Before I start, let me just say that this was the first time I have ever been to a J-pop concert. While the bulk of my experiences had been symphonic performances or musicals where I can sit back and let the music wash gently over me, AFA’s concert was akin to being stuck in a washing machine in a spin cycle, amidst hundreds of people waving lightsticks, singing along with the artists, cheering and screaming themselves hoarse. And to make matters worse, my spirit was not even a fraction of theirs, and while my heart did beat a little faster, there was not a moment where I even came close to losing myself.

Still, throughout most of the concert, I was in awe. This was partly due to the volume being high enough to knock the air right out of your chest, but more due to the sheer quality of some of the performances. Itou Kanako started things off and made an immediate impact through her vocal clarity and strength of delivery in ‘Uchuu no Engineer’. While her stamina did not last through the entire performance, Itou Kanako is definitely more than auto-tune and audio editing. It helped that her English is excellent, and she came across as a really sweet and likeable person through all the MC sessions. It was definitely the best opening I can hope for, and she is one person I’ll definitely pay to watch again.

Following Itou Kanako, we had Milky Holmes, whose autographed poster I’m still trying to auction off. While their song offered the classic energetic and bubbly fare, the whole performance fits much better in a grade school setting than among our group of audiences.  To their credit, they did work up the crowd a fair bit, and as seiyuu singers, their singing is half-decent.

Third up is the powerhouse: Angela. Through this group’s sheer amount of experience, they were demonstrably in an different league from Milky Holmes. Their audience engagement is just off the charts; Atsuko led the audience on a dance to accompany hers and Katsu even jumped off the stage to get up close with some of the audience. I really liked the selection of their tracks, from the track that propelled them to stardom, ‘Shangri-la’, to their debut ‘Asu e no Brilliant Road’, and even a surprise reveal in ‘Cruel Angel’s Thesis,’ which drew thunderous cheers from the crowd. While Angela did give up a whole lot of intonation and music quality for such a performance, I can only say that each song was meaningful in its own way and I had never been this happy having my eardrums ripped to shreds.

With Kalafina, the audience went wild. It seems that May’n may just have to give up her spot as the AFA icon in a year or two. Starting with their trump card ‘Magia‘, I stood in absolutely awe over Wakana’s performance. Her voice was stronger, brighter and richer than ever, and while I had complained about that before in their singles because it comes across as being unexpressive, it worked great for a live performance. Also, her aria was just, dare I say it, heavenly.

Keiko would have held her own had the microphone volume been adjusted higher for her, but as it stood, it was really difficult to even hear her solos. Hikaru, for her part, was having one of her better days (i.e. no horrendously off-key notes), but her performance did not come across as confidently as the others’. Still, Kalafina gave the most musically sound performance, and there was an odd sense of satisfaction seeing these girls whom I’ve had my eyes on since their debut finally propel themselves to international fame.

Wrapping up, we have the resident diva of AFA: May’n. Like I mentioned in my most recent review, I am not too fond of most of her releases since her voice is like a rubber band.  My friend takes it a step further, comparing it to a spider web: thin, taut and sticky. I admit that’s an fair description, but I also have to marvel at how May’n is just a natural performer. With the confidence rivaled only by Angela, May’n’s presence absolutely dominated the stage. And while this has been said a thousand times, I have to say again: her songs sound much better live than they do on record. However, the pounding synth and bass, along with May’n's extreme and uncontrolled fluctuations in volume did leave me with a headache less than halfway through.

Overall, the concert has been a whole new experience, and the songs are going to keep replaying in my head for some time to come. While I did not go away with a boatload of adrenaline like everyone else did, and my complete lack of stamina for such events tells me I should hold off my pilgrimage to Animelo for at least a few years, I did enjoy the night thoroughly. Still, my ideal concert remains as one which takes my breath away through the music and the strength of the singer’s vocals, not with speakers that churn your insides around like soup.

In my previous posts I covered getting to Japan for Animelo Summer Live 2011 – Rainbow and the first of the two concerts on Saturday 27 August 2011.

Sunday was a bit more relaxed. The hotel was 20 minutes walk from Ueno station and closer to the hotel were the main museums and galleries in Tokyo.

Tokyo National Museum

I visited the Tokyo National Museum then took a limited express train from Ueno to Saitama-Shintoshin and this time purchased a towel, some food and bottled water outside the arena. Again, I met the person from KNT and we were seated in slightly different seats in the same guest box as the previous night’s concert. The audience was no less enthusiastic than they were the previous day.

There is a summary clip on Youtube that has song excerpts and photos of the artists, mainly taken at the second concert here, but to go into my thoughts, let’s hop on down after the jump!

The second day’s concert started with a duet starring Yui Horie and Nana Mizuki, who fired up a medley of Hikari from Inukami and Cosmic Love from Rosario + Vampire. Both songs were extremely catchy and a good choice to start things off.

I’d seen some concert-goers wearing Minami Kuribayashi t-shirts and was looking forward to her set. First, she sang Rumbling Hearts from Kimi ga Nozomu Eien. After talking to the audience we heard Toki sude ni Hajimari wo Kizamu from Katanagatari and Straight Jet from Infinite Stratos. There were a few calls of “Chotto” from Minami-san between songs to get sips of water before she finished with the perennial favorite, Tsubasa wa Pleasure Line from Chrono Crusade, this time, in a duet with Maon Kurosaki accompanied by the strings. Although the choice of songs was good, the audience wasn’t quite with Minami-san, but thankfully, Maon-san made the set finish on a strong note.

Maon Kurosaki continued with Magic∞World and finished with Memories Last, both from A Certain Magical Index II. Although this was Maon’s first Animelo, she had already impressed me with the songs I had found on Youtube, including “Magic∞World” from a television special called Lisan Live! and I thought this performance was even better. It helped that the audience’s positive feedback to Maon-san made the performances distinct and not a repeat of other performances.

