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Frankly, I did not have very high hopes for the Fantasy Comes Alive concert. I remember the disastrous experience of the Video Games Live performance where I heard more of fans cheering than proper music. A flip through the programme booklet revealed that it was not even a whole orchestra playing the pieces. As an orchestra freak, I was honestly very disappointed.

However, this was one of the times when I couldn’t be happier that I was wrong. With a repertoire from some of the most well-known games and anime (Final Fantasy, Neon Genesis Evangelion, My Neighbour Totoro and Fullmetal Alchemist, just to name a few), and a surprisingly excellent group of musicians from the local university, the performance was one that I will never forget.

The concert started with ‘Break the Sword of Justice’ from Tsubasa Chronicles, which was not all that well-articulated, but still had the impact that an opening piece should possess. As the concert moved on, the pieces just got better and better, from the upbeat ‘Granado Espada Medley’, to the deeply moving ‘Kyoudai’ from Fullmetal Alchemist before letting one’s imagination take flight with ‘Touch’ from Romeo x Juliet.

There were a few other slightly weaker pieces, such as ‘Hikari no Senritsu’ from Sora no Woto, which had its flute solo replaced with the electric guitar, to disastrous results, and ‘Vamo’alla Flamenco,’ where the acoustic guitar failed to stand out. However, other than these two pieces and a slightly lackluster ‘Break the Sword of Justice,’ the other pieces generally ranged from very good to extraordinary. The weaker tracks did little, if anything at all, to unseat the excellent performance as a whole.

The upper hand that live concerts have over recordings is that you actually see the music being weaved together. And for this particular one, showmanship was absolutely at its max. It also helps that the musicians are younger and as a result, more carefree in their expressiveness, which makes for a pleasant departure from the staid atmosphere of more professional performances.

The fact that the repertoire was a compilation from many different anime and games also lets one experience the different styles and moods of so many composers and separate works. One piece which really left an impression on me was ‘Cruel Angel Thesis’ from Neon Genesis Evangelion. Being a very fast paced rock-styled rendition of the original, it was excellently put forth by the musicians, delivering something which can only be described as phenomenal.

The occasion was also graced by composers Haketa Sakamoto and Hitoshi Sakimoto. Hitoshi Sakimoto was actually one of the selling points of the concert, as he has been among my favourite composers ever since I heard his works for Romeo x Juliet. Though it was definitely an experience to see the two of them in person, I do wish they can give us more details regarding their work, instead of just telling us how glad they are to be in Singapore and such.

Other minor complaints I have include things like the emcee not being familiar with how to pronounce Japanese names properly, some technical glitches and such. But these are flaws which can be ironed out with experience. And with the (near) full house audience it enjoyed, I think it is not unreasonable for me to believe that it may be held annually from now on.

In closing, I’d just like to say that Fantasy Comes Alive really does live up to its name. Though it’s currently a local production, one day if it ever goes out of Singapore, please go experience it. It’s well worth 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!
[See post to listen to audio]

Read or Die OVA OP »

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
[See post to listen to audio]
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.

Noir – Salva Nos »

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
[See post to listen to audio]
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.

Fruits Basket OP – For Fruits Basket »

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
[See post to listen to audio]

The Sixth Station
[See post to listen to audio]
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
[See post to listen to audio]
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.

Those of you who have visited the Eminence Website lately should be aware that the website for Eminence’s A Night in Fantasia concert is up and running. My fellow Eminence staff writers over at Original Sound Version have already declared in their post that this concert boasts one of the most impressive groups of video game music composers from both the East and the West. If you’ve checked out the program on the ANiF website, you’ll also notice that it’s heavily slanted towards video game music. So for all VGM aficiondos, it’s a given that music from games like Ace Combat V, Soul Calibur, and Chrono Cross are worth the price of admission alone and that Chiaking’s appearance to sing a song from IDOLM@STER is just the icing on a very delicious cake.

The question then is what this concert offers the anime fan. Well, the anime portion of the program, while not amazingly brilliant, is decent enough with quite a few good picks. I think the big surprise for me was seeing that the music from The Melancholy of Haruhi Suzumiya was going to be on the program and I’m going to guess based on the fact that because Shiro Hamaguchi is credited as the arranger, that we’ll be getting a piece from The String Concert of Haruhi Suzumiya. That’s not a major surprise since Hiroaki Yura, Eminence’s founder, also performed at the Haruhi concert in Japan. I’m also not too surprised to see Hisaishi’s compositions for Studio Ghibli’s films either since they have been performed in the past and the melodies themselves are well-known given that Miyazaki’s films are relatively mainstream (as mainstream as anime can get currently anyhow). So while they’re not getting a bigger cross-section of anime music out there, the series/movies from which they’ve picked have enjoyable music (moreso than your average anime soundtrack), so in that regard, it should make for a good concert. My only regret is that I’ll miss out on it since I don’t see myself traveling to Australia in the very near future.

The concert is scheduled for September 26 and if you’re planning to go and want to secure your tickets, just check the ANiF website.

