Review: Sphere’s work during the past year has grown on me and each subsequent single has become more enjoyable than the last as the group has delivered some memorable, diverse experiences. Asobi ni Iku yo!’s “Now Loading… Sky!,” gives a carefree feeling that nails the mood you’d expect from a harem of catgirls wanting to have fun. In contrast, Otome Youkai Zakuro “MOON SIGNAL,” through the steady rhythm, brings to mind the intensity of a group of fox girls doing battle against spirits with the help of the military. It certainly helps that the strength of Ayahi Takagaki’s, Haruka Tomatsu’s and Minako Kotobuki’s performances have continued to improve, making me anticipate Hazy’s offerings all the more.

“Hazy” catches your attention right away and for Sphere’s fans, it feels gentler and more nostalgic compared to their previous singles. The song develops through the guitars and bass to bring about heartwarming feelings which grow ever more strongly. Each singer’s part adds to this overall mood; Ayahi’s lush delivery and Aki’s higher-pitched vocals capture that memory long past. The song continues this flow, allowing Haruka Tomatsu and Minako Kotobuki to shower it with more warmth through the transition to the chorus, which evokes the sort of wistful happiness borne through friendship through a blending of the melancholy feelings that lie in the past and the cheerfulness and optimism at what the future holds.

The B-side, “Neo Eden” fires a rhythmic burst in the introduction, and suggests that what will come after will be far more brash and wild than what just transpired in “Hazy.” And these expectations are right on the mark; as the song proceeds, we are treated to an aural display that combines electronica, guitar and bass to bring forth a dance/J-pop song filled with a raucous sort of energy. The excitement streams forth even more wildly during the chorus, which captures that feeling of boundless euphoria through a lively delivery that never really lets up, as the girls succeed in imparting their joy unto the audience.

While “MOON SIGNAL” is still one of Sphere’s most memorable works, Hazy is a great addition to their discography. Through this single, they have demonstrated their ability to adapt their singing to capture whatever mood the song requires while maintaining a high level of appeal. Their efforts show that not all seiyuu-singing attempts are doomed as they’ve maintained a solid degree of consistency that’ll have me checking out their subsequent releases.

Rating: Very Good

Hanasaku Iroha ED 1 – Hazy

Review: The weight of the drama and the emotions that run through each episode of Ano Hana is already fairly substantial as the anime hits upon the memories of the past which lay entrenched in the characters’ minds. But what allows these sentiments to persist beyond their usual lifeline lies in the seamless transition from the episode’s contents to the ending theme, which features Ai Kayano’s, Haruka Tomatsu’s, and Hayami Saori’s sonorous rendition of “Secret Base ~Kimi ga Kureta mono~.” Though this wouldn’t be the first time “Secret Base ~Kimi ga Kureta mono~” is used as an anime’s ending theme, its implementation in Ano Hana is very nearly flawless.

Much of the credit for what makes this song shine goes to the three seiyuu whose voices each contribute their own flavor, whether they sing individually or together. Ai Kayano’s is soft and cute. Though she is initially tentative in her approach, her intonation expresses the extent to which she yearns for that bygone era. Haruka Tomatsu, with her fuller voice, builds the song’s foundation by kneading this desire further as she reminisces. The tempo at which she proceeds is fitting, mimicking the slow pace one takes while walking down memory lane. Hayami Saori picks up where Tomatsu leaves off and of the three, hers is packed with the most sorrow as she indicates through her intonation that, as much as she cherishes that memory, there’s no going back; life must go on. Ai Kayano’s sighs later on in the song reinforce this feeling of resignation, and as each of the singers take their turn to shine their light upon a fragment of their memories, the song builds up to that heartrending chorus.

The chorus melds the seiyuu’s voices wonderfully. Their plaintive delivery, heavy with heartache, reflects the extent to which they cling to those cherished memories, so much so that it prevents them from moving on. I really love how the nostalgia they convey bubbles forth so effortlessly, enveloping me in its warmth along with the singers’ side serving of mournfulness that sublimely conveys their regrets. Through it, the melancholy buds bloom in a brilliant display, thereby tying the song’s sentiments to that of the anime’s.

