Setlist:

[[Visit blog to check out this spoiler]]

If you’ve ever listened to a Ghibli orchestral arrangement album, you will be awed by the intricate instrumentation and expression of Joe Hisashi’s timeless music. Now imagine watching an orchestra consisting of over 200 players and a choir of over 600 members performing the pieces under Hisaishi’s energetic conducting. With a variety greater than that offered by any arrangement albums to date (then again, it is commemorating Ghibli’s 25th anniversary), Joe Hisaishi’s concert at the Budokan brings to fans and regular listeners alike a feast for one’s senses and a performance for the ages.

What is good about it? Well, almost everything. From the dark and tribal ambience created by the booming beats of the Taiko and tinklings of the triangle in “The Curse God” (Princess Mononoke), to the solo violinist’s soulful performance of “Mother’s Broom” (Kiki’s Delivery Service), to the nostalgic piano melody of “The Bygone Days” (Porco Rosso) played by none other than Hisaishi himself, each piece is a musical and emotional adventure for listeners, and the experience of watching Hisaishi bring out the magic in his music is just phenomenal.

Hisaishi’s competence with orchestral instruments makes his works perfect for this sort of presentation. In Joe Hisaishi in Budokan, the orchestra helps bring out the different dimensions in the music and the nuances between different segments. “Tonari no Totoro,” for example, started out slowly and gracefully with strings accompanied by lower brasses. The different sections then took turns at the main melody, steadily increasing the energy, reaching its peak at the portion after the piano.

Hisaishi’s skill at the piano is another reason for the success. There haven’t been many good renditions of “The Merry-Go-Round of Life,” but Hisaishi gentle piano introduction to the piece nails the it spot-on. Many versions are just unable to articulate the elegance of the piece, and they often turn out overpowering and clumsy. Here, the orchestra takes the baton after Hisaishi’s soulful introduction and builds it into yet another fantasy for listeners to immerse themselves in.

The invited vocalists also hold their own against the might of the orchestra and Hisaishi’s presence. My personal favourite is Hirahara Ayaka, who sings “The Name of Life” and “Reprise” from Spirited Away. With her repertoire of classical renditions, it is of little surprise Hirahara’s vocals worked wonders with this orchestra, and her deeper voice almost caresses listeners with its gentleness. Operatic Soprano Hayashi Masako also provided her version of Princess Mononoke, which I personally thought could only be expressed fully with a piano or strings solo. But with her virtuosic expression, and an aria accentuating the anguish, I found myself grudgingly admitting that she has not let the music down the slightest.

With such a talented group of musicians, Hisaishi himself as conductor and pianist, this performance truly does justice for his works. It is indeed a pity for anyone, whether Hisaishi fans or not, to miss this breathtaking performance. And if you weren’t already a Hisaishi fan already, I’m almost certain that by the end of the performance, you will become one.

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.

Master List

[Audio clip: view full post to listen]

Biography:
Unlike the two previous composers we’ve profiled, Joe Hisaishi’s career was consistently geared towards music, starting from a very young age. He started taking violin lessons when he was five and the passion that he developed for music would eventually propel him to enroll in the Kunitachi College of Music. There, he discovered the joys of composing Minimalist music and pursued that area of interest by majoring in music composition. To gather experience, he worked as a typesetter alongside other composers.

Upon graduation, Hisaishi found himself in a time where a wave of western influence in the form of electronica and new age was shaping the Japanese music scene. Hisaishi wasn’t immune to these tides. Though it would not surface in Hisaishi’s first commercial success, some of his later works like the appropriately-titled Techno Police would feature this blend of contemporary music.

But we’re getting a bit ahead of ourselves here. Hisaishi’s first success, Hajime Ningen Giatrus, was an anime set in prehistoric times. This soundtrack, released in 1974, features mostly quiet, mellow cues like “Yatsura no Ashioto no Ballad’s,” which features peaceful woodwinds and period vocals. As with most prominent anime composers’ first works, the music is enjoyable enough but wasn’t outstanding to the point that the signposts towards future greatness were clearly marked.