Next was Mamoru Miyano with Orpheus from Uta no Prince-sama: Maji Love 1000% (note that the linked clip has a different, female vocalist) and Body Rock. The orange light-sticks appeared during this set and stayed around for the sporty and fun RO-KYU-BU! with Shoot! and Party Love ~Okkiku Naritai~. This was followed by a rainbow of colored sticks to hail Milky Holmes’ arrival, where they sang Seikai wa Hitotsu! Janai!! and Ameagari no Mirai. There was a fun energy to both RO-KYU-BU! and Milky Holmes that was infectious with the audience.

Steins;Gate was next – Kanako Ito sang Hacking to the gate with guitarist Shikura Chiyomaru followed by Phantasm (Yui Sakakibara) with Tokitsukasadoru Juuni no Meiyaku. I love Kanako-san’s distinct vocal style and energy and wished we could have heard more of her. If she didn’t sing in Japanese, one could imagine her music being used in a soundtrack for something set in Central or South America. Yui-san, for her part, had some of the angst in her voice like a singer from the USA, UK or Ireland.

Kishow Taniyama of GRANRODEO and Mamoru Miyano then performed the Durarara!! opening theme, Uragiri no Yuuyake which stood apart from the others by being a good grungy, shouty, rock song.

Yui Horie was next, with Immoralist from Dragon Crisis, PRESENTER from Dog Days and Yahho!! from Kanamemo. Yui-san was a stronger performer than I remembered from previous concert videos – she was and still is an understated and articulate professional.

Chiaki Ishikawa then sang the very beautiful Mou Nanimo Kowakunai, Kowaku wa Nai from Mobile Suit Gundam 00 and Fukanzen Nenshou from Kanisama Dolls. The way these songs were sung were melodically powerful enough to be able to stand on their own without accompaniment – her vocals were very strong, well-pitched and clear with great emotion, or as my notes stated: good!

JAM Project provided part two of their trademark multi-voice powerhouse rock (still fresh and full of energy) with the 2011 releases NOAH and Vanguard, and audience favourite Rescue Fire. I’ve grown to enjoy their music from previous concert videos, but having new songs in their set helped avoid the feeling of having heard it all before.

After a 20 minute interval, the anime that involved a girl wrapped up in a futon, Denpa Onna to Seishun Otoko was up with Erio wo Kamatte Chan, or rather her character voice actress, Asuka Ōgame appearing likewise to perform Os-Alien and Kotatsu Kara Nagameru Sekai Chizu. If you haven’t heard them, they are jarring yet appealing in the way they accompany the series.

Heavier still, GRANRODEO came back with Supernova, Outsider from Cutie Honey: The Live and Go For It from IGPX. Their previous Animelo sets hadn’t grabbed me, but Supernova had a great sense of focus that made the other songs more accessible.

Kalafina was a late addition to the concert program but their performance was extremely polished with Magia from Puella Magi Madoka Magica and Sprinter from Kara no Kyōkai ~ Mujun Rasen. Their performance was very strong, and lived up to the standard of their Red Moon tour Blu-ray disc, but with the advantage of a far more enthusiastic Animelo audience. I can’t wait to get the Blu-ray of the concert for the performance of “Magia” alone.

I had earlier heard the voice of Motsu from M.O.V.E in pre-recorded announcements at the arena, then he appeared with fripSide keyboard player Satoshi Yaginuma and Maon Kurosaki as ALTIMA with I’ll believe from Shakugan no Shana III. It was great to have Motsu as a secret guest and the combination of performers worked well – their energy levels were about the same and it was quite distinct from Motsu’s 2010 collaboration with Yukari Tamura, “You & Me”.

As my tour guide told me, a poll had been held on Twitter for the act that concert-goers most wanted to see that wasn’t yet booked. T.M.Revolution won that poll and obliged with a very polished Flags from Sengoku Basara Chronicle Hero, SWORD SUMMIT from Sengoku Basara II, and Ignited from Mobile Suit Gundam SEED Destiny. The clips I found don’t do justice to how clear the songs sounded at Animelo.

As with the previous night, when you combine JAM Project members with other performers you get something even better. In this case they incorporated Nana Mizuki and Masaaki Endoh for a stirring rendition of Eternal Blaze from Magical Girl Lyrical Nanoha A’s, then Nana-chan as the solo vocalist with Unbreakable from UnchainBlades ReXX, Junetsu Paradox from Blood-C and Scarlet Knight from Dog Days.

Then it was time for the theme song Rainbow (the clip has subtitles in Japanese and English) with all the artists except Kalafina and with it, a lot of “goodbyes” and “See you next year for Anisama 2011″ on the screen.

After this concert we went backstage again and this time I met Chiaki Ishikawa. Like Minori Chihara the previous night, Chiaki-san was one of the most pleasant people one could meet. If I spoke Japanese and everyone had plenty of time I would have liked to have thanked as many of the other artists as possible for their performances. Outside Saitama-Shintoshin station I thanked the person from KNT for all her help and we shook hands and I took the train back to the hotel, again purchasing noodles for a late dinner.

It had been a great couple of concerts for me, even though I had nowhere near the level experience of the songs and artists that most of the concert-goers had. The spirit of collaboration extended way beyond the songs sung, including the excellent organisation of the event, and how these concerts were treated as the main event of the year by an overwhelming majority of the participants.

National Museum of Nature and Science

On Monday I checked out of the hotel, visited the National Museum of Nature and Science, picked up my back-pack and took a regular train from Nippori to Narita Terminal 2, flying back overnight and changing in Sydney to a Singapore-bound flight that stopped in Adelaide (make sure you are familiar with the transfer arrangements in Sydney if you travel this way).

Since getting back home I haven’t lost the excitement of the trip and seeing and meeting some of the people behind a large slice of the music of anime, even though more than two months have passed. (The collection of Youtube clips referenced in these reviews were put together to help remember the concerts while waiting for the blu-ray releases). In conversations with others since then, many were surprised that I didn’t find Tokyo crowded (possibly due to being there in late summer), and were surprised that it wasn’t as expensive as they’d believed it would be.

In summary, a life-changing trip, great people, places, music and hospitality. I’d definitely recommend doing this at least once just to experience the awesomeness of it all!