Also, if anyone is going and is interested in writing a concert report for me, do let me know :p

Review: One of my earlier submissions to the Eminence website had been the soundtrack to Ponyo on the Cliff by the Sea only that back then, I had written it without having had the benefit of watching the movie. With the context of the film now in my mind, I can say that my opinion doesn’t really change all too much; Joe Hisaishi’s work does inspire wonder along with a healthy dose of charm to help bring the movie to life.

One of the tracks that I highlighted was “Shinkai Bokujyou,” which plays right in the beginning of the movie. As you listen to this excerpt, close your eyes and try to imagine that you’re in an underwater environment, enveloped by hundreds of jellyfish floating along gracefully in formation as the light reflects upon their near-transparent bodies. What results is a dazzling display that absolutely takes your breath away and it could not have been done without the music to back it up. This seamless composition of Hayao Miyazaki’s art and Hisaishi’s music is what makes this scene stunningly beautiful and by the time this scene concludes, you know you’ll be in for quite a treat.

Shinkai Bokujyou
[See post to listen to audio]

After the introduction subsides, our titular heroine escapes the confines of her underwater home by sneaking out without her father noticing and in doing so, starts her grand adventure as she ventures into the surface world that offers a great deal of sights and sounds that she has not yet experienced. “Ura no Machi’s” introduction (excerpted here) does an excellent job of conveying Ponyo’s eagerness to embark upon this journey filled with action and excitement. The tempo here also carries with it some degree of impatience and the subsequent scenes in which her father confronts her demonstrates just how much she wants to explore this new environment through the dialogue between the two.

Ura no Machi
[See post to listen to audio]

One of the more important themes is that of love and family and I think that feeling carries itself excellently in both “Risa no Ie” and “Haha no Ai.” The melody is warm and comforting which fits in with the image most people have of home. Of course, while home is a wonderful place to be, it’s also a testament to the amount of effort that Sousuke’s mother Risa puts in to make sure that the home is running along smoothly on top of ensuring that the senior citizens living at the town’s senior center are well-cared for. Although Risa can get a bit frustrated at her husband’s absence at times, she definitely shows that she has a good heart and no matter what happens, she has the strength to make the best of things to deliver a loving experience unto Sousuke. “Haha no Ai’s” uplifting chorus part illustrates that latter point well and the warmth that it exhibits makes one feel welcome in her arms.

Risa no Ie
[See post to listen to audio]

Haha no Ai
[See post to listen to audio]

And, of course, the movie ends with a delightful song with a childish air to it; quite a change from Spirited Away’s “Itsu mo Nando demo” or Princess Mononoke’s theme song, both of which were operatic in their execution. I don’t think such an ending would have been quite as fitting for Ponyo since the story’s overall feel is closer to that of a fairy tale, making “Ponyo on a Cliff (Cinema ver.)’s” childish, whimsical nature much more appropriate of a selection. For that matter, it’s a fun way to conclude the movie.

Ponyo on a Cliff (Cinema ver.)
[See post to listen to audio]

So while the issue with the main themes repeating itself throughout the album still stands, Ponyo on the Cliff by the Sea’s soundtrack is every bit as charming as the movie was. The full review offers more in the way of detail, but if you need the sound clips to back it up (and see how my viewing of the movie changes things), this would be the place for that.

Rating: Very Good

Voting Thread

As of this blog post for this week’s anime music selections, there are less than 4 hours left before I close things up and prepare for week 5’s stuff.

Anyhow, this week’s theme focuses on legendary anime pieces and we’ve got a pretty decent set with plenty of variety ranging from the expected militaristic fanfares and majestic tracks to ROCKIN’ songs as well as songs infused with a Spanish/Latin flavor. The quality of the selections made it difficult to assign the points, but in the end, four tracks managed to get my favorable nod while the rest fell into the Honorable Mentions category. And with that, here are the tracks from this most legendary week:

Twelve Kingdoms – Junigenmukyou (full version)
[See post to listen to audio]
From the beginning, this track has an aura of mystery about it, as though it were depicting a world nestled away from the ravages of time. That atmosphere describes what I know of Twelve Kingdom’s setting really well, and it’s beautiful in that regard. Once the drumming section begins in 1:06, you begin to get a feel for the scope of this war-torn story, with its heroics and tragedies, bringing forth a sense of danger before leveling off into a sort of eerie tranquility which projects an image of the battlefield after a battle. The track’s depiction of the dichotomy between court life and the soldier’s life gives a complete picture of the political dealings of the bygone era, but it’s not over yet since the piece has one final surprise with the segue from the calm, courtly scene into a heroic, rallying battle-cry as you can feel the kingdom mobilize in an inspiring energy-filled melody. (+1)

Code Geass – Black Knights
[See post to listen to audio]
The Spanish/Latin rhythm makes for a wonderful effect, especially when combined with the male choral part to yield a piece that’s filled with a certain grimness and works to bring out the seriousness of the overarching plot as well as the intensity of the action-y moments. While this track doesn’t get points this week, it does serve as an enjoyable change of pace amongst the tracks nominated this week as a result of this unique mixture.

