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]

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

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:
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

[Audio clip: view full post to listen]

Eat-Man – Bolt’s Theme

[Audio clip: view full post to listen]

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

[Audio clip: view full post to listen]

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

[Audio clip: view full post to listen]

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

[Audio clip: view full post to listen]

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

[Audio clip: view full post to listen]

My-HiME – Himeboshi

[Audio clip: view full post to listen]

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

[Audio clip: view full post to listen]

Elemental Gelade – Tenshou

[Audio clip: view full post to listen]

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

[Audio clip: view full post to listen]
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.

It took me the better part of the year to get all the way to 2009, but getting that chance to revisit all the music from shows that I’ve watched and those that I only know of through the music feels like a long, but rewarding journey. I’ll express more of that joy and nostalgia in an afterthoughts post consisting of what I’ve learned, new stuff to check out, etc; this one is reserved solely for 2009′s shows, the year that brought us the divisive, but popular K-ON!, an end to the enthralling Kara no Kyoukai movies, and, of course, the excitement and mystery embodied in Eden of the East. Musically, this year saw names like Masaru Yokoyama and Akihiko Matsumoto put their stamp down while video game composers I’ve enjoyed have made ventures into the realm of anime music. There’s a lot to talk about, that’s for sure.

So as usual, full clips are delivered here, Youtube ones are spoilered. I’ll be cheating a bit and linking to reviews when warranted to save time else I’ll be repeating myself a bit too much. Beyond that, just sit back, and enjoy the bevy of tunes from the recent past!

Queen’s Blade
Let’s start with a surprise. Yes, Queen’s Blade’s reputation has preceded it because of the multitude of T&A on display in every episode. It’s understandable why that might make Queen’s Blade so off-putting for many, but there’s a not insignificant number of writers who can vouch that underneath the fanservice is a solid story. And though I can’t personally vouch for the show’s content, I can vouch for its music. Masaru Yokoyama’s contributions to the soundtrack have been solid, and I’d definitely put his name on my radar since he looks like to be a very strong up-and-coming anime composer. I especially like the way the main theme for the series turned out. The first does have a strong, adventurous spirit behind it in the vein of the type of music you’d expect out of medieval fantasy epics while the second conveys the end of a long, victorious, heroic journey.

Main Theme A

[Audio clip: view full post to listen]

Main Theme B

[Audio clip: view full post to listen]
Guin Saga
And while we’re dwelling on fantasy epics, Guin Saga certainly fits the bill given its roots as a series of fantasy novels penned by Kaoru Kurimoto that served as a major influence in Kentaro Miura’s work on the popular Berserk manga. From all the reports I got, the Guin Saga anime is found wanting, and that’s not too much of a surprise since adapting a 100+ volume novel series into 26 episodes and expect some sort of finality is sheer folly even in the best circumstances. I did catch bits of it early on and that was mostly because of Nobuo Uematsu’s involvement with the score. If you’ve listened through the Final Fantasy series where Uematsu serves as the composer, Guin Saga’s music should sound familiar since his style from the FF games does carry over to the anime. “Grand Opening – The Thread of Fate” draws forth the anime’s epic scope and makes for an appropriate opener for the soundtrack. The entire “Mongaul Suite” is also worth giving a listen, but of the four tracks that comprise the suite, it’s the “2nd Movement (Sortie)” that reminds me the most of Uematsu’s FF scores somehow.

Grand Opening – The Thread of Fate

[Audio clip: view full post to listen]

Mongaul Suite – 2nd Movement (Sortie)

[Audio clip: view full post to listen]
Kemono no Souja Erin
Here, we have another fantasy anime. This one isn’t as action-oriented, but from all the screenshots and summaries that I’ve seen and read, the story looks to be compelling, filled with plenty of drama brought about by solid writing. The setting is also one of its other strengths. If you’ll recall the review I wrote of Kemono no Souja Erin’s soundtrack, one of the points I made was that composer Masayuki Sakamoto brings out the “long time ago in a fantasy world different from our own” tones through good use of traditional instruments, evidenced in tracks like “Kodai no Kamigami” and “Ashita,” with its upbeat flute melody.