Since ZONE came out with “Secret Base ~Kimi ga Kureta mono~” back in 2001, the song has been covered numerous times. Scandal released their take on it in November 2010 and, as I alluded to it in the intro paragraph, the seiyuu from Today, in Class 5-2 sang that song for the show’s ending theme. Of those covers, only Ano Hana’s version is able to match the original’s emotional expressiveness pound for pound. While Scandal’s version falls short through their bold, husky delivery (an inappropriate interpretation if there ever was one) and Today, in Class 5-2′s skimps on the emotional impact because of how quickly it proceeds, Ano Hana’s version does what all good EDs do: it ladens us with each episode’s sentiments, allowing the emotions to linger on, long after the episode has ended.

Rating: Excellent

Ano Hana ED – secret base ~The Gift You Gave To Me~ (10 years after Ver.)

Review: It seems that good singing talent is getting rather young these day. While some seiyuu’s singing can be good or bad depending on the songs they sing and the degree of talent, others can take it to another level when they group together. Pl@net sphere (or just sphere) is a good example of a group that performs good and enjoyable songs, but nothing too memorable until their second year. Their recent single, “Now Loading… SKY!!,” released during the summer of this year is probably the first of theirs that struck me as being memorable. The song was catchy, cheerful, enjoyable and most importantly, it sounded great. Then came “MOON SIGNAL” and it simply blew away my expectations about the group.

“MOON SIGNAL” starts off with a resonating of notes that feel like petals falling off a cherry blossom tree. Shortly after, a powerful synth, along with the keyboard, takes over with the girls entering in. The girls’ performance in the song is full of energy and it feels cheerful. Even though there were some minor rough edges from Toyosaki Aki (such as 00:28 when she sings her phrases), it is not too apparent that there’s an adverse effect.

Given the show that it opens, most people may wonder what “MOON SIGNAL” has to do with a military and a bunch of fox girls? If you look closer, the song forges a connection between the fox girls and a group of soldiers. From the lyrics, the song emphasizes the traditions borne from the partnership and growing friendship between the girls and the military. They have to get along and work together in the changing environment and succeed at both. In addition, the animation flows well with the song, especially when Zakuro fights against the malevolent spirits while the other girls help her out.

The B-side, “Climax Whistle” is a more relaxed song compared to the last track. The song feels catchy and enjoyable, with a happy, easygoing tone that sounds like the girls are having fun. It might not be as exciting or energetic as “MOON SIGNAL,” but it is a decent listen all the same.

Overall, “MOON SIGNAL” is one of the better and memorable singles from sphere to date besides “Now Loading… SKY!!.” It is pretty rare to see good singing talent from seiyuu these days, especially in a group. What sphere has proven is that it is possible to combine diverse singing talents and eventually make something that is memorable. “MOON SIGNAL” is one of their best songs since it combines exciting instrumentals and energetic singing. Though far from a masterpiece, the quality that shines forth makes this album an easy recommendation.

Rating: Very Good

Otome Youkai Zakuro OP – MOON SIGNAL

Tracklist

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Review: The acoustic guitar comes in softly, playing a Spanish-styled melody that brings to mind the longing people have for a once-glorious past that now lies in ruins. It’s a painful scene to look upon, as people struggle to survive in a world where the geopolitical situation constantly teeters on the brink of war. “Une Lumiere Envoutante” opens up Sora no Woto’s soundtrack on a decidedly melancholy note through its dirge-like melody, and we feel that overwhelming sense of sadness envelope us. There is a glimmer of hope, yes, but its tone reinforces the feeling that the characters must stubbornly cling to their ideals and fight to achieve the happy, peaceful end they seek.

