Muramatsu’s jazzy rhythms that he used in sketchbook. That said, the first disc felt inconsistent, and I could never really get into the groove. But once the second disc rolled around, tracks like “Surf Song ~Oikaze wo Ukete” and, of course, “Suiheisen no Mukou ni,” which some of you may know better as the instrumental rendition of the song the characters performed in the musical episode. Come to think about it, that track may very well be my favorite Muramatsu piece to date.

Surf Song ~Oikaze wo Ukete

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Suiheisen no Mukou ni

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True Tears
True Tears irked me in a few ways, but on the whole, it was a positive experience. The music, aside from the ending theme at least, was solid through and through; I don’t think I have to go to deep into why I like “Reflectia” more than once. In addition to composing that opening, Hajime Kikuchi goes on to write beautiful piano and violin melodies throughout the show’s soundtrack. I particularly liked the way he captures Noe’s eccentricities in her theme while delivering a rather nice buildup through the strings in pieces like “SeLecT.” Still, nothing quite beats the upbeat tracks, featured in “Nyuushakou ni, Migite wo Kazasu,” which creates a pretty strong first impression when you first give the soundtrack a go.

Nyuushakou ni, Migite wo Kazasu

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Kage Hazumi ~theme of noe~

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Toshokan Sensou
Toshokan Sensou is enjoyable as far as one can find the concept of militant librarians battling to preserve the written word against censors to be enjoyable (which I do) and still has enough time to develop its romantic angle. The music is by Kanno. Yuugo Kanno, that is and though I wouldn’t give the soundtrack plaudits, I do want to highlight the main theme which is absolutely jaw-dropping; a superb example of orchestral music done right as all these woodwinds weave in and out, creating a piece that is stately and majestic. I remember being really enthralled by this piece the first time I heard it and now, I’ve listened to it so much that there’s no way I can forget it at all. The last track at the end is also beautiful and once again, you can hear that main theme crop up.

Toshokan Sensou -Main Theme-

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Toshokan Sensou -END TITLE-

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One Outs
I love the One Outs soundtrack! That has to be said loud and clear and repeated over and over since this work by Summer Wars’ composer Akihiko Matsumoto is so woefully underrated. It didn’t help that this show didn’t register on many people’s radars and fewer still will have actually listened to the soundtrack. But those who have given it a shot have enjoyed it; I’m not the only one. I’ll continually highlight tracks like “Aerobatic Funk” and “Wild & Crazy” as the pieces which really are awesome because of how different they are compared to the BGM you’ll normally find. It’s a breath of fresh air to be sure and with his work on Summer Wars, I feel that Akihiko Matsumoto still has plenty of upside since his two soundtracks that I’ve listened to have been solid and I hope that he continues to improve.

Aerobatic Funk

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Wild & Crazy

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Natsume Yuujinchou
Another composer who also has displayed a knack for improving, Yoshimori Makoto, has gone a long way since Baccano! and shines with Natsume Yuujinchou’s soundtrack! This guy will explore the boundaries of music and try to turn whatever he gets his hands on into music. At least, that’s the only way I can explain off the track that features a mosquito buzzing around (worse than a vuvuzela. Fact.) and the one that features weird-ass ghoulish noises. Well, through tracks like the main theme, Makoto shows that he is capable of composing what many of us would consider to be normal fare, and tracks like the theme to Natsume Yuujinchou which has the lazy feel of a summer day though “Kimi ni Fureta Hikari’s” piano wins me over every time. Especially when it shifts at the 4:50 mark (yes, make sure you get to that part at least!!) in the way it evokes that sense of happiness and joy.

Kimi ga Yobu Namae ~Natsume Yuujinchou no Theme~

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Kimi ni Fureta Hikari

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Kuroshitsuji
No, I haven’t forgotten Kuroshitsuji. Taku Iwasaki continues a good run of form and hits gold by nailing the darker aspect of the show while also showing a good amount of skill in his composition of Indian music, which I’ve rarely heard in anime music thus far. There’s not a whole lot more I can add to my Kuroshitsuji soundtrack review. Oh well, have some Indian music to close it all out.

The Stranger from India

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Long journey isn’t it? We’re more than halfway through, and that’s only because there’s not a whole lot of OP/EDs to highlight because my focus kind of shifted away from those as of late. Still, see which ones made the cut on page 2!

In case people wanted to read what I’ve written about years past, they’re all filed under the “Decade List” tag.