Kodai no Kamigami

[Audio clip: view full post to listen]

Ashita

[Audio clip: view full post to listen]
Bounen no Xam’d
You really can’t go wrong with Michiru Ooshima since the orchestral delights that she’s been serving up continue to persist along with the addition of a vocal work from the chorus that sounds suspiciously like the one used to sing FMA’s “Brothers.” It’s a series packed with action, making it a good match with Ooshima’s musical tendencies and I really hope that I can find the time to actually watch the whole thing since I’ve heard nothing but good reports flying in (well, except for the ending).

堕夢人のテーマ～現に一添えの想い～

[Audio clip: view full post to listen]
Kara no Kyoukai
Kara no Kyoukai’s atmosphere is downright heavy. There’s just so much darkness enshrouding the characters and setting that it’s a big part of why the movies are so immersive. And when it comes to sculpting that dark atmosphere, I can think of very few composers who can match the outstanding work that Yuki Kajiura has done. The tracks in the first movie are the most memorable ones and I wish I could give them names other than the generic tags like “M01″ which draws forth the mystical, haunting aura of the setup through Kalafina (who perform some excellent theme songs which I’ll cover later) or “M12+13′s” discordant opening that takes us into a heavy rhythmic section before dispensing with an utterly glorious section that combines grace and power in one awesome package.

M01

[Audio clip: view full post to listen]

M12+M13

[Audio clip: view full post to listen]
Tatakau Shisho: The Book of Bantorra
While I did not watch this show, the reports from people who have been watching suggest that it gets better and it all ties together rather well, which means patience is the key to enjoying this one. And while you’re trying to make out all of the religious/mythological elements or whatever it is this show throws at you, hopefully you do pay attention to Yoshihisa Hirano’s score. Of all the anime composers that come to mind, Hirano is probably one of the few who works the most in the classical style with his channeling of Mozart in Ouran High School Host Club and Orff in Death Note. I’m not quite able to identify the composer whose influence Hirano works off of in Bantorra (though Orff might not be a bad bet), but the work he does is compelling if you enjoy the heavy dose of ominous choral pieces that he scatters in this score.

Magic

[Audio clip: view full post to listen]

Antagonism

[Audio clip: view full post to listen]
Umi Monogatari
What is a Ken Muramatsu soundtrack that doesn’t carry the relaxing tones that he’s used from his previous works? If you’re going into Umi Monogatari expecting anything new from him, there really isn’t much to speak of. His music is still soothing as he, once again, employs that combination of traditional Japanese music with the light jazz that dominates his earlier works. It’s still a good listen, though the same can’t be said for the anime series, which didn’t really have that solid of an execution because one character in particular wasn’t too sympathetic. Good for doing homework since it blends right in without being distracting, yet still holds up even if you do focus on the music.

Eikyuu no Nagisa ~a dream in beach~ (Umi Monogatari Theme) – Shinrabanshou

[Audio clip: view full post to listen]

“Teidanuhikyari” (Shima Uta) – Aragaenu mono

[Audio clip: view full post to listen]
GA: Geijutsuka Art Design Class
I’ve always been partial to slice of life music with an upbeat tone to it, and I suppose that’s a major reason why GA: Geijutsuka Art Design Class’s soundtrack jibes with me so well. Its music stirs you with its energy that pushes you to expand your horizons by consuming a broad swath of enriching experiences and accumulate a storehouse’s worth of insights to help you think outside the boundaries of what you thought was possible. The characters’ approach to art lessons has an irresistible amount of gusto, captured in tracks like “GA ~ art design class.” Yes, I’m aware that this soundtrack isn’t for everyone, but it meshes well with my outlook, and so, it’s one that I’ll put on whenever I need that extra bit of energy to see me through whatever it is I’m doing.