Une Lumiere Envoutante

[Audio clip: view full post to listen]
Through these mournful tones, the opening track conveys the breadth of Sora no Woto’s setting and its overarching plotline. It etches into our minds the images of the blasted landscape, wrecked by some phenomenon that the creators never reveal, but that we could guess at. That the music is capable of doing all this is a testament to Michiru Ooshima’s skill in the composer’s chair. Listening to this album brings back fond memories of her work for Fullmetal Alchemist, a series that was just as despondent, which required that she be able to convey the depths of sorrow and despair like she does here. Those of you who have seen Sore no Woto know that there are lighter moments to be had and those moments are present in the soundtrack. However, the melancholy tracks stand out quite a bit, serving as a reminder of how tattered the world has become.

“Servante du Feu” drives that point home adeptly through its tragic tone which tugs upon one’s heartstrings. In listening to this track, one cannot shake off the mournful feelings that emanate from this ode dedicated to those who willingly made the sacrifice in defense of the town. By conveying the extent of life’s ephemerality through the vocals and allowing us to feel the town’s grief, the way “Servante du Feu” draws out the emotion from the listener is similar to Fullmetal Alchemist’s “Brothers,” and its flawless execution makes it one of Ooshima’s best songs to date.

Servante du Feu

[Audio clip: view full post to listen]
Yet, the wellspring of hope is always there and nowhere does it manifest more inspiringly than in “Amazing Grace.” I’m especially mesmerized by this piece, from the trumpet solo that feels like a clarion call for peace, to the solidarity that builds up as the strings and the rest of the orchestra join in to lend their voices to the cause. Just listening to it is soul-stirring; you can feel the hate dissipate away as your spirits are refreshed and lightened as the trumpet and strings summon that sense of profound of joy which bursts forth, leaving you to gaze on in wonder as the world’s prospects brighten considerably.

Amazing Grace

[Audio clip: view full post to listen]
Furthermore, the many bright, energetic tracks scattered in this album work well along with “Amazing Grace” to show that even in these troubled times, people can still muster their energy and optimism towards building that better future. “Ciel Bleu” uses the strings beautifully to capture Kanata’s enthusiasm and energy. The enjoyable mood it depicts is absolutely infectious; I find myself being drawn in the way it playfully captures the main character’s gusto for seeking new experiences as she immerses herself into her new surroundings. “Un Bol d’Air” is equally enthralling. Initially starting out with a militaristic fanfare that you might hear at the start of a parade, this track makes way for a jaunty, whimsical melody that conveys the city’s festive mood. The strings fill this piece with life and the energy it radiates leaves you feeling elated as the melancholy tracks that came before seem like nothing more than a distant dream.

Ciel Bleu

[Audio clip: view full post to listen]

Un Bol d’Air

[Audio clip: view full post to listen]
Through this mixture of the mellow and the melancholy, the despondent and the delightful, Michiru Ooshima once again demonstrates her mettle in Sora no Woto’s soundtrack. The mournful tracks pack a considerable punch like her compositions for Fullmetal Alchemist while her lighter, bouncier fare evokes the playfulness of George Gershwin’s music (thanks to Nick for pointing this out), but it comes together really well, making this soundtrack a keeper as it kept me engaged from start to finish.

Rating: Excellent

Disc 1

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Disc 2

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Review: A snap judgement of G.A. Geijutsuka Art Design Class would be to label it a poor man’s Hidamari Sketch. Both focus upon the day to day lives of a group of girls in a special art program, both feature an OP sequence sung by the show’s seiyuu, and both make use of a soundtrack that is relaxing, employing light jazzy melodies to depict its scenes. In each of these instances, Hidamari Sketch comes out ahead, but the gap in the quality of the soundtracks is much smaller. This bodes well because those who liked Tomoki Kikuya’s compositions for Hidamari Sketch will feel perfectly at home with Jun Abe’s score for GA.

Before we actually descend into the nuts and bolts of the score itself, I’ll just briefly go through the first disc which contains the OP, ED, a few insert songs, a nonsensical ditty, a super sentai theme parody, and a soft piano version of the OP. The OP itself is enjoyable enough, but doesn’t really leave a lasting impression like Hidamari Sketch x365′s “Hatena de Wasshoi” simply because it doesn’t come with a catchy segment to draw me in. On the other hand, the piano version is pretty in the way it captures the light-hearted, gentle mood of the series, thereby preparing me for the actual score.

