English language theme songs are rare in anime, but it recently occurred to me that some of them rank among the best I’ve heard used in the medium. If there’s a tendency in the use of songs sung by native English speakers, especially those that appear on this list, it’s that they’re more somber and subdued, and appear in more serious anime. Whether this is a coincidence, or there’s a train of logic underlying this, I’m not sure, but there’s an admirable quality to the songs in this list, a level of sophistication well above the average anime tune. All of them are, in my opinion, underloved, and the type of which I’d have no complaint about hearing in anime more often. (Image found on oreno.imouto.org. Link mildly NSFW.)

English by birth, but French by ethnicity, Jean-Jacques Burnel wrote “We Were Lovers” as a song that tells a story, a song made specifically for the anime it opens, Gankutsuou. It pours the feelings of love, revenge and regret that make up the anime’s story into the open, leaving nothing concealed. Each time it threatens to build to something intense, it quickly dissipates into a trickle of tender romantic sentiments and a deluded sense of optimism with the lyrics “nothing can go wrong”.

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It’s a pity Scottish indie group The Delgados broke up, and after hearing Gunslinger Girl‘s OP song “The Light Before We Land”, you’ll probably agree. The song undergoes two very eclectic transitions right at the beginning, starting as an angelic hymn then exploding into a melody carried by violins and a heavily distorted bass before finally settling on an acoustic guitar riff with an off-kilter beat. Lead vocalist Emma Pollock’s singing is dreamlike and relaxing, but the lyrics are troubled at times, but also emphasize a sense of purpose.

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Ally Kerr, also Scottish, is known in anime circles for the determined song that blessed the brilliant Mushishi, “The Sore Feet Song”. Mushishi is an anime about a journey, so it’s fitting that this is also true of its OP. Ally Kerr’s wondering love-struck pariah who “stole ten thousand pounds, ten thousand pounds to see you” and “robbed convenient stores ‘cos I thought they’d make it easier” is a far cry from Mushishi‘s noble, but analytical Ginko, but the subdued tone of the song is the perfect opener for the sentimental and tender drama that appears in all of Mushishi‘s stories.

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English artist David Sylvian’s “For The Love Of Life” is an incredibly haunting song, which evolves into something disturbing and ironic when it complements Monster’s ED sequence and its images of a terrible creature who devours a kingdom. In many ways “For The Love Of Life” is a song about acceptance of one’s place in life, but it’s simultaneously anti-complacent, challenging its listeners with lines like “we could lose it all but we’ll go down fighting… And what of the children? Surely they can’t be blamed for our mistakes.” It’s a slow song, but it never meanders… every note and every lyric has a staid intensity.

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London is home of some of the best music makers in the world, and that’s true even when it comes to anime, with its residents, Boa, responsible for what I consider one of anime’s all-time best theme songs, Serial Experiments Lain’s OP song, “Duvet”. A much more sprightly song than the others on this list, Boa’s lead vocalist Jasmine Rodgers sings with an almost Celtic inflection. The song’s verses vindictively point outwards, but the choruses become noticeably introverted with lines like “I am hurting, I have lost it all, I am losing, help me to breathe”. At every moment, Rodger’s emotions permeate the right mood. Everything is carried by a delightfully melodic baseline, especially the uplifting guitar instrumental through the middle of the song.

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I don’t want to write too much about The Seatbelts’ triumphant song, “Blue” because I feel like every word I write could unwittingly demean it. What’s the right word to describe it? Sublime? Iconic? It is instantly evocative of and just as heavy as the unforgettable scene in Cowboy Bebop that it connects to. It’s a masterpiece song fitting of the masterpiece anime that it closes. The Seatbelts are a vastly different band from the others mentioned in this list. Lead by one of anime’s most accomplished musicians, Kanno Yoko, The Seatbelts was a vast composition of Japanese, New Yorker and Parisian jazz and blues musicians, including Yamane Mai, who, with her strong singing voice, provides the vocals for “Blue”.