Hajime Ningen Giatrus – Yatsura no Ashioto no Ballad

[Audio clip: view full post to listen]

Still, it was enough to get him more work. Hisaishi would go on to compose the soundtracks to Sasuga no Sarutobi (1982), an anime about a ninja academy, and Futari Daka (1984), which focused on motorcycle racing. Another of those early works, the aforementioned Techno Police (1982), was a collaboration between Hisaishi and a rock group called the Black Boat Band. The result of this joint effort was an intriguing melting pot of contemporary rock, disco-y synth, trumpet fanfares, and an occasional saxophone melody. Galactic Whirlwind Sasuraiger, released in 1983, would see Hisaishi continue exploring jazz music even further through tracks like “Let’s Spend the J9 Together.” Finally, the tail end of 1983 would see the release of Genesis Climber Mospeada where Hisaishi kept to the rock cues for the action scenes and smooth jazz for everything else.

Techno Police – Techno Police

[Audio clip: view full post to listen]

Sasuraiger – Let’s Spend the J9 Together

[Audio clip: view full post to listen]

Mospeada – The Betrayal

[Audio clip: view full post to listen]

However, another 1983 project would prove to be something of a turning point for Hisaishi’s career when a record company recommended his works to a certain up-and-coming director. The project in question was Nausicaa of the Valley of the Wind, and that budding director was none other than Hayao Miyazaki. This partnership would prove to be a creative and commercial success. The way director and composer complemented each other was seamless; the music featured a blend of synth that matched up well with the scenes of a post-apocalyptic world, along with a symphonic theme that showed what Hisaishi could produce, given the resources. The wonderful results of Nausicaa’s soundtrack were a promising start that brought about one of the most enduring and successful director/composer partnerships in anime.

Nausicaa – Kaze no Tani no Nausicaa

[Audio clip: view full post to listen]

Next up for the pair was Laputa: Castle in the Sky, released in 1986. The movie focused on two children and a band of sky pirates as they encounter the mysteries of an ancient flying civilization. Hisaishi’s moving score rose to the occasion, offering such gems as the theme “Carrying You,” whose melancholy, longing lyrics recall the quest of an adventurer to taste the nostalgia of a long gone but great past. While this score still contained some tracks utilizing well-executed synth, Laputa demonstrated Hisaishi’s movement towards ensembles for his compositions which was no doubt propelled by Studio Ghibli’s increasing fame.

Laputa – Morning in Slagg’s Ravine

[Audio clip: view full post to listen]

In Kiki’s Delivery Service, released in 1989, there was an observable transition from the epic grandiosity of his previous works to more lighthearted and cheerful fare to fit the movie’s focus on a girl’s sojourn into the city. Kiki’s tracks are exemplified by themes such as “Helping At The Bakery,” which carries a waltz-like air, but perhaps nothing in that soundtrack captures the feel of the city quite like “Town With an Ocean View” where the staccato arrangement, combined with the upbeat tone, brings out an aura of curiosity, and evokes an image of the titular character exploring the town. The melancholy moments do crop up here and there to depict Kiki at some of her more downcast moments, but on the whole, the soundtrack brims with optimism and energy.

Kiki’s Delivery Service – Helping At The Bakery

[Audio clip: view full post to listen]

This happy tone continued in My Neighbor Totoro, which features perhaps some of the most recognizable melodies to appear in an anime soundtrack. Here, Hisaishi painted the world through a child’s eyes. The fantastical imaginations of youth are captured through such tracks as “Catbus”, whose vivacious and sprightly atmosphere conjures up the sensation of taking a ride in the miraculous feline vehicle that adults can’t see. “Village in May” and “Let’s Go to the Hospital” both express the appreciation and joy children experience from almost any simple experience. And, of course, “My Neighbor Totoro” can’t be forgotten. The track is about as iconic in Japan as a Disney song is in the United States, and is a jubilant ending to a truly heartwarming soundtrack and movie.

My Neighbor Totoro – My Neighbor Totoro

[Audio clip: view full post to listen]

The last soundtrack in this trend of cheerful scores was Porco Rosso, the story of a veteran World War I Pilot turned pig and bounty hunter. The music maintains an animated and lively atmosphere in such tracks as “Women of Piccolo” and “Mama Aiutto” whose use of band brass give the pieces a carnival-like feel and, once again, showcases Hisaishi’s effectiveness at creating a score which complements the mood of the movie.