And so they did. The “Overture” ushered me into an eerie, mysterious world through its familiar synth-driven dissonance which bore a hint of sadness once the trio’s voices entered, sounding out an air filled with longing and letting the notes linger on to drive that emotion home. Then, the instrumentals, which had proceeded gently to accommodate Kalafina’s entry, turned grim, making it an excellent way to transition into the emphatic display of anguish exhibited in “Lacrimosa.”

The dark atmosphere seemed to grow thicker as “Lacrimosa’s” introduction wound its way through the audience with its hints of tragedy fully materializing in Keiko and Wakana’s Gothic-inspired vocals. I was particularly struck by how forceful their delivery was and how well the two harmonized from the stanzas all the way to the chorus, captivating the audience in the process. Wakana and Keiko continued their splendid vocal rapport in “Kagayaku Sora No Shijima Wa” as their voices drifted in somberly to draw out the loneliness and the heartache found in that song.

But nothing on the setlist quite compared to the rendition of “Fairytale.” The delivery gave me goosebumps as the music flowed out, first with its ethereal, but serene introduction, and then with Wakana’s and Keiko’s melancholy delivery which reached deep into my soul to tap into that feeling of sorrow borne from a fleeting memory. “Oblivious” would also have a similarly strong impact through its hauntingly beautiful melody that spoke volumes with regard to the emotional burdens which prevent the song’s subjects from moving onwards freely. The concert also featured Eve no Jikan’s “I Have a Dream,” which saw Wakana reach into her wellspring of emotive vocals to draw forth a feeling of hope and optimism that left me uplifted through the warmth the performance radiated.

Although most of the songs featured Wakana and Keiko, Hikaru would get a chance to shine once “Magia” popped up. This song, as expected, was hard-hitting in its audacity and I really loved that assertive, dominant intonation that passed through Hikaru’s lips.

Right as soon as “Magia” finished however, something must have happened because “Sprinter” gave Hikaru a hard time as she proceeded to sing the entire song out of tune. While she did exhibit difficulties earlier during her small parts in “Fairytale,” “Sprinter” really showed the extent to which she needs to work on her live vocals. Whether this was because of her relative inexperience (compared to Keiko and Wakana, who have worked with Kajiura through FictionJunction) or nervousness, it’s hard to say, but “Sprinter” was easily the concert’s lowest point. That said, she did redeem herself during “Hikari no Senritsu,” which closed out the concert well with its folksy rhythm and instrumentation.

Hikaru’s relative newness wasn’t the only thing to give rise to consternation. During the course of the concert, I also found the performance aspects lacking. Musically, the concert was fine, but the onstage choreography, like the singers’ movement or ability to excite the audience, didn’t work nearly as well. While Hikaru compensated for her off-key singing through some smooth, delicate hand-motions and Keiko remained vivacious throughout (of the three, she was the most pleasing to look at since her face was animated and lively), a lot of the eyesore came through Wakana, who moved with the grace of someone with an icepack on her back. Her arm’s gesticulating was very stiff; a shame because of the three singers, she stood out as being near-flawless in the way she delivered her vocals.

I do think that part of the blame for the performance issues lies in the fact that the Club Nokia was a poor choice of venue. Kalafina’s music isn’t exactly the kind that people are going to move to, unlike say, Nirgilis’s energetic electronica, which works wonderfully in a club setting. Holding this concert in the Nokia Theater (a completely different venue) would have been far preferable because it would have allowed the audience to sit down and really soak in the music better.

It also didn’t help that the Club Nokia’s lighting effects were flat-out stupid at times, especially during “Kyrie,” where the strobes were on at full blast. Anyone who is seizure-prone probably couldn’t have been too happy at that display. Lastly, the Club Nokia stage itself was hardly a pleasure to look at since it lay completely bare aside from the trio; I was puzzled why they didn’t bring in a fog machine or something because that alone would have done wonders to help amplify the mystical aura, making for a better presentation overall.

Granted, none of these issues should detract from the fact that, musically, the Kalafina concert was a success and that comparatively, this was my second favorite musical performance at Anime Expo. Even if the choreography was a bit of an eyesore, I can still close my eyes and allow their vocals to sweep me off my feet, allowing me to feel not only the painful and the sorrowful emotions that ripple forth in most of their music, but also the boundless hope for that brighter future.

[[Visit blog to check out this spoiler]]

For further impressions, feel free to hit up Jason Napolitano’s concert report over on Original Sound Version.

[Photo Credit: Kaori Suzuki at Sony Music Entertainment Japan]

As they say, meeting up with people you’ve corresponded with over the internet is the most fun part of an anime convention. Not only do you get the joy of putting a name to a face, the social barriers are greatly reduced, and so, things never really feel that awkward when they otherwise might be. The turnout was pretty huge too. In addition to the regulars like Mike, Rome, Jeremy, and Dan of Anime Diet, Kylaran, Shinmaru, Yumeka, Jan Suzukawa, Mystlord, Benu, and Canon2D, we were joined by the likes of eternal, kevo’, the duo from Borderline Hikkikomori, Toastcrust, Fangzhao, and calaggie and we were even able to re-enact the Madoka fanboy wars which got amusingly heated at times. Also managed to catch omo a few times too! And, of course, I was able to meet up with Jayson Napolitano over at Original Sound Version. Jeez, that’s a ludicrously long list of names and it sure made it difficult to go anywhere without bumping into someone I know.

The hectic whirlwind that was Anime Expo means a lot of material that I’ll be churning out over the next few days, but for those who want a quick rundown, here’s a few brief shots/reactions I had on a day-to-day basis after the jump:

Day 0:

• Maon Kurosaki seems really new to this whole press interview thing, which might not be a surprise given that she’s only transitioned into releasing music recently (September 2010). Until then, she had been a singer/live performer at the Akihabara club Dear Stage.
• During the Nirgilis interview, I was caught with my pants down when it turned out that their producer was Hirofumi Iwanaga, the same guy who worked with Rasmus Faber on his Platina Jazz stuff. Needless to say, I wasn’t prepared for that encounter and he came across as being a nice, but busy guy. Still thrilling all the same and I expressed how much I/we enjoyed those jazz arrangements and the only thought I have now is how I’d like to be able to sit down with him longer for a chat.
• I’ve discovered I probably prefer interviewing producers than artists themselves. They’re the ones that drive much of the process and we don’t really get to see that side nearly enough. They also probably have more interesting things to say (more relevant to my interests at least).