Anyhow, I’ve been warned about 2007′s list since it’s a disgustingly huge list to pick from, and when you casually look over what the music selections are like, you’ll find a lot of solid names to highlight. 2007 saw the coming of shows such as Gurren Lagaan, Baccano!, ef, and Sketchbook. All of these shine in quality on the content front, but it’s a sure bet that people can pick out a track or two that they really enjoyed from these shows. The problem is that we’re looking at the tip of the iceberg here. As much as I’d like to knock a few shows out of this grouping, it just wouldn’t do. So strap yourself in and prepare to go through this slowly. Music is, after all, best savored rather than chugged.

With that, let’s begin with something VGM fans can appreciate:

Romeo x Juliet
I’ve already heaped enough praises on Romeo x Juliet’s soundtrack, partly because I’ve been a fan of Hitoshi Sakimoto’s music ever since I’ve played Final Fantasy Tactics. Even so, it never hurts to give this OST a few more plaudits. While his music wasn’t able to keep me from dropping the series towards the middle, it does compel me to give the soundtrack repeat listens, especially when he serves exciting, majestic music like “Touch,” which is by far and away my favorite track on that album. Add a few more tracks like “Neo Verona” and “Fate” and you’ve got the trappings for a fantastic score that finishes up as my favorite anime soundtrack from 2007.

Touch

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Sketchbook ~full color’S~
There are two aspect to Sketchbook ~full color’S~ that warrant a mention here. The first is the OP, titled “Kaze Sagashi,” with Natsumi Kiyoura’s soothing voice moving in like a light wind to lift us up and take us on a journey through time and space as we alight upon the idyllic setting of high school life where our attention falls upon members of the school’s art club, each with their own distinct, quirky personality. At this point, this is where the second part kicks in: Ken Muramatsu’s score. Muramatsu dabbles in a fusion of traditional Japanese music and light jazz and though his style hasn’t really changed much as you listen to his later works, none of those works have quite surpassed his compositions for Sketchbook. When you’ve got lazy, drift-y pieces like “Balloon Mode ~Yume Kara Samete Mo~” and “Yuumagure no Kuni,” you know you’ll be in for a treat, especially if you’re keen on relaxing fare. Unlike the next soundtrack, you don’t actually have to watch the series to appreciate it!

Balloon Mode ~Yume Kara Samete Mo~

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Yuumagure no Kuni

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Hidamari Sketch
And while we’re on the same subject as Sketchbook, do check out Tomoki Kikuya’s compositions for Hidamari Sketch since the two are somewhat similar in the way they depict high school life. Initially, I didn’t even pay attention to the background music since the series captivated me through its likable cast, whose camaraderie would guide them past the difficulties of living alone without adult supervision while only attending high school. The interactions make for a heartwarming series even if there isn’t much that happens. Because of that, do prepare yourself for a slow-paced soundtrack that, like Sketchbook, carries that light, jazzy feel. It helps to have knowledge of the context, since the music’s ability to conjure up scenes from the anime is the key to really getting the most mileage out of it.

a sunny place 1

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And before I forget, I love the OP, “Sketch Switch,” with its energy and it was what had gotten me to try the show to begin with. The ED, “Mebae Drive,” is where my introduction to marble came about, and I’ve really come to enjoy their mellow sound in their subsequent offerings, especially for the HidaSketch franchise.

[[Visit blog to check out this spoiler]]

Shion no Ou
And if you’re for something completely different, Kousuke Yamashita’s compositions for Shion no Ou should be fairly satisfying. The show’s mood is dark and serious; there is a murderer afoot who is paying particular attention to the eponymous shougi player and at times, you feel that it’s a race against time to expose him before it’s too late. In combining the suspense inherent in the murder mystery with the tension of the shougi matches, Yamashita’s compositions yield a darker, despairing flavor along with the dramatic music that comes in as the shougi players meticulously plan out their moves. It’s a very underrated effort all around, but I really enjoy it, especially for stuff like “Akai Kioku,” which reeks of horror and despair, and “Niten Santen,” where you can feel the intensity hit its stride as the shougi match winds its course to end it all on a note of finality.

Akai Kioku

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Niten Santen

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Oh! Edo Rocket
Whether my perceptions are absolutely warped or I have this overwhelming love for the underdog, Baccano’s jazz doesn’t get me as excited as Oh! Edo Rocket. Don’t get me wrong, I absolutely adore “Gun’s and Roses” as much as the next person since the music sets up the show’s tone perfectly, but lately, it’s moved into overplayed fare, which really isn’t its fault. So when people bring up that song, I give it the recognition it deserves, but beyond that, I’m content to let others do the praising.