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These songs are all amazing in their own way, and often accompany anime that tend to be more serious, more mature. The commonality between them kinda suggests that something underlies this trend. What that “something” is, I’ve got no idea, but I’m interested in hearing theories. There are plenty of other impressive English lyric songs that are most notable for their appearance in anime, and if you have some favourites I haven’t listed here, I’d like to know about them. If there’s one trait these songs share, it’s that they don’t get the love they deserve.

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
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bucolica
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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
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Brothers
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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
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Chivalry Spirits
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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:

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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.)

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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.

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Review: If you’ve ever experienced a fantastic soundtrack, you’ll understand the magical experience it can bring you. Whether you’re travelling down the bustling aisles of Neo Verona with Romeo x Juliet’s OST, adventuring through parallel worlds in Tsubasa Chronicle’s future soundscapes, waltzing to Ouran High School Host Club’s extravagance or wandering unknown labyrinths with Vampire Knight OST, the power of a good soundtrack is not to be doubted. Gunslinger Girl proves to be such a soundtrack, letting you experience all of Italy’s historical richness and everlasting beauty, but contrasting it with the bitter circumstances of the story’s heroines.

In a nutshell, Gunslinger Girl’s story revolves around these girls who have been rescued but are turned into cyborgs who do the government’s dirty work. Besides being gun-wielding girls trained for combat, they are also just normal girls trying to learn more about themselves and their relationships with others. Being a complex anime which allows viewers to question ethical matters, Gunslinger Girl can mean different things to each person. It can be a story about love, innocence, strength or optimism and the soundtrack delicately expresses all these interpretations within its tracks.

The main themes of the anime are presented in the form of TEMAs, with “TEMA I” to “TEMA VI,” scattered throughout the whole soundtrack. Each TEMA clearly depicts a different aspect of the anime. For example, “TEMA II” is nostalgic while “TEMA IV” is more tense, bringing across a sense of danger. Together, the TEMAs are like the threads woven into the anime, playing an integral role in expressing the characters and their circumstances.

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

The soundtrack also effectively displays all the faces of Italy portrayed in the anime, from the light “costruzione,” depicting the daily activities of people on the streets, to “Ti Amo”, depicting the beautiful and romantic country of Italy, to “rabbia,” depicting the dark underworld. A number of tracks are also vivid description of the girls’ lives, from the hints of uncertainty in “ansia,” the tragedy of being forced to kill against one’s nature in “tritezza,” and the simple joys of everyday life in “gioia.”

Ti Amo
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Gioia
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Gunslinger Girl does not fall strictly under the action category, since most of its violence is only meant to impress upon viewers the lives these girls lead. As such, action themes in the soundtrack are also carried out in a very elegant manner, such as through tracks like “movimento” and “velocita’” by evoking foreboding feelings within listeners.

Velocita’
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In short, the soundtrack is mostly slow and relaxing. Nearly all the tracks are expertly executed and very elegant in terms of music and delivery. Nothing will stick out too much. Though the overall mood is melancholic, there are definitely optimistic tracks to lighten things up.

There are a few weak points in this soundtrack, however. The biggest problem is that because of how subtle most tracks are, they are not memorable. After some time, the only tracks one can recall clearly are the TEMAs, because those are the ones which tend to be longer and include a wider range of instrumentals, leaving a greater overall impact. The theme also gets quite repetitive, making it hard to identify specific tracks. Though almost all the tracks work well within the context of the anime, a few are not compelling or can even sound unpleasant without the context, such as “simpatia” and “adulti.”

Adulti
[Audio clip: view full post to listen]

Even so, this soundtrack is definitely worth listening to, even if one hasn’t watched the anime. The sheer beauty of it will definitely draw listeners in, and the few disappointing tracks here and there are a very small fraction among the total number of 39 tracks. To those who’ve watched and understood the implications of the anime, this soundtrack will make you remember how the show impacted you emotionally and cause you to once again question the ethics of saving these girls who are on their deathbed by turning them into instruments of manslaughter.