Porco Rosso – Mamma Aiutto

[Audio clip: view full post to listen]

Although the Ghibli scores are what brought Hisaishi to fame during the 1980s, there were also a smattering other works that are worth mentioning like 1984′s Birth Suite, which has a heavy emphasis on synthesizer voices. Arion’s soundtrack, released in 1987, would touch on this trend but ultimately drew most of its stylistic influence from Laputa the year before. With this, Hisaishi pays some tribute to his synth past, waves farewell, and takes strides towards symphonic compositions.

Birth Suite – Theme of Birth

[Audio clip: view full post to listen]

Arion – Arion – Main Theme

[Audio clip: view full post to listen]

Then, in 1997, Hisaishi once more returns to work with Miyazaki, this time, on Princess Mononoke. The score was noted for its capacity to bring out the epic scale of the adventure, made very apparent through “The Legend of Ashitaka” and “The Journey to the West” which are packed with a grandeur perfect for a rendezvous with destiny. While the bombastic, forceful orchestrals lie at the core of what carries the listener through this fantastic journey, the soundtrack brings out the best of Hisaishi’s gentler love themes, first through “Mononoke-Hime’s” heartfelt serenity, then the very uplifting “Ashitaka and San” which is infused with a sense of renewal and rebirth to bring a note of hope for what the future holds.

Princess Mononoke – Mononoke-Hime

[Audio clip: view full post to listen]

As Princess Mononoke sought to convey the scope of the grand adventure, Spirited Away maintains the musical cues that conjure up images of a journey, but its focus is more on a personal one. What you get is a soundtrack that is quieter as it radiates a lonely mood through its reserved melodies, exemplified through the opener “One Summer’s Day” with its melancholy, reticent aura. There are moments of bombast here and there as well as a myriad of dissonant melodies that wind their way through the soundtrack to heighten this loneliness, but like Princess Mononoke, the hope that comes in by the end puts a positive note to Chihiro’s moment of self-discovery as she grows more confident going forward.

Spirited Away – One Summer’s Day

[Audio clip: view full post to listen]

His next score for Ghibli, Howl’s Moving Castle, explored themes of both the warmth of love and the mysteries of the magical world depicted in the movie. Opening with powerful organ notes that foreshadow more ominous things to come, “Merry Go Round of Life” is a fitting introduction, meshing the enigmas of magic with the famous theme that is the trademark of the soundtrack. In the rest of the score, Hisaishi masterfully depicts the mysterious in tracks such as “The Secret Cave”, weaving together the beauty of the unknown with an undercurrent of uneasiness. Yet, the movie is just as much a story of the heroine’s growth. “Wandering Sophie” portrays Sophie’s first tentative steps out into the wide world, ending on a note of uncertainty indicative of hidden dangers. Nevertheless, she finally finds a place where she is able to forge strong bonds of love in Howl’s moving castle. Hisaishi truly captures the affections of the makeshift family of the castle in the tender and heartfelt melodies composed for the film.

Howl’s Moving Castle – Wandering Sophie

[Audio clip: view full post to listen]

His most recent work, Ponyo on the Cliff by the Sea, once more illustrates Hisaishi’s ability to convey the rich imagery of the movie through music to immerse the viewer in the movie’s environs. Tracks like “Deep Sea Ranch,” are particularly beautiful in this regard. Once the first notes sound off, one cannot help but feel surrounded by the dazzling array of colors and creatures that swirl around, backed by a symphonic delight that, while busy, captures the lively scene that opens up the movie.

Ponyo – Deep Sea Ranch

[Audio clip: view full post to listen]

There are further tracks we could touch upon of course, but the works that remain tend to fall under video game music (we do recommend giving Ni no Kuni a listen!) as well as the memorable themes that he’s composed for live-action movies. Still, we do wish to continue opining, so check out page 2 for our individual staff impressions.

The responses I got were pretty overwhelming and encompassed over 90 (!!!!!!!) composers (if you can believe that). Speaking as someone who can name maybe half that number, this was a pretty staggering amount and suggests that there may be more anime music fans amongst the fanbase than I’ve seen so far and that most are just kind of dormant. Anyhow, you’ll want to know how things will look over the next 15 months (yes, we do intend to cover 15 anime composers), so check out the list after the jump!