GA ~ art design class

[Audio clip: view full post to listen]

So many minds

[Audio clip: view full post to listen]
Summer Wars
The fantastic adventure that Summer Wars brings to light is captured through Akihiko Matsumoto’s score, which combines glorious orchestral pieces along with heavier synth tracks in its depiction of the virtual world. As I commented in my review of the Summer Wars soundtrack, it does tend towards experimental music in the middle, making it less appealing to me since the tracks that I enjoyed the most were the orchestral tracks. That said, “Kasou Toshi Oz” certainly has its place since it unveils the bustling virtual world bit by bit, and the alarm-y nature of the track feels like a wonder revelation. Still, nothing beats the excitement that the “Overture” summons. Listening to that, you feel like you’re about to embark upon a grand adventure of a lifetime!

Kasou Toshi Oz

[Audio clip: view full post to listen]

Overture to the Summer Wars

[Audio clip: view full post to listen]
Aoi Hana
This yuri anime offers up Takefumi Haketa and with that, a clear sign of what to expect: good melodies that have this tendency to reuse 2-3 thematic components. In Aoi Hana’s soundtrack, he doesn’t abuse this to the extent that he does with Someday’s Dreamer’s soundtrack, but it’s worth mentioning for people who are looking for greater melodic differentiation within a disc. For the rest of us who enjoy sweet orchestral and/or piano airs, this is a wonderful soundtrack to relax to.

Komorebi wo Kakeorite

[Audio clip: view full post to listen]

Date

[Audio clip: view full post to listen]
That was more than what I meant to cover and is indicative of how much my anime viewing habits along with my penchant for musical delving has come. But it’s not quite over yet! So take up that last remaining storehouse of energy and let’s rip through the OP/ED/Insert songs on page 2!

The inaugural week for the MAL Anime Piece of the Week Club went pretty smoothly and I have to say, the selections were really solid all in all. The feedback also indicated that people enjoyed this immensely and needless to say, I look forwards to being able to listen to what people have to nominate for weeks to come.

Anyhow for those who have yet to take a peek, this week’s theme focused on action tracks, and not surprisingly, people selected heart-pounding tracks that conveyed the intensity of battle. So with that, let’s take a look at this week’s selections. Most of the participants have already made their comments in the respective voting thread and lelangir’s given his input on his blog so feel free to take a look as to what they have to say. As for what I have to say, find out after the jump.

G Gundam – King of Hearts:
[Audio clip: view full post to listen]
The introduction sets the stage for the duel and I’m definitely impressed with the way the violins gave off that classic, old-school mecha vibe that conveys that small undercurrent of tension throughout the piece’s duration. But what really got me to perk up was the addition of the saxophone because of how it painted the image of two awesome characters going at it as they put all their skills up against one another in a very elegant display. Lelangir noted that the impact of this piece is probably greater with the context of the scene in mind, but for me, it stands well on its own and is definitely worth a listen.

Turn A Gundam – Final shore ~ Oo, Sairin Ariyato:
[Audio clip: view full post to listen]
The opening choral part grabs at you rather quickly and quickly shifts a chant that, combined with the heavy percussion, gives off that rush of intensity before things begin to calm before doing another repetition of that first section. Just based on the first two minutes of this track, Smankh’s comparisons to this track and “O Fortuna” from Orff’s Carmina Burana are definitely apt because of the sheer intensity that it carries. The shift around the 2 minute mark eases off just a bit on the bombast, though the tension still remains through that chorus part that slowly adds on the layers gradually until it culminates in the crescendo around 2:53 that engulfs the listener with its sheer beauty. Afterward “Final Shore” begins winding down slowly as though to signal this conflict’s end, at least until the next encounter begins. Either way, this piece is probably my favorite track out of the ones nominated this week.