Rating: Very Good

The inaugural week for the MAL Anime Piece of the Week Club went pretty smoothly and I have to say, the selections were really solid all in all. The feedback also indicated that people enjoyed this immensely and needless to say, I look forwards to being able to listen to what people have to nominate for weeks to come.

Anyhow for those who have yet to take a peek, this week’s theme focused on action tracks, and not surprisingly, people selected heart-pounding tracks that conveyed the intensity of battle. So with that, let’s take a look at this week’s selections. Most of the participants have already made their comments in the respective voting thread and lelangir’s given his input on his blog so feel free to take a look as to what they have to say. As for what I have to say, find out after the jump.

G Gundam – King of Hearts:
[Audio clip: view full post to listen]
The introduction sets the stage for the duel and I’m definitely impressed with the way the violins gave off that classic, old-school mecha vibe that conveys that small undercurrent of tension throughout the piece’s duration. But what really got me to perk up was the addition of the saxophone because of how it painted the image of two awesome characters going at it as they put all their skills up against one another in a very elegant display. Lelangir noted that the impact of this piece is probably greater with the context of the scene in mind, but for me, it stands well on its own and is definitely worth a listen.

Turn A Gundam – Final shore ~ Oo, Sairin Ariyato:
[Audio clip: view full post to listen]
The opening choral part grabs at you rather quickly and quickly shifts a chant that, combined with the heavy percussion, gives off that rush of intensity before things begin to calm before doing another repetition of that first section. Just based on the first two minutes of this track, Smankh’s comparisons to this track and “O Fortuna” from Orff’s Carmina Burana are definitely apt because of the sheer intensity that it carries. The shift around the 2 minute mark eases off just a bit on the bombast, though the tension still remains through that chorus part that slowly adds on the layers gradually until it culminates in the crescendo around 2:53 that engulfs the listener with its sheer beauty. Afterward “Final Shore” begins winding down slowly as though to signal this conflict’s end, at least until the next encounter begins. Either way, this piece is probably my favorite track out of the ones nominated this week.

Gunslinger Girl – TEMA IV:
[Audio clip: view full post to listen]
Short and sweet, and sometimes, that’s all you really need. The frantic violin part in the beginning and the choral section combine together really well to create the image of a chase scene along with the sense of urgency associated with trying to capture one’s quarry. But what really makes this track stand out, and humbug23 was quick to point this out, is the way it incorporates Gunslinger Girl’s more memorable melodies. Again, another solid track and one that’s aged really well. I only wish it were just a bit longer since the “ansia” theme is so poignant.

Appleseed EX MACHINA – SYNCHRONICITY:
[Audio clip: view full post to listen]
Tetsuya Takahashi seems to be doing a damned good job of trying to channel Harry Gregson-Williams, and most of the participants immediately made the comparison of this track to Gregson-Williams’s work on Metal Gear Solid. This track just exudes the concept of action, especially as it goes through different sections and all at a very hurried pace that gets your adrenaline flowing as it uses a variety of instruments ranging from orchestral to synth in some areas to the electric guitar in others. Overall, this track carries a grandiosity that leaves you feeling pretty pumped and because of that, I can overlook the fact that (as OneGreatTurtle noted) it might have been better off split into its component parts rather than be combined into one long track.

Soul Eater – harmoNIZE:
[Audio clip: view full post to listen]
This song really in your face with its heavy beat to bring about an adrenaline rush stemming from the rapid beat that makes your heart pump in overdrive, but at the end of the day, it’s a track that I can appreciate but not one that I’ll give repeat listens mostly because it’s not my kind of thing. The vocals are a big factor, mostly because I’m not all too fond of the way the singer delivers that fierce and overbearing flurry of anger and emotion (though you gotta admit, I’m sure that’s what he was aiming for and he does do a good job of channeling that rage). I made a comparison of his delivery to that of an artillery barrage, which makes the calm section all the more appropriate (calm before the storm) before the barrage of vocals returns. It’s a very intense track and does what it seeks out to do really well. It’s just not the kind of music I’d consider to be up my alley.

