|Album Title:||The Wind Rises Soundtrack|
|Anime Title:||The Wind Rises|
|Artist:||Joe Hisaishi, Yumi Arai|
|Release Date:||July 17, 2013|
|Purchase at:||CDJapan, iTunes|
Doujin games and anime aren’t so far apart that we can apply the statement that ne’er the twain shall meet because the two fanbases do overlap. However, they are far apart enough that you rarely see anyone combining music from games and anime into a fan-made arrangement. After all, much of the doujin music that comes out of Comiket are decidedly non-anime in nature. Ditto with Reitaisai for obvious reasons.
So when I come across a track that combines both, it’s always cause for rejoicing and kaztora’s “チルノの動く城” is one that fits the bill. As you listen to this, you may find yourself surprised to find two familiar themes milling about (moreso if you can’t figure out the translation for the track title!):
|Album Title:||NHK Special Drama “Saka no Ue no Kumo” Original Soundtrack 2|
|J-Drama Title:||Saka no Ue no Kumo AKA Clouds Over the Hill|
|Artist:||NHK Symphony Orchestra, Sarah Brightman, Joe Hisaishi,
Tokyo New City Orchestra, Maki Mori
|Release Date:||November 17, 2010|
|Purchase at:||CDJapan, Play-Asia|
Overview: When Joe Hisaishi’s name is mentioned, the first thing that may come to mind is his work with Studio Ghibli, and, more specifically, with Hayao Miyazaki. Hisaishi’s music has an immersive quality, one that draws the viewer into Ghibli’s gorgeous visuals and Miyazaki’s spellbinding stories, bringing the films to life. While his collaborations with Miyazaki make up the list of his better-known works, it unfortunately ignores a huge chunk of his anime compositions that much of today’s fandom may never encounter. We are, of course, referring to titles like Galactic Whirlwind Sasuraiger and Genesis Climber Mospeada (though they may be familiar to fans who got into anime during the 1980s).
The other dichotomy to consider when dealing with Hisaishi is his stylistic transition from synth, rock, and electronica to scoring anime using an orchestra. We will go a bit into that shift in the main article, but for the purpose of this synopsis, we can say that regardless of the medium in which he chooses to work, Hisaishi has done an excellent job, thereby forging a strong reputation that stretches across the past three decades. And there are still no signs of him slowing down!
In case you’re here to only listen to the soundclips and not read any of the text, below is the master list of all the pieces featured in this profile entry in order. It’ll save time if you don’t want to have to click through each and every track.