So when people say they’re looking for a jazz soundtrack, I’ll bypass the low-hanging fruit and toss up Oh! Edo Rocket as a strong recommendation. Even though I’ve no context of the show since I haven’t seen it, the sort of feeling I get from the music is that it’s a brash and bold show. That is, the characters are aiming for some lofty ambitious goal that they’ve come up with out of the blue, and damn it all, they’re going to try it, no matter what anyone else says. There will be hi-jinks to be had as they pursue this dream and the swagger that pieces like “Rocket” and “Swing” bring to the table indicate that there will be no giving up in this neck of the woods. It’s do or die, and the audacity is what I love so much.

Rocket

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Swing

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ef – a tale of memories
Rather than mention Tenmon’s score for 5 Centimeters Per Second, which is solid overall, I’ll instead talk about the ef – a tale of memories soundtrack, which still contains his characteristic style that’s packed to the brim with drama borne about through the piano, strings, and synth. The soundtrack is a treasure to pick through, especially through the tracks that depict the meetings and the moments of tension, but nothing seems to be able to eclipse the sheer beauty exhibited by “A Moon Filled Sky’s” violin. It might exhibit a lot of melancholia, but it’s hard to turn away from the yearning emotions it wears on its sleeve.

A Moon Filled Sky

[Audio clip: view full post to listen]
Tengen Toppa Gurren Lagann
Did someone call for Taku Iwasaki’s rise back to prominence? After a few years of mediocre output, but a slow resurrection in Giniro no Kami no Agito and Kekkaishi (so I’ve been told for the latter), Iwasaki goes back into full form with the epic TTGL soundtrack. I’m not going to claim to know much about the show beyond the memetry that’s come forth from people who have seen it, but when I listen to the soundtrack, everything just feels BIG, and I do mean BIG. How it could it not? When you have perennial favorites like “Libera Me From Hell” and “Pierce the Heavens With Your XXX,” the former with its blend of rap and opera, and the latter, with its opening fanfare that calls in a new chapter in mankind’s destiny. Or something like that. Together, you’ve got music that fits a modern epic. Not that Gurren Lagann needs any help in that department.

Libera Me From Hell

[Audio clip: view full post to listen]

Pierce the Heavens With Your XXX

[Audio clip: view full post to listen]
Gigantic Formula
Despite never having seen this show, I’m still very much in awe of Hiroyuki Sawano’s score, which instill images of heroism as people rise to the occasion to deliver an effort that will be talked about for years to come. Though if given half a chance, I could babble on and on about the main theme, it wouldn’t be fair to neglect some of the more introspective stuff, like “Ring” which always stood out to me. The interplay between the piano, violin, and the rest of the strings really hit the feeling of nostalgia really well. All in all, I really can’t praise this score enough and even with other works like Gundam Unicorn’s soundtrack to consider, I don’t think any of his other works quite surpass this one.

MAIN THEME (ver. 0)

[Audio clip: view full post to listen]

Ring

[Audio clip: view full post to listen]
Seirei no Moribito
Remember when I said something in the post for 2006 about Kenji Kawai redeeming himself? Well, his work for Seirei no Moribito would cover that quite well. When I listen to this soundtrack, a lot of my thoughts wander back on the feudal setting and the mystical events that occur during the course of the series and for good reason: aside from maybe 4-5 tracks, that Kawai’s melodies can stand well on their own since a lot of it focuses on capturing the atmosphere rather than give us something beautiful to listen to. So if you can immerse yourself into the setting (and it’s a beautiful setting to be sure), you should be able to enjoy what he has to offer. Otherwise, just home in on stuff like the stately “Omoi Haruka,” which moves at a steady rhythm that conveys the epic scope of the anime series or, if you’re looking more for the fast-paced action, then “Karu!” does a good job of that too.

Omoi Haruka

[Audio clip: view full post to listen]

Karu!

[Audio clip: view full post to listen]
Strike Witches
Finally, we come to the humble Strike Witches to round out the list. Opinions on that show just might be mixed because of how the fanservice-y elements distract from what is a heartwarming series about friendship and camaraderie, but if there’s one thing I’ve gotten from it (despite not having seen it), it’s Seikou Nagaoka’s music, which delivers on character themes (“Perrine’s” daintiness, for one) and of course, fantastic military fanfares in “Striker no Hishou” which are absolutely grand.

Perrine

[Audio clip: view full post to listen]

Striker no Hishou

[Audio clip: view full post to listen]
10 soundtracks in all! I did warn you before though, so if you’ve made it this far, congratulations. On to page 2, if you’re not asleep yet!

It’s been awhile, hasn’t it? I think the last one was about a month ago. Now taking bets as to whether I finish this before the year’s up!