Kara no Kyoukai “Fukan Fuukei” – M12+13:
[Audio clip: view full post to listen]
Wow, that dissonance brings out a lot of that tension in the beginning and the piece certainly delivers on the chaotic aspects that one encounters during a combat scene. Smankh effectively describes the piece as follows:

Action : going from a thrilling and dangerous moment to a scene where the lead character has already retaken her composure and the lead in the fight. This piece expresses very well how she goes from defense to offense. A crescendo makes the transition between the thrilling music and the main theme and it’s accompanied by a chorus that gives a feeling of growing power in this particular scene. The end though is a little abrupt: the fight’s over in one move. Yuki Kajiura introduces here one of the main themes of Kara no Kyoukai with a subtle transition which emphasizes Shiki’s power and self-confidence. Not the best track in the various KnK OSTs but a wonderful action-packed piece of music.

I pretty much concur with this and the only thing I can say is that despite the fact that a lot of Kajiura action tracks are like this one, somehow, they never gets old. It does a really good job of bringing out Shiki’s confidence, making this a really beautiful, hauntingly elegant track.

Mobile Suit Gundam SEED Destiny – Kantai Shiki:
[Audio clip: view full post to listen]
Lelangir’s already got this track pegged down as being a waste of potential since it doesn’t build up to anything special. It’s certainly got Sahashi’s signature style written all over it and while the violins do set the mood rather nicely, it’s just a bit too repetitive for my tastes. At least the pacing was pretty solid all in all at delivering the tension and I did like the crescendo that comes in around 1:42.

So my votes are as follows:
(+3) Turn-A Gundam – Final shore
(+2) Appleseed EX MACHINA – SYNCHRONICITY
(+1) Kara no Kyoukai “Fukan Fuukei” – M12+13

For those of you with MAL accounts and want to participate in the voting process, feel free to visit this thread and put in your two cents after reading the voting guidelines on the front page and listening to the tracks themselves.

In any case, I’d like to thank the following people for their contributions in making this first week as awesome as it was: lelangir, OneGreatTurtle, jukebone, Omisyth, Smankh, and humbug23.

As promised, this post will contain a short blurb of all the music posted for Set #1 of the BGM Music Quiz. Although the track identification count is at two, I still hope that you all derived some enjoyment out of the music since that’s the secondary motive for writing that post in the first place (the primary motive is to cover for a lack of reviews). Since you’re probably dying to know which track comes from which series, the answers are as follows (along with the full version of the track in question):

Track 1
[Audio clip: view full post to listen]
Anime series: Gunslinger Girl
Track title: TEMA I
A friend of mine complained about this track appearing far too much in the series, but I’m not really sure that it’s a reason to dislike this track. In fact, as I mentioned in the comments section of the previous post, Gunslinger Girl is pretty high on my list of favorite soundtracks, maybe second or third on my all-time list. Toshihiko Sahashi’s compositions do an excellent job of conveying the European setting and the soundtrack packs a lot of variety from the mournful to the upbeat. “TEMA I,” in particular, has this melancholy violin melody that invites the listener to take a step back and see these girls’ situation for what it is. Beneath their veneer of contentment lies a rather tragic past and this piece is a solid reminder of that, which makes it perfect for its role as the main theme of the series.