I also plan to run through the methodology and maybe do some comparisons between the sites where I put up the request. That boring quantitative stuff I’ve thrown on page 2, so if you’re really interested how things unfolded, you can look there. As for the general list and the number of points they received from voters in parenthesis:

1. Yuki Kajiura (547 points)
2. Yoko Kanno (499 points)
3. Joe Hisaishi (383 points)
4. Taku Iwasaki (295 points)
5. Kenji Kawai (233 points)
6. Jun Maeda (214 points)
7. Susumu Hirasawa (127 points)
8. Shiro Sagisu (124 points)
9. Tenmon (120 points)
10. Kou Otani (118 points)
11. Toshihiko Sahashi (114 points)
12. Yoshihisa Hirano (111 points)
13. Yasuharu Takanashi (103 points)
14. Michiru Ooshima (101 points)
15. Kotaro Nakagawa (83 points)

Names that barely missed the cut include: Naoki Sato, Kouhei Tanaka, Masumi Itou (Hikaru Nanase), and Mina Kubota.

How This Will Work
Each month, we’ll be highlighting a composer and place a bit more emphasis on reviewing their albums. In fact, we’ll try to toss out somewhere around 3-4 reviews specific to that composer each month. Before we even do that though, we’ll start off with a general profile where we highlight any important biographical tidbits, the sort of stuff you’d find on Wikipedia for instance, but that will make up a small portion of the profile. The bigger portion is in analyzing just how far we feel they’ve progressed as an artist and analyzing the consistency of their works.

So while last year’s big post series revolved around looking at anime soundtracks from 2000-2009, this year’s series looks to be just as ambitious. Maybe even more so. Do look forwards to it and hopefully you can gain some newfound appreciation for the composers you’re familiar with or find a new composer to check out.

For those with a lot of time on their hands, check out page 2 if you want a peek at the methodology as well as a site-by-site breakdown.

A few ground rules: when I say anime composers, any composer who’s written any music for anime (including OPs/EDs/insert songs) qualifies. That was easy, wasn’t it? Basically, the only vocalists that are permissible for this are those who actually compose music. Obviously the extent to which you enjoy their music is important and will probably be the primary criterion by which you assemble your list. You can also consider other things like their quantity of work they’ve done. But when you put together your list, do rank order them from most favorite to tenth favorite. Nothing more needs to be done, but you are welcome to add comments about why you chose X person.

Lastly, do try to come up with ten. I specifically stress the word try, because it’s perfectly OK if you aren’t able to come up with that many. If you’re stuck, it does help to look through some of your favorite shows and see who composed their music, but if all else fails, just list one, or two, or five. That’s totally fine. This is mostly to satisfy my brimming curiosity anyhow. Yes, I will use the results for an upcoming article series that focuses upon composers and not to attempt at an objective measurement of who exactly are the ten best anime composers out there. Do fill this out by December 31, 2010. I’ll be scattering reminders every so often!

For what it’s worth, it’d be terrible of me if I didn’t include my own Top 10 list, so here goes:

1. Joe Hisaishi
2. Yoko Kanno
3. Michiru Ooshima
4. Shiro Sagisu
5. Akira Senju
6. Yasuharu Takanashi
7. Yuki Kajiura
8. Taku Iwasaki
9. Toshihiko Sahashi
10. Masumi Itou (also goes by Hikaru Nanase)

Tracklist

[[Visit blog to check out this spoiler]]

Review: The existence of an orchestral arrangement of an anime movie’s score makes one wonder why that album was ever made, since the danger of redundancy is all too real when the anime itself sets its music to a magnificent, orchestral soundtrack. In this instance, the effort the Czech Philharmonic Orchestra pours into this symphonic suite pays off handsomely as they take the shorter tracks from Princess Mononoke’s soundtrack and by lengthening them, casts them into a mold worthy of the show’s epic plot. The best way to describe Symphonic Suite Princess Mononoke is that if the soundtrack conjures up the movie scene by scene, the music in the Symphonic Suite takes it a step further by delivering a full-fledged, awe-inspiring odyssey that immerses me into the middle of all the action.