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As for the EDs, those are a mix batch. I do like the soft accordion in Haruka Tomatsu’s rendition even if the vocals feel off since I’m more familiar with her energetic pieces like “motto☆Hade ni ne!” Of the five, Kaori Nazuka’s mature-sounding version backed by the gentle, soothing swing melody is the most enjoyable and the result is what you’d get if marble decided to add a dab of jazz to their music. The others do not catch my fancy and of those, Yui Horie’s performance is the most obnoxious since it insists on injecting a heavy pop beat which ends up overshadowing her singing completely.

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While the vocal tracks vary in quality, it’s the score itself that wins me over. Up to this point, I haven’t heard enough of Jun Abe’s compositions to form an opinion, but I was enthralled with his offerings here. The main theme catches your attention through an upbeat, jazzy keyboard that makes way for a rhythm and light melody that draws forth the undercurrent of energy and enthusiasm from each scene as the characters move from one art genre to another. I loved the way the many instruments transitioned in and out of the melody, making it a perfect depiction of the characters’ creative, playful exploration into the world of art.

GA ~ art design class
[Audio clip: view full post to listen]

That it’s really catchy doesn’t hurt either and Abe takes advantage of this to arrange several variations, doing it in a way so that the theme never outlasts its welcome. For example, “Sakura Blossoms” offers a slow, wistful melody that conveys a wonderful spring morning through its light touches on the piano. “Sunset Smile” has the flute playing a slow air as its purpose is to bring the day to a close while retaining the optimism that tomorrow will give rise to new adventures and new discoveries. Every variation adds a different perspective, allowing the main theme to encompass all aspects of the girls’ lives.

Sakura Blossoms
[Audio clip: view full post to listen]

As we move away from the theme, we find that the soundtrack delivers on the other aspects of the show such as the character depictions. Kisaragi’s theme is sweet and mellow as it moves at that slow tempo to match her easygoing nature while Noda’s is more energetic. Though I’m not fond of that heavy accent that precedes each section in the latter, the way the piece jumps around captures Noda’s eccentricities and ADD tendencies perfectly. Like with the EDs, Kyouju’s theme is my favorite since it’s more dignified and even a bit mysterious. But probing deeper, one can hear a playful aura that shows how she’s able to have fun in her own way while exuding calmness in spite of her occasionally chaotic surroundings. As for the rest, Tomokane’s is more energetic, employing a funky style that nails her tomboyish attitude while Namiko’s normal personality is reflected through a piece that doesn’t stand out a whole lot. Ironically, it’s all too fitting because that is how she is presented in the show as well.

Kisaragi (forget me not blue)
[Audio clip: view full post to listen]

Kyoju (Silver Lining)
[Audio clip: view full post to listen]

Tomokane (Funky Strawberry)
[Audio clip: view full post to listen]

Jun Abe also incorporates other sounds and experiments around so as to cover the myriad situations that the girls find themselves in. “So Many Minds’” synth and sound effects create the feeling of vastness of space before introducing a fast, electronic melody that feels like an explosion of life coming forth from the void as various new life forms parade out. As far as experiments go, I enjoyed “Talkin’ Bass” because the dissonant notes come together to create a monologue replete with moans and groans amidst the murmuring from the background instrumentals. It’s off the beaten path musically, but the execution is cleverly done. Moreso than Natsume Yuujinchou’s soundtrack anyhow.

So Many Minds
[Audio clip: view full post to listen]

Talkin’ Bass
[Audio clip: view full post to listen]

Though the remainder of the album is diverse, GA’s focus on smooth jazz music and the way variations on the main theme help tie it all together makes this soundtrack an enjoyable listen. Compared to shows of the same genre that use a similar style of music (Sketchbook and Hidamari Sketch), GA’s is the weakest offering, but not by much. Its use of jazz still feels fresh, instilling within you the joy and energy that the characters experience in their daily lives and making this album a good recommendation if you’re looking for relaxing fare.