Anyways, 2006 has been hailed by quite a few as a banner year for anime, where many of the shows I watched still managed to stick within my memories surprisingly well. It does help that this year saw the appearance of heavyweights like Haruhi, whose impact on the anime scene can’t be emphasized enough as we’re still living with its repercussions. No fad has managed to supplant it to near-universal appeal like Haruhi did, and like it or not, it’s going to be a major part of what makes up the fabric of 2000s anime fandom.

That said, most of the musical offerings that I really love from 2006 do not come from this franchise. The celebrated Haruhi songs like “Bouken Deshou Deshou,” “Hare Hare Yuukai,” “God Knows,” and “Lost My Music,” have become overplayed to the point that it’s lost that sense of uniqueness even if they are pretty awesome when they first came out on the scene. It’s like how pieces like Final Fantasy X’s “To Zanarkand,” Beethoven’s “Moonlight Sonata” and “Fur Elise,” and, of course, Pachelbel’s “Canon in D” were enjoyable at one point, but I can’t stand to listen to them nowadays. Not trying to knock all of those mentioned above as bad because they aren’t; it’s just been overplayed and since my tendency is to seek out fresh and new stuff that’s underappreciated, I’m not going to bother with Haruhi for this column! There’s more stuff that’s worth one’s time at any rate!

So with that in mind, there’s a lot of good stuff from 2006. I’d be hard-pressed to put my finger on my favorite soundtrack from that year since there are no less than three soundtracks competing for that slot and each of them have something to the that I really like. As usual, clips are in their entirety and youtube videos are spoilered. With that, read on!

Ouran High School Host Club
Squaring off for the number 1 spot will be none other than Ouran High School Host Club. When I remember watching the first few episodes of this series, I was completely dazzled by the music. Yoshihisa Hirano’s compositions are really enjoyable in the way they mix various genres of classical music into a really nice package. Sure, if you were super serious about your classical music, you can gripe about how some of the pieces are just too short and Y. Hirano glosses over opportunities to develop the track further, but I was never bothered by these issues. On the whole, Hirano taps into the whole elegant/pretentiousness vibe associated with the Ouran school and its Host Club through tracks like the “Ouran Concerto” and the “Sinfonietta,” which are among many of my favorites. While Haruhi’s stuff is “been there, done that,” Ouran’s soundtrack still remains fresh and enjoyable to this day.

Ouran Concerto for oboe 2 horns violin and string

[Audio clip: view full post to listen]

Sinfonietta C-dur

[Audio clip: view full post to listen]
Bartender
Bartender is also going to compete for that top spot. You could classify many of the tunes from this soundtrack as being nothing more than elevator music, but it sure is damn good elevator music! Its jazzy soundtrack takes us into the soothing atmosphere of Eden Hall, run by Ryo Sasakura, where one can relax and rejuvenate oneself through his concoctions. The mood that “NO NAME ~Kami no Glass~” sets through its piano and percussion really work alongside the narration in the anime and I’m also drawn in to the calming aura that “CHRISTMAS CHAMPAGNE ~Kiyoshiko” brings to the table with its arrangement of “Silent Night.” The soundtrack as a whole is wonderful and if this is the kind of music you dig, you’ll be in good company with the rest of the music here. I only wish that its composer, Kaoruko Ohtake, would compose more music for anime.

NO NAME ~Kami no Glass~

[Audio clip: view full post to listen]

CHRISTMAS CHAMPAGNE ~Kiyoshiko

[Audio clip: view full post to listen]
Red Garden
And of course, the last contender would be Red Garden’s soundtrack. I’ve already labeled this a masterpiece, and it’s not hard to see why through its emotional fare coupled with KOKIA’s vocals towards the end. I really do listen to this too much, but that’s fine since it’s still not gotten old and the melodies that I love from it continue to raise the hairs on my neck because of how beautiful they are. Also, I’m too lazy to switch it out with something else and so, it’s an album that seems to have a permanent spot in my car’s CD player.

Sumire ~ You to Tomoni

[Audio clip: view full post to listen]
Paprika
So yes, those would be the big three, but there’s something to be said about the huge diversity of stuff that’s made their appearance beyond just the pretty music that I love so much. Satoshi Kon’s Paprika movie also came out in 2006 and the soundtrack, composed by the old standby of Susumu “I ain’t Yui” Hirasawa, took me awhile to get into. It was bizarre listening to the bevy of sounds assault me for the first time, but once I watched the movie, all that cacophony somehow made sense. No, I’m not even going to try to explain it since it’s an experience you’ll have to encounter for yourself. Now, I’ve come to love its depiction of chaos through standbys like “Parade” and “The Girl in Byakkoya – White Tiger Field.” Its style may be jarring to those used to quieter fare, but give this one a few chances and it’ll grow on you pretty quickly.