Track 2
[Audio clip: view full post to listen]
Anime series: ARIA the Animation
Track title: Natsu Tayori
It’s really hard for me to not go into fanboy mode as far as ARIA goes. Not only was that franchise a delightfully amazing watch, none of the soundtracks disappointed me even though I was pretty sure that by Origination, they’d have few original tracks to sprinkle around. “Natsu Tayori” jumps out at me by bringing out Neo-Venezia’s laid-back and upbeat atmosphere that comes from a combination of the whistling and the choro-styled melody (that’s why they call themselves the Choro Club I suppose) that makes this piece so relaxing and enjoyable. Along with pieces like “Aqua,” “Mangetsu no Dolche,” and “Mizu no Kagami,” the soundtrack to ARIA the Animation stands out as a wonderful work that’s unlikely to be matched for its grace and elegance as well as its optimistic outlook on life, a feeling that resonates strongly with the series itself.

Track 3
[Audio clip: view full post to listen]
Anime series: Oh! Edo Rocket
Track title: Rocket
Per nkcl‘s request, this answer is revealed! Though I have not seen Oh! Edo Rocket myself, a hat tip goes out to SeijiSensei from AnimeSuki for introducing me to this excellent soundtrack. Much of the music on this soundtrack is big band jazz, which will undoubtedly please anyone who loves that particular genre since it’s one that I’ve found to be sorely lacking in the world of anime soundtracks. Needless to say, I was completely blown away by how enjoyable the melodies are and would heartily recommend this album to anyone needing their jazz fix.

As a slight aside, Oh! Edo Rocket focuses a lot on the individual, which is quite a step from most anime series that have a group-focused approach to the plot and characters. This makes the usage of jazz all the more appropriate since that genre tends to be more individualistic with all those solo bits and improvisation during the course of a jazz performance.

Track 4
[Audio clip: view full post to listen]
Anime series: Le Chevalier D’Eon
Track title: PSALMS
The guesses for this track being from Blood+ aren’t far off the mark as far as genre is concerned since there is plenty of action and supernatural creatures running about (especially zombies, lots of zombies). This track hails from Le Chevalier D’Eon and I remember that when I watched the first episode, something triggered my memory and my first thought was “Huh… the music has Michiru Ooshima’s style written all over it” and my subsequent research confirmed those suspicions. Of course, most people know her better as the composer for Full Metal Alchemist, and if you listen carefully, you can definitely hear some “Ooshima-isms” (if I may call it that) scattered throughout the Chevalier soundtrack, especially in the way she uses the cello (maybe it’s a bass?) and clarinet in “PSALMS.” So for those of you who enjoyed FMA’s music, I definitely recommend giving this one a listen since it’s practically more of the same stuff from her. Good stuff at that.

Track 5
[Audio clip: view full post to listen]
Anime series: Planetes
Track title: Outside Atmosphere
Finally, we come to the track that everyone is waiting for. As Nazarielle was able to deduce partway and as I hinted, there’s a strong connection between this piece and Code Geass on two counts. The first and obvious count is that both series share the same composer: Kotaro Nakagawa. The second and less obvious count is that both Planetes and Code Geass are directed by none other than Gorou Taniguchi. Unlike Code Geass, Planetes is universally acclaimed, without the over-the-top plot twists or anything complicated; the series is much closer to a slice-of-life series that can be described as “salarymen in space.” Though I haven’t seen all of it, what I have seen of Planetes has been enjoyable and I highly recommend giving that one a look.

Nazarielle’s observation of this track wasn’t far off the mark either and I can definitely see how this track gives off the feeling an observer has upon gazing at some ancient ruins resulting from some great conflict. This piece starts out with a violin motive that exudes a sense of tranquility while conveying a sense of isolation. That is, apart from the ruined structures, there is no trace of human activity present as far as the eye can see. As the observer continues to stay in the area, the chorus section comes in followed by the violin which has a warm and comforting timbre as though this piece was describing a beautiful sunrise that bathes the world in its warmth and shines its light upon the land. Naturally, the above description is fitting if you imagine this piece describing the vastness of space as the characters are in orbit and witness a beautiful sunrise. Like in most things, context is everything I guess.

And that’s it! Again, I hope you enjoyed this exercise and got some utility out of listening to the tracks.