Rating: Very Good

Added Note: For those who don’t know, Kyoju is the one in the upper left corner eating paint. No, I don’t know what this means when I say I enjoy her character themes the best. Maybe I need to get myself psychoanalyzed. orz

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Review: On the surface, Hatsukoi Limited appears to be a mindless romantic comedy until it hits you at unexpected moments by revealing its depth which can be probed further. You may have to traverse some of the sillier parts to reach the brilliant moments, but if you’re patient, the series rewards you through its depiction of the emotional ups and downs and the awkwardness of first love.

The soundtrack captures the main thematic element of the series quite well, lending its soft touches to strengthen the overall emotional impact, be it a sense of panic borne from the presence of a love rival or the clumsiness of arranging a confession only to have it backfire. It blends in with its scenes well and I hardly noticed its presence when watching the series. After listening to the music, it became readily apparent why: unlike most anime soundtracks, Hatsukoi Limited doesn’t contain a theme that’s readily identifiable nor does it contain a really strong, standout melody to pick up on. So while this allows its composer, Nijine, to convey many of the same emotions through different tracks, it’s not that memorable of a listen.

It doesn’t meant the soundtrack is bad, especially if you enjoy pretty piano and violin pieces with a dash of the outlandish here and there. The music conveys the romantic mood well though. For example, the piano in “feel your heart” sets the tone of the soundtrack by taking things slowly as it depicts someone coming to terms with their romantic feelings for the very first time. The track itself brings out a pleasant atmosphere with that dab of euphoria that allows it to shines in its simplicity. As you go further, you’ll hit upon “first love impression,” which extends that atmosphere by adding a stringed section, creating a rich timbre and allowing that romantic aura to bubble up slowly and yearningly through the piano part. Its pacing is just right, and the way in which the instruments express the titular emotions makes this track my favorite.

feel your heart
[Audio clip: view full post to listen]

first love impression
[Audio clip: view full post to listen]
First love is anything but smooth sailing, and the soundtrack’s depiction of the romantic developments between Hatsukoi Limited’s characters accurately portrays the roller-coaster ride of emotions that they experience. One thing to keep in mind is that because this show is a comedy, the depressing tracks really aren’t that depressing. “Nayami no Genin wa…’s” slow-paced keyboard captures the despair and melancholia borne from a rejection, but not to the point that they’re disheartened by the setback so as to give up completely. And sure enough, you can hear the attempt at a restart through “Amanojaku na Kare to Kanojo.” The track features short piano segments that imitate the slow, deliberate steps of someone scheming to win the target’s heart. Unfortunately, the plan’s clumsy execution can be heard through the unwieldy tuba part and it’s a matter of time before the plan falls apart, resulting in the frenetic pacing of the synth melody in “Panic Web” as the hilarious aftermath unfolds before our very eyes.

Nayami no Genin wa…
[Audio clip: view full post to listen]

Panic Web
[Audio clip: view full post to listen]
The above tracks, while accurate in describing the turmoil and mayhem that the characters experience, just aren’t the types of pieces that get me excited. Then there is also one track, “Bonnou no Sasayaki,” that is just plain weird as it uses a percussive rhythm paired with a honking noise that sounds like a seal. Luckily, those tracks make up a minor part of the album; it’s slice of life tracks like “Soyokaze ni Notte” and “Narande Arukou’s” piano and guitar melody that are the mainstays. I didn’t find them especially memorable, but if that’s the kind of music you enjoy, you’ll be in good company for most of the way through.

Bonnou no Sasayaki
[Audio clip: view full post to listen]

Narande Arukou
[Audio clip: view full post to listen]
The soundtrack does end on a very optimistic note though “Anata ga Suki Dakara” and that’s one piece you’ll want to take note of. It depicts a realization of love especially well, especially in the strings during 0:15, 0:39, and again at 0:52 which emphasize the stirring of emotions quite well. You can’t help but feel the warmth creeping over you as the characters’ efforts pay off and they achieve the happiness that they have sought from the very beginning.