Gunslinger Girl – TEMA IV:
[Audio clip: view full post to listen]
Short and sweet, and sometimes, that’s all you really need. The frantic violin part in the beginning and the choral section combine together really well to create the image of a chase scene along with the sense of urgency associated with trying to capture one’s quarry. But what really makes this track stand out, and humbug23 was quick to point this out, is the way it incorporates Gunslinger Girl’s more memorable melodies. Again, another solid track and one that’s aged really well. I only wish it were just a bit longer since the “ansia” theme is so poignant.

Appleseed EX MACHINA – SYNCHRONICITY:
[Audio clip: view full post to listen]
Tetsuya Takahashi seems to be doing a damned good job of trying to channel Harry Gregson-Williams, and most of the participants immediately made the comparison of this track to Gregson-Williams’s work on Metal Gear Solid. This track just exudes the concept of action, especially as it goes through different sections and all at a very hurried pace that gets your adrenaline flowing as it uses a variety of instruments ranging from orchestral to synth in some areas to the electric guitar in others. Overall, this track carries a grandiosity that leaves you feeling pretty pumped and because of that, I can overlook the fact that (as OneGreatTurtle noted) it might have been better off split into its component parts rather than be combined into one long track.

Soul Eater – harmoNIZE:
[Audio clip: view full post to listen]
This song really in your face with its heavy beat to bring about an adrenaline rush stemming from the rapid beat that makes your heart pump in overdrive, but at the end of the day, it’s a track that I can appreciate but not one that I’ll give repeat listens mostly because it’s not my kind of thing. The vocals are a big factor, mostly because I’m not all too fond of the way the singer delivers that fierce and overbearing flurry of anger and emotion (though you gotta admit, I’m sure that’s what he was aiming for and he does do a good job of channeling that rage). I made a comparison of his delivery to that of an artillery barrage, which makes the calm section all the more appropriate (calm before the storm) before the barrage of vocals returns. It’s a very intense track and does what it seeks out to do really well. It’s just not the kind of music I’d consider to be up my alley.

Kara no Kyoukai “Fukan Fuukei” – M12+13:
[Audio clip: view full post to listen]
Wow, that dissonance brings out a lot of that tension in the beginning and the piece certainly delivers on the chaotic aspects that one encounters during a combat scene. Smankh effectively describes the piece as follows:

Action : going from a thrilling and dangerous moment to a scene where the lead character has already retaken her composure and the lead in the fight. This piece expresses very well how she goes from defense to offense. A crescendo makes the transition between the thrilling music and the main theme and it’s accompanied by a chorus that gives a feeling of growing power in this particular scene. The end though is a little abrupt: the fight’s over in one move. Yuki Kajiura introduces here one of the main themes of Kara no Kyoukai with a subtle transition which emphasizes Shiki’s power and self-confidence. Not the best track in the various KnK OSTs but a wonderful action-packed piece of music.

I pretty much concur with this and the only thing I can say is that despite the fact that a lot of Kajiura action tracks are like this one, somehow, they never gets old. It does a really good job of bringing out Shiki’s confidence, making this a really beautiful, hauntingly elegant track.

Mobile Suit Gundam SEED Destiny – Kantai Shiki:
[Audio clip: view full post to listen]
Lelangir’s already got this track pegged down as being a waste of potential since it doesn’t build up to anything special. It’s certainly got Sahashi’s signature style written all over it and while the violins do set the mood rather nicely, it’s just a bit too repetitive for my tastes. At least the pacing was pretty solid all in all at delivering the tension and I did like the crescendo that comes in around 1:42.

So my votes are as follows:
(+3) Turn-A Gundam – Final shore
(+2) Appleseed EX MACHINA – SYNCHRONICITY
(+1) Kara no Kyoukai “Fukan Fuukei” – M12+13

For those of you with MAL accounts and want to participate in the voting process, feel free to visit this thread and put in your two cents after reading the voting guidelines on the front page and listening to the tracks themselves.

In any case, I’d like to thank the following people for their contributions in making this first week as awesome as it was: lelangir, OneGreatTurtle, jukebone, Omisyth, Smankh, and humbug23.