Parade

[Audio clip: view full post to listen]

The Girl in Byakkoya – White Tiger Field

[Audio clip: view full post to listen]
Asatte no Houkou
Asatte no Houkou is one underrated gem, both from the music and the anime front. At its core, it’s a story about how two people’s wishes go awry, but along the way, the characters learn to be a bit more empathetic and understanding, resulting in a sweet story all around. The soundtrack by Shinkichi Mitsumune of Rozen Maiden fame also adds to the languishing feel of summer while sticking in a good dose of soft piano drama music to make things roll. The medley that starts the soundtrack covers most of the show’s musical themes and should prime your expectations as to what the rest of the soundtrack delivers upon. It’s delightful. Maybe not to the degree that some of the others are since it’s mood is rather subtle and I’d hardly classify this as being energetic, but I do listen to it quite a bit, most likely because it starts with the letter A and shows up when I scroll through the list of albums to tune into.

Kumikyoku [Asatte no Houkou]

[Audio clip: view full post to listen]
Le Chevalier D’Eon
I don’t know how many people have seen Le Chevalier D’Eon, but it certainly was an engaging anime series with its mystery and intrigues that viewers can unravel. Also, conspiracy theorists may find the cultists angle and their goal of controlling Europe’s major powers to be a fascinating bit, especially when names like Robespierre pop up. Michiru Ooshima’s compositions are often overlooked and even if they’re not quite as good as Fullmetal Alchemist or Sora no Woto’s soundtrack, they still demonstrate Ooshima’s ability to depict a European setting. One of my favorite pieces is “Cafe – Paris no Kensou,” which paints a relaxing scene as you sit in a cafe and looking at people walk by the Seine. The other tracks, like “PSALMS” hits the mood rather nicely with those tension-filled melodies that hint at the impending conflict.

Cafe -Paris no Kensou-

[Audio clip: view full post to listen]

PSALMS

[Audio clip: view full post to listen]
Renkin 3-kyuu Magical? Pokaan
Renkin 3-kyuu Magical? Pokaan is completely silly. I’ve already remarked about its misleading OP theme elsewhere since this series is all about a bunch of girls from a different environment trying to get used to modern-day Japan. The comedy isn’t exactly top-notch, but it does have its moments. The music, composed by Elements Garden’s Noriyasu Agematsu, matches the silliness for the most part, though his “seasonal” tracks using the Magipoka themes are the highlights along with the easygoing character themes. Well, assuming you like laid-back my-pace type music, which fits in with my tastes. So Magipoka wasn’t a particularly great, but its music was enjoyable and the whimsical tracks make for a great listen.

Magipoka Theme – Spring

[Audio clip: view full post to listen]

Magipoka Theme – Summer

[Audio clip: view full post to listen]

My-Pace Yuuma

[Audio clip: view full post to listen]
Yeah, this is a lot of stuff, but it’s no surprise given all the good shows that came out along with the scores which are downright excellent. The OP/ED section is similarly long, so on to Page 2!

The further I progress into the 2000s, the more familiar the shows look and the more music I seem to have accumulated from those series. That’s no accident given how much more I watched from the second half of the decade and so, the lists start becoming really long and it is in 2005 where I really have issues figuring out which soundtracks I’d consider my favorite because there’s just too many to choose from. I’ve reformatted this year’s selections somewhat to make it easier to read if you’re skimming through. Hopefully, that helps with the deluge of shows that I’m showcasing.

Same goes for OP/EDs for that matter. Fan favorites like Air’s “Tori no Uta” can be heard since 2005, but there are a handful of other good ones that deserve mention. Do be warned though. This list is huge. Ridiculously so. I’d listen to a few and then come back otherwise you might be overwhelmed by the sheer number of awesome tracks on here.

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

Blood+
Blood+ is a good place to start as any because it’s one of the few (I’m guessing) anime soundtracks composed by Western composers. And notable composers at that. I still remember the moment I spotted Mark Mancina and Hans Zimmer in the opening credits and how my eyes bulged out as I began to expect a soundtrack of grand proportions. Both of them are widely known for their film scores and here, their work does not disappoint. The standouts like the “Grand Finale” are absolutely fantastic, but the track that really takes the cake lies in “Diva” which never fails to raise the goosebumps with its hauntingly beautiful melody. Just don’t try to whistle along unless you can hit those high notes.