Anata ga Suki Dakara
[Audio clip: view full post to listen]
Hatsukoi Limited’s soundtrack isn’t going to be knocking anyone’s socks off, but the music is pleasant enough for you to be able to sit back and enjoy in a relaxed setting. But if you were looking for a more engaging experience that conveys the anxiety, but heartfelt moments of high school romances, then I’d look to Aoi Hana’s soundtrack, where its memorable musical themes result in a better listening experience overall.

Rating: Good

Review: It’s no understatement to declare that Fall 2008′s most hilarious moments were heavily concentrated in the tenth episode of Kannagi. As you may recall, Nagi, Jin, the rest of the art club, Tsugumi, and Zange try to strengthen their friendship bonds by spending time at a karaoke box. By this time, the series has already set up the romantic polygons and the viewer is expected to be familiar with each character’s personality traits for this episode’s humor to shine. As such, half of the fun comes from watching these characters’ personalities bounce off of one another and the other half comes from hearing the characters struggle through having to sing karaoke (Takako’s the exception here).

So after over 3 months of waiting, we’re finally treated to the compilation CD of the karaoke episode. Here, the quality of the music is a bit higher than what we got from the episode itself and oddly enough, I see that as negative since flaws like Tsugumi’s shy delivery and Zange’s oblivious off-tune belting are part of what makes the karaoke attempt feel genuine and charming. Add to that the fact that the humor isn’t quite as strong without the accompanying character interactions and you’ve got an album that is only worth listening to if you’re either looking to experience a cleaned up karaoke episode or if you want to be able to enjoy listening to Kannagi’s VA’s performances.

The album starts out with a fairly generic, but enjoyable J-pop song titled “Ichiban Boushi” that is performed by Tsugumi’s VA, Miyuki Sawashiro. As I hinted above, this performance is far more polished than the one in the episode because Sawashiro’s delivery is devoid of Tsugumi’s shyness and mistakes that made the performance endearing in the first place. The same can be said for Jin’s song, “Amore Seishun” in that while it is unrefined and does go off tune a few times, his VA’s rendition on this CD is far too confident. I would have liked to hear all of the mistakes, including Jin stumbling a few times and shyly lowering his volume when the attendant comes in, to capture the genuine karaoke experience and his low-key personality.

Ichiban Boushi:
[Audio clip: view full post to listen]

If you recall watching that episode, Daitetsu, voiced by Takanori Hoshino, completely blows “I Believe You Forever” out of the water. Part of what makes his performance so compelling is in the way Hoshino’s voice comes out. The timbre is extremely warm, which makes for a good match with the song’s subject because his delivery is so comforting and confident. That Hoshino can switch tones from a friendly, oafish character to a wonderful pop singer was unexpected and I’d love to hear more of his work if they exist.

I Believe You Forever:
[Audio clip: view full post to listen]

After that, we come to Akiba’s song, and there’s really not much to say here other than the fact that he goes into full otaku mode by singing with a lot of passion, but not much else. Likewise, Zange’s performance on “Delicate ni Love・Me・Please” is fairly mundane once you remove all of her flourishes and mistakes as well as her personality because this song lacks her forceful attitude in trying to get Jin to come over to her side.

The character-based humor comes in through Nagi’s and Takako’s performances. Nagi’s 30-second ditty, “Hello Daizu no Uta,” is hilarious because the way Haruka Tomatsu sings feels like she’s having fun with the song in spite of its campiness. The segments where she stresses the “Mame kue, mame!” and “Souzetsu na…iroke” in a melodramatic fashion highlights the humor and absurdity of the whole karaoke experience rather well. Takako’s song is one that will make you laugh uncontrollably or give you nightmares depending on your initial reaction to her performance since her antics were absolutely unforgettable. “Jun♥Ai (Pure Love) Generation” parodies the generic magical girl anime themes with its sugary sweet melody and lyrics, but to reap the full benefit of this track, you need to remember that Takako is a high school senior and she doesn’t hold back in complementing that song with cutesy facial expressions and exaggerated poses all of it done disturbingly well. Those moves are fitting for a magical girl in say… elementary school, but to see them performed by a high school senior leads to a sort of horror where one has no choice but to laugh at the absurdity. Needless to say, I loved it!