Day 1:

• Kalafina panel was the first order of the day and that was a bit of a letdown (for reasons that I shall reveal in a later post!). Part of it does involve the level of control the management puts on them though. “A bit” is also a key phrase since I did learn quite a few other things.
• Nirgilis concert was a half and half sort of deal.
• Arrived late for the Name That Anime Tune contest. I think that had Shinmaru and I arrived on time, we could have been able to do well for ourselves. Alas, we were forced to play as armchair contestants. Still fun though (especially when the contestants couldn’t identify the Gao Gai Gar theme! I mean, they practically say the name of the show in the lyrics! Hilarity ensues).

Day 2:

• Miku conference was very informative and I took a healthy set of notes. I really disagree with their execution and marketing plan, but I’ll save that for another post (probably will collaborate with Kylaran on this one).
• Maon panel was pretty decent and I learned a bit more about her. Some of those PVs they showed offered a nice amount of fanservice in the form of Maon cosplaying various characters.
• Kalafina concert, like Nirgilis, was a bit of half and half. It also made me wonder about the inverse relationship between the quality of choreography/audience interaction and the quality of the vocals.
• There was also that Mikunopolis concert that mostly left me baffled/befuddled. Mostly because I’m not quite sure how this concert report will shape up. It doesn’t help that I don’t know most of the songs that played either, so I’ll be hunting online for a setlist over the next few days.

Day 3:

• My panel was good-not-great. The presentation was marred by video issues and some hefty foot-in-mouth disease when my mouth started going on autopilot during “Mezame” (I do know the difference between a violin and a guitar! Honest!). But the feedback I got back was generally positive and it gives me something to build on for next year (Doing presentations is a skill I really need to polish).
• Nirgilis panel was pretty solid and the qualities they showed on stage transferred to the panel room. They’re nice, funny, and laid-back and seem to be more open than any of the other musical artists who came to AX this year. You can totally tell since their producer wasn’t sitting next to them, casting a steely eye over would-be question askers.
• The Maon concert might have been the best concert of Anime Expo if you looked at it from a holistic view. The quality was fairly even on the musical and performance aspects and that made it a great experience. Also, it might have been the only show where I was happy with the footage I took (a Flip is fine for some occasions, but don’t rely on it for zooming too far).

Miscellany:

• I bumped into Nirgilis at pretty much all the Club Nokia concerts I went to. Should have used their panel as an opportunity to ask them what they thought of Kalafina, but it didn’t occur to me until after that panel had ended.
• The only concert that I have the setlist to is Kalafina (of the artists who came, I’m most familiar with their works). I’m flying blind for Mikunopolis, Nirgilis, and Maon Kurosaki though, so hopefully someone will post those up soon.
• I really need to practice my verbal communication skills a lot more.

That’s about the scope of it. Met old friends, made contact with new folks, had a great (if tiring) time. I’m also wondering what sort of economic impact has befallen Kinokuniya since they didn’t have their usual bargain bin for soundtracks/other CDs this year, which means I can’t share what sorts of filthy lucre I was able to purchase because I didn’t buy anything. Them’s the breaks I guess.

So without further ado, for those of you who are going to Anime Expo and are very much interested in anime music, I’ll be doing a presentation that focuses entirely on Yuki Kajiura’s music. Details for the event are as follows:

Date: July 03, 2011
Time: 10:30 AM
Location: LACC 515A (shown as LP 3)

That Kalafina ended up coming to this year’s rendition of Anime Expo and will be performing a live concert the day before was a stroke of good fortune (I submitted the idea for this panel long before I knew they’d show up as guests!), so with luck, those who are interested in Kalafina and attended the sold-out (!!!) concert will show up for this panel.

As you can probably guess from the post title, this is going to be more of a broad overview than anything else, but I’m really excited to see how this one will go and hoping that all attendees (oldies and newbies) will get something out of it. In a sense, this Kajiura presentation is a bit of a litmus test to see how well-received a discussion/presentation of anime music beyond the OP/ED themes will fly towards a more general audience and if it turns out well, you can definitely expect more from me in the future.

Wish me luck, and I hope to see all of you there!

Tracklist

[[Visit blog to check out this spoiler]]

Review: It isn’t often that I can name a series in which the anime’s content and its soundtrack are joined together so seamlessly that both entities are rendered inseparable, but Kara no Kyoukai is one of the few that qualifies. As I watched the movies, the animation and atmosphere bring out a dark and mysterious world filled with danger and despair, qualities heightened further by Yuki Kajiura’s evocative compositions. In just the very first track, “in the garden of sinners,” Kajiura’s music impresses. The piece starts out filled with dull-grays through the soloist’s muffled, distant delivery, but once the rest of Kalafina joins in, the sheer beauty carried through their voices provides a splash of radiant coloration onto the canvas. Yet, the tone is overwhelmingly lonely and tragic. These emotions mirror the atmosphere that blankets much of the setting and the characters and lay the groundwork for what’s to come.

in the garden of sinners

[Audio clip: view full post to listen]
So with that, the journey begins. “Thanatos,” which covers the first Kara no Kyoukai movie, Overlooking View, starts off with a heavy, dissonant atmosphere, but quickly discards that chaotic air in favor of a melancholy one. Echoes of the loneliness that pervade the first track are present here, brought out compellingly through the flute melody that is as beautiful as it is sorrowful. The general mood is further augmented by Kalafina’s harmonizations which, like elsewhere in the album, yield a pensive, ethereal quality, along with a hint of mystery and a knowing nod towards the tragic threads interwoven in Kara no Kyoukai’s narrative fabric.