Grand Theme

[Audio clip: view full post to listen]

Diva

[Audio clip: view full post to listen]
Tsubasa Reservoir Chronicle
A lot of people say that Mai HiME was their favorite Kajiura soundtrack, and I’d largely agree with that sentiment. However, the soundtrack to Tsubasa Reservoir Chronicle is really solid and though it wouldn’t top Mai HiME, it certainly comes close. Here, Kajiura dispenses with her usual style to create that mysterious atmosphere through the violins and chorus parts. Still, it’s the tracks ringing with emotion like “Guess How Much I Love You” that win me over alongside with action-y tracks like “Break the Sword of Justice” that bring to mind some of her video game music in the Xenosaga series.

Break the Sword of Justice

[Audio clip: view full post to listen]

Guess How Much I Love You

[Audio clip: view full post to listen]
Full Metal Panic: The Second Raid
Sequels generally mean same composers and rehashed music, but for what its worth, some of the newer tracks that showed up in FMP:TSR were pretty impressive on the whole. The main theme in particular struck me as being more memorable and part of that is attributable to me liking the military themes in this series as well as the overall darker atmosphere that Sahashi puts forward. Even his more emotional tracks like “Looking Back” are able to take the main theme of the series and work it in such a way as to bring about an air of calm that works as a way to get you to be introspective. And of course, “Counterattack” takes the theme and delivers a grandiose fanfare that leaves you feeling damned inspired to fight on!

Looking Back

[Audio clip: view full post to listen]

Counterattack

[Audio clip: view full post to listen]
Victorian Romance Emma
Beyond the idea of maids done right, this Victorian Romance Emma features some excellent music by Ryo Kunihiko, whose compositions capture more brimming love than an aim to recreate Victorian English music. You do hear quite a few harpsichord tracks here and there, but the recorders are what set this soundtrack apart, especially in the ending sequence that brings out the sort of music you’d expect out of a country fair. Still, with a solid opener in “Silhouette of a Breeze” and the piano stuff like “Emma,” which captures her quiet, introspective, but dignified demeanor, this soundtrack was a love at first listen.

Silhouette of a Breeze

[Audio clip: view full post to listen]

Emma

[Audio clip: view full post to listen]
ARIA the Animation
I really don’t know how else to put it. ARIA’s music is pure magic, bringing together waves upon waves of relaxing sentiments that makes you want to run away from the hecticness of day to day life to paddle around in a gondola and experience life through rose-colored glasses. The music certainly helps in that regard with the Choro Club and Takeshi Senoo bringing in both light, bouncy fare like “AQUA” that sets the main theme of the entire ARIA franchise to stunning, heartfelt tracks like “Mangetsu no Dolche” with its cello melody that really succeeds in bringing unto the listener the feeling that they’re privy to a scene that is wonderfully precious. And lest I forget, there are quite a few tracks propped up by Eri Kawai’s serene voice, and listening to her singing makes her passing feel that much more of a loss.

AQUA

[Audio clip: view full post to listen]

Mangetsu no Dolche

[Audio clip: view full post to listen]

Santa Claus no Sora

[Audio clip: view full post to listen]
Air
I’ve already mentioned Air and the music for the VN is probably my second favorite after Clannad’s awesome soundtrack. There’s a reason for this blatant favoritism: the gap between Clannad and Air is pretty wide and I’m not sure I can point out to many of Air’s tunes that are immediately memorable but don’t strike you as “generic dating sim music.” Well, there is Jun Maeda’s “Summer Lights” that’s always going to be a fan favorite. The piano melody is nothing complicated, but the way it conjures up the image of the countryside summer (cicadas not included!) through its breezy feel is catchy and wonderful the whole way through. Yes, there is also “Tori no Uta” on top of that if you want something that’s really memorable. I’m sure that was pretty much everyone’s first introduction to Lia’s voice.

Summer Lights

[Audio clip: view full post to listen]
Sousei no Aquarion
Sometimes, anime directors make the darnedest things. I’m not sure if this series was supposed to be a joke, a parody, or something borne out of madness, but drawing those comparisons between those unification sequences and sex is far-fetched, but if it’s meant to be played for laughs, then it sure as hell succeeded. Anyhow, Kanno once again showcases her talent for diversity while doing a heck of a job with what she pulls forth. It’s almost like how she conducts herself in Wolf’s Rain because of how it mixes all those musical genres and have it be pretty solid on the whole. Oddly enough, I don’t find myself listening to the first soundtrack a whole lot; the second one is where the songs that really catch my attention are located. “Shinwa Teki Gikou Sonata” nails the kind of fast-paced piano music I really like to hear. If it’s grandiosity, then look no further than “First Love, Final Love” which brings out that finale that fills you with the sort of feeling you’d get out of Handel’s “Hallelujah Chorus” from Messiah. Maybe that’s just intentional since the main character is supposed to be that messianic figure reincarnated.