Hello Daizu no Uta:
[Audio clip: view full post to listen]

Jun♥Ai (Pure Love) Generation:
[Audio clip: view full post to listen]

After going through all of the characters, we finally reach the famed “Shirigeya no Theme” which is funny on its own because it provides a humorous take on the Japanese company structure which does everything from getting its employees to partake in morning exercises to teaching them a rousing company anthem to instill them with company spirit. It’s a strange concept for this Western viewer, which adds to the novelty factor since the the Shirige Tai are pretty enthusiastic about their supermarket chain to the point that it tickles my funny bone. The way the chorus section effusively sings the chorus part of the song combined with the marching band background music makes this song an uplifting, if hilarious way, to finish out the album.

Shirigeya no Theme:
[Audio clip: view full post to listen]

At the end of the day, this album isn’t really about listening to quality music as much as it’s about the levity borne from listening to the characters suffer through having to karaoke and picturing in your mind how the characters look while singing. As I mentioned, though the tracks are more polished than the raw karaoke version, the singing isn’t exactly stellar, but then again, issuing a high quality album of a karaoke episode isn’t the point here. So as you listen to this album, it’s obvious that this album caters to fans of the show. Still, those who enjoyed the episode’s silliness are better off just watching it because the music alone doesn’t carry the same comedic weight without the character interactions. Getting this album is an entirely optional affair though since the TV episode will give you a much more enjoyable experience overall.

Rating: So-so

Review: Sometimes, it’s difficult to separate the music from the animation because there are always instances in which the animation enhances the listening experience, making an otherwise generic track come off as being enjoyable. I’d argue that this is what happens in Kannagi’s OP’s case. “Motto☆Hade ni ne!” doesn’t have the musical qualities that is required to stand out and get me to take notice, but by playing it in conjunction with a vibrantly animated dancing sequence (the fad these days amongst Japanese studios it seems), the song becomes very enjoyable. Granted, the fantastic animation doesn’t mean that the music’s flaws will magically go away, but it does serve to make the song far more bearable than it had been before.

Labeling “motto☆Hade ni ne!” as “generic” is probably not wrong, but it doesn’t mean that it’s relegated to the crap pile because this song is fairly enjoyable. There’s just something about Haruka Tomatsu’s voice that manages to convey the song’s energy and sense of fun. From the start, you get have an energetic, upbeat melody that shifts over to a gentler melody around the 3-minute mark that feels somewhat airy before going back to the main theme. It’s certainly not a complex structure, but it’s enjoyable all the same. The little things, like Haruka Tomatsu’s emphasis and tone in certain sections, work rather well, especially because it brings Nagi to life. While there’s no doubt that this song is a bit better than your plain vanilla J-pop song, it’s hard to suppress a smile if you keep the animated sequence in mind as well as Nagi’s hilarious personality while listening to this song.

“Shiawase Sagashi” also falls under the “generic” category, albeit when compared to more laid-back J-pop melodies. This song is particularly hard to evaluate simply because there isn’t much to go on. The melody goes from being whimsical at times to taking a tone that feels free, as though Haruka Tomatsu was celebrating life, all while retaining an upbeat mood. The problem comes from its lack of ambition because it doesn’t do anything to stand apart from some of the better J-pop songs out there. However, it does succeed at not being boring and with that in mind, I suppose I can’t complain too much.

The sparse amount of criticisms that can be leveled at either track is rather telling simply because none of these songs do anything to spark a dialog. Both tracks stick to tried and true formulas that are neither inspiring or ambitious, but thankfully, they are also neither boring nor insipid. While the lack of creativity is usually enough for me to pan an album, I find it difficult to do so in this instance because both tracks manage to provide a pleasant experience. The animated sequence as well as Nagi’s personality come to mind while I’m listening to both songs and though they should not be a factor when it comes to judging the musicality of the songs, I just can’t help it because having that sort of knowledge makes the songs more enjoyable. So keep that in mind as you listen to the songs; they might not be great, but they sure are fun to listen to.

Rating: Decent

Opening – motto☆Hade ni ne!