Thanatos (Melancholia)

[Audio clip: view full post to listen]
As you approach “Thanatos’s” halfway point, flashes of redemption are heard through the strings, but just when you think that the piece is setting itself to wind down on a comforting note, the synth makes a return, and with it, the ominous aura borne by a dissonant tone that sits in the background. The suspense is heightened, and I like how its accented through the solitary xylophone which conjures up in my mind a disconcerting feeling in the way it tiptoes around almost deliberately, as though some supernatural power is toying around with the protagonist like a cat playing around with its prey. A heavy rhythm goes in to reinforce this mood, setting up a strong foundation for the action-filled moment where the furious guitar shredding summons a hauntingly beautiful, graceful action theme. Before the piece closes out completely, the flute comes in and later, a cello, which, together, bestow a sense of finality. Through death, the pain and suffering are over.

Thanatos (Suspense)

[Audio clip: view full post to listen]
“Thanatos” serves as an excellent example of the myriad of emotions that arise from the lengthy tracks on this album. And I do mean lengthy. Though the pieces tend to be long, the people who put this soundtrack collection together did their best to take the more prominent themes from each of the Kara no Kyoukai movies and join them in such a way that each track tells a complete story. There are moments, like one in “something and nothing” and “kara-no-kyoukai” where the transition from one musical segment to the next is either noticeably clumsy or the themes lack coherence, but for the most part, the melodies are stitched together seamlessly into an enjoyable package that’s high on the nostalgia factor for those who’ve seen the movies.

In short, unless I really missed out on something, all of the standout melodic segments and main themes are there. For example, one of the pieces that I had been looking forward to was the waltzing theme from A Study in Murder (Part 1). As I watched the movie, I found myself captivated by its melody; not only was it catchy, it encompassed a wide emotional spectrum. Materializing in “something and nothing” and “quiet romance,” between the two, I like the latter a bit more because of the variety of instruments that contribute to the heartrending feelings. The piano is more sobering, setting the melancholy tone which the flute draws upon to elicit those yearning emotions, while the strings carry a more dignified aura that has the feel of an emotional odyssey as it expresses the determination to find and unite with loved ones once again.

quiet romance

[Audio clip: view full post to listen]
As you move further along, there’s a lot of variety to enjoy, from the ominous aura of “paradox” to “magician’s” grotesque dance. The heavier atmosphere dominates much of this soundtrack, but there are lighter moments too. Of those, I’m most fond of Azaka Kokutou’s appropriately spunky theme, which can be heard in the beginning of “when the fairy tale ends.” The piano’s light steps bring a smile to my face with its bright and cheery tones, a feeling further enhanced through the ensemble’s pomp and splendor. But that’s not all it has to offer because “when a fairy tale ends” continues to engross, particularly when Kajiura calls in the introduction to Kalafina’s “Fairytale,” which soothes me with its tranquil delivery, and when the oft-played action theme comes in to keep me engaged through its twists and turns that help propel the action along and make the battle more exciting.

magician

[Audio clip: view full post to listen]

when the fairy tale ends (Azaka’s Theme)

[Audio clip: view full post to listen]

when the fairy tale ends (Fairytale)

[Audio clip: view full post to listen]

when the fairy tale ends (Action Theme)

[Audio clip: view full post to listen]
But all things must come to an end, and in Kara no Kyoukai’s soundtrack, that end is in “snow is falling.” The track initially features Kalafina’s soothing, hopeful vocals which shine in their own right, but what I really like is how this piece functions as the bookend as it reprises the main theme from “in the garden of sinners,” except this time, it’s played by a full string ensemble. The calming aura that issues forth through the combination of the strings and chorus provides closure as the horrors of the past become naught but a distant memory. Life can go on as normal, and the optimistic mood offers the assurance that all is at peace and shall remain so.

snow is falling

[Audio clip: view full post to listen]
When I first saw the tracklist, I was a bit torn in the way they decided to condense Kajiura’s score for all of the Kara no Kyoukai movies into such lengthy tracks, but looking back, this was the right decision that, more importantly, benefited from stellar execution. As I listen to this album, my memories of the movies are rekindled. Yuki Kajiura once again shows her deft handling of the action and atmosphere, and through her music, I once again find myself immersed in the world sculpted by Kinoko Nasu, with its dark, mysterious overtones scarred by tragedy and sadness but buoyed by the promise of hope and salvation.

Rating: Excellent

Review: Those who found “Kagayaku Sora no Shijima ni wa” too bland, too lackluster, or simply too Kajiura for their tastes can rejoice in Kalafina’s comeback in “Magia.” While the Arabic style is far from masking the overwhelming scent of Kajiura, it is nonetheless in a class of its own, set apart from all the singles released by Kalafina thus far. (Though it may feel right at home in the album Red Moon)

The most commendable aspect is the fusion of folk and rock, which I confess is my favourite genre, and with that, the likelihood for a biased review. Still, who can argue that the A-side is unbelievably refreshing, with an uncharacteristically energetic and almost aggressive performance from the girls? Though Hikaru’s performance is still a little rough around the edges, the mood she puts forward fits in perfectly with the instrumentals. Keiko’s entrance also provides an excellent contrast to the intense delivery earlier, and is probably one of the few times where her stanza actually adds to the overall enjoyment rather than providing mindless fanservice for her large fanbase.

The B-side, unfortunately, does not deserve much praise. The last few B-sides have generally been sorely lacking, either due to the failure in delivery (“Adore” comes to mind) or a half-hearted effort from Kajiura’s compositions (“Sapphire” and “Utsukushisa” anyone?). “Snow Falling” encompasses both faults; it’s a victim of both poor composition and an even worse delivery which actually gives the composition something to be proud of.

I can think of only a small handful of artists who can bring across the theme of winter properly, given that it requires great gentleness of expression. Here, Wakana’s delivery is too overpowering, Keiko’s is far too harsh, and Hikaru’s is overtly cute. The only one who seemed to capture the feeling of snow is, oddly enough, the accompanying vocalist. The great differences with the way the song is performed further add to the overall messiness, making “Snow Falling” a poor complement to the marvel of “Magia.”

But for “Magia’s” sheer audacity, this single is worth it. Though by all means, skip the B-side. There is nothing there which captures the usual goodness of Kalafina.