Shinwa Teki Gikou Sonata

[Audio clip: view full post to listen]

First Love, Final Love

[Audio clip: view full post to listen]
That should be it for the BGM. Page 2 is where you want to go for them OP/EDs.

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

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

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

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

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

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

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

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

Bright Red
[Audio clip: view full post to listen]

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

On to Page 2

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

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

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

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

TEMA I
[Audio clip: view full post to listen]

bucolica
[Audio clip: view full post to listen]

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

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

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

Kiro
[Audio clip: view full post to listen]

Brothers
[Audio clip: view full post to listen]

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

Workin’ on the Cloud
[Audio clip: view full post to listen]

Chivalry Spirits
[Audio clip: view full post to listen]

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

Shiro Long Tails
[Audio clip: view full post to listen]

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

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

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

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

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

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

Outside Atmosphere
[Audio clip: view full post to listen]

Other Notes:

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

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

[[Visit blog to check out this spoiler]]

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

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

[[Visit blog to check out this spoiler]]

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

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

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

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

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

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

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

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

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

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

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

A New Plate’s Rondo
[Audio clip: view full post to listen]

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

[[Visit blog to check out this spoiler]]

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

Cafe Alpha – Main Theme Orchestration
[Audio clip: view full post to listen]

Yuunagi no Jidai
[Audio clip: view full post to listen]

Hall of (My) Shame:

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

Twelve Kingdoms – Junigenmukyou (full version)
[Audio clip: view full post to listen]

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

[[Visit blog to check out this spoiler]]

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

[[Visit blog to check out this spoiler]]

[[Visit blog to check out this spoiler]]

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

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

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

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

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

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

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

Bring all the wisdom to Great Britain!
[Audio clip: view full post to listen]

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

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

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

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

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

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

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

[[Visit blog to check out this spoiler]]

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

One Summer Day
[Audio clip: view full post to listen]

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

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

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

I guess the previous post in this series was more of a prologue. So bear with the lengthy introduction as I clear out some of the cobwebs. Also, because the year 2000 was when I got into anime, I’ll go a lot more in-depth in this one than I will in later posts because the volume of shows that I watched back then doesn’t even compare to what it is now.

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

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

Reflections: One of the easy things about starting from the beginning is that there’s never really much to go off of and most of what you can recall turns out to be embarrassing anyway, even if you do end up looking back at it with a sigh of nostalgia. After all, when you first get into the medium, everything just seems new; you’re so transfixed by what you see that there are no preconceptions to work off of nor do you carry the sort of baggage that you accumulate as you watch more and more anime. So things that are cliche now doesn’t seem that way back then precisely because you haven’t had enough experience to know what is convention and what isn’t.

Given this blog’s music-centric focus, this seems like an odd way to start until you factor in that a part of what makes soundtracks so special is that it relies partly upon the context of the series and the nostalgia factor associated with watching it to be enjoyable. And looking back to 2000, I find shows like Love Hina standing out prominently. While I wouldn’t classify it as an outstanding show now, back when I first watched it, I was convinced that it was speaking to me regarding my future plans. Just picture someone in their penultimate year of high school who would soon deal with the whole rigmarole of college admissions, and it’s not hard to see why I was able to empathize with the male protagonist of the anime. Its depiction of the stresses and pressure arising from the need to figure out one’s future is what made me fall in love with it. Honestly, there was a time in which I thought it couldn’t be topped [1].

Even though I now know better, the series manages to stay with me not only because of the memories it brings back, but also because it had some very good music. I remember being drawn into the soundtrack, especially the second disc where all of the orchestrated tracks lay. The opening track, “Love Hina ~ Theme of Hinata-sou,” completely blew me away as I found myself enveloped in the warmth of the inn’s setting through the strings which weave a wonderfully inviting melody. Other tracks like “Pursuit” are also very enjoyable. Even though they’re short, they still manage to bring forth the themes and “Pursuit” in particular does an excellent job in bringing forth that hurried pace which brings to mind one of the more comedic scenes in the anime series.

Love Hina ~ Theme of Hinata-sou
[Audio clip: view full post to listen]

Pursuit
[Audio clip: view full post to listen]
So while the symphonic pieces are excellent, the vocal works are worth mentioning because of how some of them grabbed at me, especially Horie Yui’s excellent vocal work on tracks like “Yakusoku,” which has that melancholy aura that brings out the longing feelings within the listener. The scene in which it’s played is really poignant and that, along with the music made it an unforgettable moment because of how my heart really went out to the characters.