Gigantic Formula – Main theme v.0
[See post to listen to audio]
The fanfare in the beginning feels like a sunrise as it bursts forth in a showy display of brilliance. It’s not often that the hairs on the back of my neck raise up, but the introduction manages to achieve that like none other. The melody and the harmony complement each other so well in this majestic piece and I love the way the piece moves between the loud/majestic sections and the softer interludes that it’s difficult for me to feel bored listening to this. Awesome from start to finish and the images it instilled in my mind moved me to tears. OK, so I’m a sucker for this kind of stuff, but it’s definitely worth a listen. (+2)

Tengen Toppa Gurren Lagann – “Libera me” From Hell
[See post to listen to audio]
The opera part kinda fools you in the beginning into expecting some sort of brilliance like the Queen of the Night’s song in Mozart’s The Magic Flute, but that expectation is dashed once the rap part makes its entry. From what I’ve heard about TTGL (yes, I have not seen this series. BLASPHEMY!!!), I can see how it meshes really well with the themes it espouses. As for the music though, I have difficulty enjoying the opera singer’s performance since the part starting around 1:23 feels cacophonous and directionless even though (oddly enough) I found the rap part to mesh well with the instrumentals. At least it does its job in bringing out the epic side of things and had I seen the series, I think I’d be able to appreciate this track a lot more. As it stands though, the track is decent even if I wouldn’t elevate it to “amazing” status.

Heroic Age – Heroic Age
[See post to listen to audio]
Even though this stands out as yet another majestic track, I can’t seem to be able to get enough of them. This piece’s puts in my mind an aerial view of a nice, quiet, beautiful valley just before dawn as the glider you’re riding upon flies into the heart of this amazing view, instilling you with a sense of serenity, as though to show the vastness and beauty that the world offers. The mood then changes and the sheer regality comes fully into being with the crescendo around 1:30 followed by a fanfare around the 2:00. There, the totality of its majesty comes into being, and one cannot help but look at in awe as it brings out that sense of sanctity, duty, and destiny. Naoki Sato deserves props for conveying that epic journey/view/whatever it’s describing. (+2)

Berserk – BEHILIT
[See post to listen to audio]
Yes, this one is different and I wouldn’t call this legendary as much as lost… or maybe that’s because the track gives me the feeling I might get if I were in an untamed jungle where danger might lurk around any corner. You can sort of hear this from the harmony, which has an affect of creating tension through its tempo and repetitive nature. It’s a nice change of pace though, but not point-worthy in light of some of the better selections.

FLCL – I Think I Can
[See post to listen to audio]
This particular piece actually sounds pretty good with all the awesome guitar work going in the background to provide an interesting backdrop to the vocals with all its grooviness while going through the verses. However, my rating on this piece plummets around 0:41 when the words “I think I can” are being sung in the chorus section. Those lyrics are just too cheesy for my tastes because it puts the image of The Little Engine That Could into my mind and I can’t divorce those intertwining thoughts from each other, turning a ROCKIN’ song into one that’s silly. If you wanted an example of a piece that could be ruined by just one section, “I think I can’s” chorus section would be a great example of that.

Read or Die OVA – Bring all the wisdom to Great Britain!
[See post to listen to audio]
And yet… this piece also brings forth a bit of cheese, but it’s an enjoyable sort of cheese if you keep the backdrop of the series in mind since the concept of the British Library being in control of Britain’s super secret spy squad makes for an entertaining plot. The militaristic music is over-the-top, but I wouldn’t have it any other way and it makes for an enjoyable listen as you imagine the troops assembling to perform the task hinted at in the piece’s title through their objective of preventing powerful books from falling into the wrong hands.

Princess Mononoke – Legend of Ashitaka
[See post to listen to audio]
I really love this piece and it’s probably one of the first soundtracks that caught my attention way back in the infancy of my anime experience. It captures the essence of the movie really well, starting off with the grim opening that paints Ashitaka as a man on a mission to cure his disease and in doing so, setting the epic journey into its proper perspective. It’s subtle, but emotionally stirring and it will always stand out as one of Hisaishi’s better pieces.

Mobile Suit Gundam: Char’s Counterattack – Segment III: Sally
[See post to listen to audio]
“Sally” feels grim and brooding with a hint of impatience, conveying the atmosphere and emotions that people feel right before a battle is about to commence. The air is thick with anticipation and both sides seem to be eager to rush forth and engage the opposition and with that crescendo, the piece moves into a rallying cry of sorts. At this point, you can feel the intensity of the battle as both sides send their troops forth (or “sallying,” if you will ) with cries for heroism and valor. Another strong piece that edges out the preceding one based on the novelty factor. (+1)

So there you have it! My point distribution can be found below. Week 5’s theme will be based on pop vocals, so if you want to get a head start, feel free to start digging into that week’s selections. A voting thread will be created once I compile all the music together, but I look forwards to giving them a listen! And I also hope to see some new faces turn up!

(+2) Gigantic Formula – Main theme v.0
(+2) Heroic Age – Heroic Age
(+1) Twelve Kingdoms – Junigenmukyou (full version)
(+1) Mobile Suit Gundam: Char’s Counterattack – Segment III: Sally