Rating: Good

Mahou Shoujo Madoka Magica ED – Magia

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

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Biography:
Yuki Kajiura’s first step into music composition was a farewell song she wrote for her grandmother, but from this point all the way up to her late teens, it didn’t seem like music was something she was planning on making a career out of since she composed very little music. Her college studies also bore few hints of this; though her compositions grew, upon graduation, her first job was as a systems engineering programmer. It wasn’t until 1992 that she began to pursue music seriously after quitting her job. Her first successful attempt was the formation of See-Saw which included names like Chiaki Ishikawa and Yukiko Nishioka and saw the release of six singles and two albums by 1995. This progress would garner her enough attention to give her a shot at scoring live action films such as Jun Ishikawa’s Tokyo Siblings. Work slowly piled on, and, through a few connections, an anime producer she knew introduced her to the people in charge of the Kimagure Orange Road movie, which would be her first anime soundtrack.

The music to Shin Kimagure Orange Road is enjoyable, if a bit simplistic. When you listen to the first few tracks, you’ll notice slow piano melodies in the mold of a drama and an upbeat love theme that bears a semblance to one of her later works. Stylistically, her score feels much simpler. The music fits within the mold of a love story; slow melodies abound. With her next anime soundtrack, Eat-Man, the action it carried matched more of Kajiura’s style that most of us are used to and contained snippets of the Wild West-flavored pieces that she’d put to use later on in El Cazador de la Bruja. Eat-Man wasn’t particularly memorable either, but its importance lay in the start of her partnership with Koichi Mashimo, which would result in her music really taking off, especially once he founded Bee Train and commissioned her to compose music to their anime.

Shin Kimagure Orange Road – Love I

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Eat-Man – Bolt’s Theme

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With Noir came Bee Train’s launching point as well as Kajiura’s entrance into the Western anime fan’s consciousness. Aided to some extent by the growing awareness of anime in the West during that time, Noir rapidly made an imprint on people’s radars with its well-animated action as well as the music that accompanied it. It’s probably not an understatement to say that Kajiura’s score was held in higher regard than the anime series. The mix of quiet, introspective tracks like “Solitude by the Window,” tension-filled fare like “Silent Pain,” and the aloof vibes given off from “Chloe” are all enjoyable, but what ultimately cemented her reputation were the glorious choruses in “Canta Per Me” and “Salva Nos.” The way both tracks conveyed the intensity of the action scenes made for an unforgettable experience, one that got anime music aficionados to cry out for more from Kajiura!

Noir – Salva Nos

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Kajiura wouldn’t disappoint. From Noir, she moved on to Aquarian Age which featured a very haunting opener in “Awake” and also incorporated a lot more synth paired alongside the violin and piano melodies, at least in the first half of the album. While enjoyable, it (along with Elemental Gelade and Hokuto no Ken) wouldn’t be talked about all too much, especially when compared to another 2002 offering. That, of course, would be .hack//SIGN. With an OP done by her See-Saw cohort, Chiaki Ishikawa and a boatload of tracks performed by Emily Bindiger, Kajiura’s music instantly complemented .hack//SIGN’s setting by using the ethereal tones to heighten the mystery and drama. As notable as these works are, it’s not until the mid-2000s where she’d release some of her best anime soundtracks.

Aquarian Age – Awake

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.hack//SIGN – In the Land of Twilight Under the Moon

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A side trip into the realm of psychological drama in 2004 would bear fruit, resulting in Le Portrait de Petit Cossette where she’d partner up with director Akiyuki Shinbo (and not for the last time!). Her 2004 releases wouldn’t stop there either with Madlax’s score coming out, and with it, FictionJunction’s ear-catching “Nowhere” even if the rest of the album was average by Kajiura standards. Still, nothing made a bigger splash that year than her score for My-HiME, which brought with it a great amount of diversity, from the haunting, tragic “Himeboshi” to the intense “Dance of Darkness,” to the action-packed themes, exemplified by “Summoning of Duran” and “Here Comes Gakutenou!” What My-HiME brought forth was arguably Kajiura at her best, but it wouldn’t be long before another of Kajiura’s scores rose to the challenge.

Madlax – Nowhere

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My-HiME – Himeboshi

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Though Tsubasa Reservoir Chronicle is nowhere close to being as highly regarded as an anime, its soundtrack offers My-HiME some stiff competition. With Tsubasa Reservoir Chronicle’s theme of parallel worlds in mind, Kajiura deftly handled the task for composing its music which was distinct through all 4 discs of the soundtrack. She showed off her versatility and competence with styles like techno, rock, folk, jazz, and some eccentric mixes between those styles, conjuring forth such pieces as “Guess How Much I Love You” and the glorious “A Song of Storm and Fire.” But while her soundtrack to Tsubasa really shined, Kajiura was drawn into scoring the Elemental Gelade soundtrack, which was, by her standards, fairly nondescript. Well, except for the main theme, heard in “Tenshou” which radiates a sense of freedom, but beyond that, there wasn’t much about it that was too remarkable.

Tsubasa – A Song of Storm and Fire

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Elemental Gelade – Tenshou

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It took awhile, but she did redeem herself with her next collaboration with Mashimo in El Cazador de la Bruja, where the music remained uniquely her own, but in listening to it stylistically, she was able to blend in a few Wild West tropes in there to fit in with the anime’s theme. That effort was followed by a lackluster showing in Pandora Heart’s soundtrack, which, aside from the most excellent “Preparation” was otherwise bland compared to her usual. But 2009 also saw the release of the last Kara no Kyoukai movie, and looking at it as a complete whole (with an album release come March!) its dark, tragic tones captured the atmosphere of the anime series most poignantly.

El Cazador de la Bruja – The Ballad of a Bounty Hunter

[Audio clip: view full post to listen]

Pandora Hearts – Preparation

[Audio clip: view full post to listen]

But even more important was the rise of Kalafina in Kara no Kyoukai’s shadow. Originally formed to provide the theme songs for Kara no Kyoukai, Kalafina enjoyed much success which led to them breaking into the anime scene, performing songs for Kuroshitsuji, Sora no Woto and Puella Magi Modoka Magica. The differentiating factor between Kalafina and Kajiura’s previous collaboration is the diversity, one that is reminiscent of her works from Tsubasa Reservoir Chronicle. Each of Kalafina’s albums feels like a concept album, with the first containing many tracks set to a somewhat European theme while the second is largely Arabic.