This journey is reflected in “The Legend of Ashitaka,” which delivers a stirring orchestral air that leaves no doubt about the status of the eponymous character’s rendezvous with destiny. It’s grandeur sweeps the listener into its clutches as the string melody gushes forth with a commanding air, ushering all in its grasp far away from the misty mountains of Ashitaka’s village and into the rough and tumble of the world beyond. By removing himself from the comforts of home, Ashitaka embarks upon a path less traveled, but one that leads to greatness. The smooth, intrepid musical passages dominated mostly by the strings attest to the strength of his will to see things through to the end and become the force which shapes the world for the better.

The Legend of Ashitaka

[Audio clip: view full post to listen]
But for that journey to begin, there must be an impetus and that moment is depicted in “TA TA RI GAMI.” This track, with its drumbeats, takes on the air of a chaotic battle as the dissonant melody brings out the savagery that only Nature herself could conjure up. There’s no stopping the fury evoked in this piece; the music’s relentlessness only slows down to depict the climactic showdown between man and beast. In that brief moment, the orchestra makes the most of it by weaving a thick layer of tension, before returning to the intense battle theme. As the encounter winds down, the aftermath leaves me uneasy with the discordant string phrases highlighting that anxiety keenly. Though the immediate threat has been quelled, it opens up many questions; to answer them, Ashitaka must go west.

TA TA RI GAMI

[Audio clip: view full post to listen]
The next few tracks are evocative of the middle part of the story which starts with Ashitaka’s departure. “Journey to the West’s” introduction contains a hint of melancholy, reflecting the sadness of leaving home, but those somber tones quickly dissipate, making way for melody that carries a richer sort of purpose, elevating it beyond the textbook travel/adventure music and places it in the realm of quest music. Thoroughly grand, this track is where the scope of the odyssey is at its most apparent. “Mononoke Hime” is softer and more introspective, utilizing a warm, serene piano melody that nevertheless carries a slight dash of willfulness to encompass San’s multifaceted personality, delivering an excellent, heartfelt track all the while. The music takes a dissonant turn in “Forest of the Deer God” which tilts more towards the atmospheric as the strings play a glistening tone that radiantly reflects the warmth of the sunlight cascading through the treetops. Further in however, a thick, mysterious layer begins to form through a tone shift, and in doing so, depicts deeper forays into the heart of the forest. It’s at this point that the piece turns menacing once the bassoons settle in with their dissonant melody, and it’s soon evident why.

Mononoke Hime

[Audio clip: view full post to listen]
“Requiem – The Demon Power,” true to its name, is grim, with a melody more foul than fair once it hits the two-minute mark. Its harshness, heard through the dreadful crescendos that segue into dissonant phrases, is a harbinger of doom, which takes the form of a monstrous being that bears Nature’s fury. Those tones don’t subside until five minutes in when they’re replaced by the requiem that represents the death of Nature’s innocence as the call to reclaim what is hers sounds. This sets the stage for the danger that becomes fully-realized in “The World of the Dead – Adagio of Life and Death,” where the feeling of urgency dominates as the floodgates of doom are unleashed and few can survive its onslaught. Yet, even a rampaging entity can be appeased, and with that decisive chord to close out the piece, it signals an end to the entity’s anger as mankind is allowed a new beginning.

“The World of the Dead – Adagio of Life and Death

[Audio clip: view full post to listen]
The wellspring of hope emerges in “Ashitaka and San” draws me in with tones suggestive of a rebirth. Through the piano melody, punctuated with moments in which the woodwinds take over, the ardor and gentleness seep into every fiber of my being, nourishing me by melting the pains and sorrows accumulated, and letting me start fresh. The gladness that stirs forth through the woodwind sections is soothing and as the rays of hope shine radiantly, I cannot help but feel optimistic for what lies ahead. Ashitaka has given his all to bring peace. May his efforts not be in vain as the spirit of cooperation he’s forged tie us together with Nature forevermore.

Ashitaka and San

[Audio clip: view full post to listen]
Rating: Excellent

Setlist:

[[Visit blog to check out this spoiler]]

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!
[Audio clip: view full post to listen]

[[Visit blog to check out this spoiler]]

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

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

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

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

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

[[Visit blog to check out this spoiler]]

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

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

[[Visit blog to check out this spoiler]]

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

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

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

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

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

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
[Audio clip: view full post to listen]

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
[Audio clip: view full post to listen]

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
[Audio clip: view full post to listen]

Haha no Ai
[Audio clip: view full post to listen]

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.)
[Audio clip: view full post to listen]

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)
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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!
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
“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