Yakusoku
[Audio clip: view full post to listen]
So yes, Love Hina has its ups and downs, but on the whole I rather enjoyed watching that series and listening to its excellent score helps in keeping the memories of that show alive.

Inu Yasha, which came out later that year, would not be viewed as favorably. While, it had a strong opening with a good cast of characters and a potentially epic storyline, it effectively pulverized all the goodwill it had built up by drawing itself far too long. Thankfully, it did leave us with some memorable OP/ED sequences. My first contact with Do As Infinity came through “Fukai Mori,” which opens up with a beautiful guitar part to draw me into the song and keep me in rapt attention through the soothing vocal part. Although a lot of the other OP/EDs were pretty good, none of them hold up quite as well as “Fukai Mori.”

[[Visit blog to check out this spoiler]]

The BGM’s a different beast though and to be honest, the only theme that I can even remember nowadays is that warrior-esque theme that pervades the entire series. Other than that, I wasn’t too enthralled with and so, most of Inu Yasha’s music has been forgotten. Kaoru Wada’s work has gotten a bit better in recent years though, so stay tuned for that.

Inu Yasha Gensou
[Audio clip: view full post to listen]
Finally, we come to FLCL, which feels more like something that someone soaks in as an experiences rather than analyze for any coherent meaning [2]. But the music was pretty phenomenal though, using The Pillows’s rock sound to give this OVA an edgy feel (with a slight dash of Shinkichi Mitsumune). It must have worked because even though I’m still vague on what it’s really all about, I still can’t forget the impression the soundtrack made on me. I know a lot of folks will cite “Ride on Shooting Star” as one of the most memorable pieces, but I personally enjoyed “Little Busters” just a bit much more. Its the catchy melody that gives it that slight edge.

[[Visit blog to check out this spoiler]]

[[Visit blog to check out this spoiler]]

So yeah, that I covered only three anime series just goes to show how few shows I’ve seen that began in 2000. Yes, I’m aware that Boogiepop Phantom and Crest/Banner of the Stars are worthy contenders in terms of quality series and I really should get to them at some point. If someone tells me that the former has a pretty good soundtrack though, I’d place it on a higher priority because Kajiura released an arrange album titled Boogiepop: Music Inspired by Boogiepop and Others and that’s definitely worth looking into at the bare minimum.

Footnotes:
[1] Not only does this reflect my general naivete, it does reinforce the point I made earlier that yes, there is often an embarrassing element when you’re reminiscing
[2] I still don’t understand this OVA to this very day, and believe me, I’ve tried.

Over the next few weeks, save for maybe a few short reviews scattered here or there, I’ll be taking a break from individual soundtracks to look back on this past decade from the anime music enthusiast’s standpoint. This sort of reflection is appropriate; after all, it was around 2000 that I became interested in the medium and from there, the interest grew until it’s become the monstrosity that it is now. It all started with the Record of the Lodoss War OVA, expanded with shows like Cowboy Bebop and the Kenshin Tsuiokuhen OVA, and from there, the rest is history. Along the way, I also seem to have picked up a huge obsession for anime music, a habit which has given me a lot of new music to listen to but has also seemingly stunted my musical growth in other genres. Oh well, we all have our vices, right?

Each decade post will focus on one year and will include my thoughts on the music from the shows that were released in that particular year, both the intro/outro themes and the actual soundtracks themselves. Seeing how the soundtrack march will continue onwards, I don’t know if I’ll ever get around to reviewing the great soundtracks of the past, so I figure that now’s a good time as any to ramble on and give those albums their due.

Other writers out there have beaten me to the anime music decades list punch and you can find those below. Do give them a read and enjoy their thoughts on what albums or OP/EDs are worth checking out for those new to the fold or which ones are worth reminiscing over if you’ve been at this hobby for quite some time.

Good Reads:

j1m0ne has already tossed down her list of 15 anisong/seiyuu albums that have come out during the last decade. I was delighted to see a few on there that I recognized like Haruka Shimotsuki’s Tindharia no Tane. Others I need to check out, like Nana Mizuki’s ALIVE & KICKING and Yui Makino’s Tenkyu no Ongaku.

Liz Ohanesian over on the LA Weekly’s West Coast Sound blog Synthful has also published her own list of 10 OP/ED themes of this decade. Narrowing such a big list down to 10 is no mean feat, and all of the OP/EDs featured are those that I can say I approve of.

If you made a post with a similar focus and I missed you, do let me know!