Natsu no Ringo

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In the winter of 2011, we witnessed the reunion of Kajiura with SHAFT’s Akiyuki Shinbo in the hotly anticipated Puella Magi Modoka Magica. While it’s too early to jump to conclusions, the overall reaction to her work here at Anime Instrumentality is cautiously positive; though pleasantly competent and undoubtedly fitting, we are yet to be floored by Madoka’s music like we were with some of her earlier work. After all, Kajiura’s consistency is what makes her so appealing, but it’s also her undoing. Sometimes, we just wish she was a bit more adventurous with her music rather than stick to the same general sound she’s worked with for the past decade.

And for a quick assessment of how her works have gone, check out page 2 where you get a breakdown by each staff member’s thoughts.

Tracklist:

[[Visit blog to check out this spoiler]]

Review: Eve no Jikan’s movie soundtrack represents background music in its purest form. Its tracklist consists mostly of short snippets that serve as musical cues to trigger a story event while the lengthier tracks work primarily to channel a character or location’s aura. The music works well with the show’s visuals to depict the charming, sometimes eccentric nature of the titular cafe and its patrons, but beyond the nostalgia value for people who have seen the ONA, this soundtrack is unlikely to leave much of a lasting impact.

Those who have seen Eve no Jikan are probably able to remember a handful of tracks. There is, of course, “CODE:LIFE,” with its catchy rhythm that slowly grows more chaotic through the addition of other instruments. It displays a disharmonious kind of harmony; there are times when the instruments take off in different directions, resulting in a hubbub that resembles the pleasant, chatty atmosphere of a crowded cafe. The show’s eponymous track, “Eve no Jikan,” picks up where “CODE:LIFE” leaves off with a charming piano melody early on before blooming radiantly as a cavalcade of chaos creates a chorus that re-energizes as though it were opening a gateway to a utopia that offers a fresh, mind-opening experience, dissonant and harsh though it may be.

CODE:LIFE

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Eve no Jikan

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Beyond the tracks that are over a minute long, it’ll be tough finding memorable pieces. Most of the tracks that follow are fairly simplistic, and because they’re so short, are fairly undeveloped. For example, “Rikuo Rensou Kyoku’s” melody consists of a piano meandering around a minimalist fabric that, while fitting in its depiction of an everyman, just doesn’t curry one’s attention because it never expands upon that theme. I’d rather hear themes like “Akiko,” where the lively accordion gives way to a dapper sound that captures the titular character’s upbeat personality or “Yasashii Jikan no Naka de’s” jazzy sound that carries a hopeful air with an upswing that ends with a phrase that could be taken from any smooth piano jazz piece (think Vince Guaraldi’s “Linus and Lucy”).

Rikuo Rensou Kyoku

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Akiko

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Yasashii Jikan no Naka de

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Unfortunately, such catchy melodies and upbeat displays are in short supply as Tooru Okada rightfully aims for a more subdued soundtrack to make sure the music never eclipses the anime’s scenes. The ambiance that emanates from tracks like “Kanoo no Nakami” does well to sculpt some of the more tension-filled moments while also adding a layer of electronica to emphasize the show’s robotic theme. But more often than not, the atmosphere of fear is overblown as it is in portions of “Rinri Iinkai” and “Android,” where the dissonance isn’t exactly pleasing to the ear, especially with the latter’s use of a siren that sounds grating 5 seconds in. It doesn’t leave behind a strong impression at any rate.

Android

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“Eve no Kanata” does end it all on a hopeful note with its stately, subtle tones, but by then, the soundtrack has passed me by, and aside from the few tracks that stood out, Eve no Jikan’s soundtrack is largely forgettable. It’s understandable why Tooru approached the music the way he did given the scope of the project, but a part of me thinks a better composer could have succeeded in the face of such constraints. If you’re like me and enjoyed Eve no Jikan, you’ll find that the soundtrack is good for one or two listens to capture the nostalgia. But no more than that. It just doesn’t stand the test of time.

Eve no Kanata

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Rating: So-so

Tracklist

[[Visit blog to check out this spoiler]]

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

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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

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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

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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

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Un Bol d’Air

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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

Review: As someone who has been following Kalafina since their debut, I was actually a little hesitant about this single. Those who have been paying close attention to Kalafina may find that their earlier works such as “Fairytale” and “Oblivious” are truly ingenious in terms of composition but recent works like “Lacrimosa” and “Progressive” tend to disappoint. Especially after the “Progressive” fiasco, I wondered what could possibly redeem them.

If your thoughts tally with mine, fear not! Hikaru no Senritsu reaffirms that Kalafina is still going down the right track! However, there are two possible interpretations on this single.

From the point of view of someone new to Kalafina, or simply a die-hard fan of Yuki Kajiura, this single offers something wondrous to listeners. The folk feel of “Hikari no Senritsu” really brings out the best in the vocalists’ voice. This song makes me reminisce on why I fell in love with Hikaru’s voice from “Natsu no Ringo” and “Gloria:” its sweetness and purity.  Hikaru’s performance is the most outstanding point of this track, since the light quality of her voice fits the folk-ish style perfectly. Another great point in this track is the call and answer sequence between Keiko and Hikaru from 3:20 to 3:40, which is expertly executed and draws one into the music.

As with any Yuki Kajiura single, it is impossible to not mention the instrumental track. From the instrumental version of “Hikari no Senritsu,” listeners really get to appreciate the vocalists, since they breathe life into the piece. Another noteworthy point is the elaborate flute solo, where we hear things we seldom associate with flutes, such as trills which make that segment one of the best parts of this single. The instrumental is a great listen on its own, but without the vocalists, one just cannot feel the vibrancy and life pulsing from it.

However, the second take on this single is that though the music sounds good, nothing sounds original. It does not take a genius to spot the resemblance between “Storia” and “Hikari no Seiritsu.” The main disappointment was “Sapphire,” since it sounds like a simple arrangement of some of Kalafina’s earlier ballads. It is worrying since one can’t help but wonder if Yuki Kajiura is out of ideas for this group.

In “Sapphire,” Wakana’s higher notes are also substantially weaker than what we expect from her. However, people who listen to a lot of FictionJunction or Kalafina will notice that Wakana’s expression is definitely improving. Though she belts out the chorus of “Hikari no Senritsu” in her usual ‘lamentation’ style, we hear definite efforts from her to express herself more in the second stanza.

Even when both views are taken into account, the fact remains that this is a solid single through and through. Perhaps to those who are familiar with Kalafina, it leaves much to be desired. However, to those who have yet to hear their beautiful songs, start now!

Rating: Good

Sora no Woro OP – Hikari no Senritsu

Disc 1

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Disc 2

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Disc 3

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Tracklist provided by Ayumikat at the Brownie Post.

Review: Taku Iwasaki, while still a strong composer, hasn’t delivered as consistent an effort as he had in the past. Whereas before, he had composed the excellent Rurouni Kenshin OVAs, Read or Die, and Witch Hunter Robin soundtracks, nowadays, the quality of his work has varied, from the highly-acclaimed Tengen Toppa Gurren Lagann to the completely lackluster Black Cat. Kuroshitsuji’s soundtrack falls in the upper-middle part of the quality spectrum. The first disc on the soundtrack manages to depict the elegant, yet ominous aura of the anime’s setting, though it doesn’t strive to do much more than that, saving the best parts for the second disc which mixes some of the better orchestral tracks along with some Indian-themed music. The variety to be had in the second disc makes it engaging and through that, the soundtrack as a whole feels fresh and enjoyable as a result.

So while the first disc doesn’t include the best that Iwasaki has to offer, it is nevertheless a competent effort, especially in sculpting the tone for the anime’s setting. “Nigram Clavem” sets up that dark, ominous aura through a Gregorian chant to make one feel a sense of unease through the female vocalist’s stuttering, halting delivery and tracks such as “The butler” reinforce the unease through a melody that that cloaks the subject of the piece in a shroud of enigma. “A diabolic waltz” furthers the enigma through a smooth dance that combines an upper-class feeling of elegance and grace that carries a foreboding tone and in doing so, manages to capture both the aristocratic aspect and the supernatural elements of the anime series.

Nigram Clavem
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A diabolic waltz
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As you might expect, the lofty, aristocratic auras are given their chance to shine. “Master of Tea and Scones” works through a Baroque melody that brings to mind a scene in which a group of aristocrats are mingling about and talking about the issues of the day. What I find interesting about this piece’s execution is its use of the saxophone which, though it’s not commonly looked upon as an instrument one would use to depict the aristocracy, draws out an aura of sophistication and snobbery. “La Gardenia” aims more for majesty than sophistication, but its stirring, operatic delivery projects an aura of grandiosity so well that it’s one of the more enjoyable tracks if you like the pompous operatic songs. And if “La Gardenia” is your type of piece, you’ll also appreciate “Wie schon!” where the singer’s sense of urgency meshes well with the foreboding violin section in the background.

La Gardenia
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Most of the other tracks on that disc are enjoyable enough and if you happen to enjoy ambient tracks, the first disc should suit you just fine. Nevertheless, there are a few that you should watch out for and maybe skip altogether because they are downright terrible. The biggest offender is “Die Hasen!” which I’d charitably describe as a banshee wailing because the singer’s execution is so discordant and out of tune that I suspect that it was deliberate and done for a comical purpose. That, unfortunately, is of no comfort to those of us who have to actually sit through the whole thing and it’s better to pass over altogether. Thankfully, “Die Hasen!” is about as bad as it gets; the others are lackluster at worst. For example, “Shitsuji taru mono” feels as though it should be a comical piece, except that it doesn’t capture the goofy atmosphere all too well because its jazzy saxophone melody sounds kitschy, like the music you’d hear in a room full of video poker machines. “The Dark Crow Smiles” also isn’t too compelling, mostly because it fritters away its opportunity to nail the dark atmosphere through a campy-sounding narration.

Die Hasen!
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The Dark Crow Smiles
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The second disc is where most of the better tracks lie and the disc wastes no time in getting you into the mix of things with “Si deus me relinquit’s” mournful melody that creates a God-forsaken feeling. Once the track reaches the 1:35 mark, the piece really opens up with a majestic melody that hides within it a tone of loneliness and despair that can be overwhelming at times. “Si deus me relinquit” goes through a few transitional interludes which help to keep the listener engaged through its intensity and dramatic flair, leaving the listener in awe by the time it ends. Although some pieces like “Never More,” which uses a flute to create a despondent, unnerving feeling, and “Call thy name, ‘Stella Mystica,’” whose menacing tone done through a singer and a piano in the background captures the feel of a forbidden dark ritual, none of them are as enjoyable as “Si deus me relinquit” which grabs you through the raw power of its emotions.

Si deus me relinquit
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Call thy name, “Stella Mystica”
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The Indian tracks also bring a bit of character to the soundtrack. Though the music doesn’t strive for something beyond stereotypical traditional Indian music, its strength lies in the novelty factor. It’s not often that one gets an opportunity to listen to Indian music, and being able to do so makes for a nice change from all the ominous orchestral tracks. For that, these tracks are worth checking out, especially if one is fond of ethnic tracks that cover the gamut of soothing sitar melodies to energetic Indian chants that convey an exotic aura.

rudra
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Although the third disc includes an excellent set of tracks ranging from SID’s “Kiss of Monochrome” to Kalafina’s “Lacrimosa,” Kuroshitsuji’s soundtrack’s strengths still lie in the BGM on the first two discs. Iwasaki has done an excellent job of bringing together the aristocratic tones and the ominous, foreboding auras that makes up a large part of the show’s supernatural side while also mixing in Indian rhythms, chants, and melodies. The effort is solid all around and though there are a few earaches, those comprise a few tracks which are easily compensated for by tracks like “La gardenia” and “Si deus me relinquit.” So whether you’re a big fan of the series or of Iwasaki, you should find this album to be an enjoyable listen since Kuroshitsuji is one of his better works as of late.

Rating: Very Good