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]

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:
An aspiring composer since high school, Iwasaki attended the Tokyo University of Fine Arts and Music. There, his talents already distinguished him from the rest, winning him the Newcomer Prize from the Japan Society for Contemporary Music. After his graduation in 1992, he worked as an arranger like most other budding composers, but not before scoring the relatively unknown video game Mercury – The Prime Master. A few other jobs came and went, including the theme songs to Romeo and the Black Brothers and the notorious/infamous Cho-Aniki series of games. Despite this experience, Iwasaki still hadn’t made a name for himself in the music scene. However, when he did appear on the radar, he hit the ground running. 1999 saw him suddenly join a group named “Smart Drug” as the group’s keyboardist and arranger. In the very same year, he announced his entrance into the anime music sphere with two highly regarded scores.

Iwasaki’s first true anime score was that of Rurouni Kenshin: Tsuiokuhen (Trust and Betrayal), the acclaimed OVA entry of a franchise he would soon revisit. Establishing him as a master at coaxing a wide spectrum of emotions from an ensemble, his contributions here succeeded in demonstrating for the first time the diversity and depth of passion with which he could infuse his melodies. In tracks like “Quiet Life,” a warm and touching atmosphere is created with a harmonized string ensemble that does well to capture the moments of peace between conflict. This is contrasted sharply by the requiem-like gravitas of “The Will,” and the militaristic drive in the memorable “Wars of the Last Wolves”. In any case, the sentiments that the Kenshin Tsuiokuhen score expressed were a more than solid beginning that predicted great things to come from the newcomer composer.

Rurouni Kenshin Tsuiokuhen – War of the Last Wolves

[Audio clip: view full post to listen]
His score for Now and Then, Here and There, which aired in the latter half of 1999, is comparable to Rurouni Kenshin: Tsuiokuhen in that the atmospheres are fairly similar. NTHT’s music, filled to the brim with melancholia and despair borne from tragedy, is, not surprisingly, fairly heavy, making it a perfect fit with the themes that the film delves into. But that’s where the similarities end. NTHT’s music definitely has a more modern edge to it, with more dabs of synth to be had. Strings still dominate much of the soundtrack, but it does foreshadow the kind of music that Iwasaki will be producing a few years down the line, especially since many of the themes will find a spiritual successor in his soundtracks to the R.O.D. franchise.

Now and Then, Here and There – Run Up

[Audio clip: view full post to listen]
The soundtrack of Witch Hunter Robin was a drastic stylistic departure for Iwasaki, who added hard rock into the mix. The combination of rock with other stylistic elements, such as mysterious chanting, does well to express the atmospheres of an anime filled with intrigue, mystery, and action. Yet, while this soundtrack utilizes stylistic elements that may be considered overused today, it can safely be said that Iwasaki’s music is anything but generic and redundant. The protagonist’s theme, titled “Robin,” immediately demonstrates that WHR is no ordinary soundtrack, embodying the opaque enigmas that surround the main character while capturing the angst that would eventually engulf her. However, the main highlights of the album are the action tracks , which are represented most beautifully by “Flame.” The piece brings forth an intensity which starts with a grim but determined air, proceeding to unleash a torrent of pure conflagration. “Badass” barely does this unholy matrimony of heavy guitar and turbulent strings justice.

Witch Hunter Robin – Flame

[Audio clip: view full post to listen]
After that successful (to say the least) enterprise, Iwasaki went on to work on the music for Sadamitsu the Destroyer, an anime set in intergalactic space. A testament to his fondness for experimentation, the music he wrote to accompany this space action series is reminiscent of old wild west films, complete with cheesy whipcracks and all. While we can’t comment on how well the music meshed with the animation, we can say that Iwasaki’s bold experiment with this score is certainly not a failure. The rustic Old West bent of tracks like the main theme, “Hakaima Joujou no Tema,” does well to conjure up the image of adventure in new and lawless frontiers. The more melancholy aspect of life for a loner in the unruly hinterland is also portrayed, such as in “Joukou no Shousin,” where a doleful electric guitar solo wails along to reserved strumming. These tracks are an unusual and enjoyable listen compared to the average anime soundtrack, proving the success of Iwasaki’s unconventional approach.

Sadamitsu the Destroyer – Hakaima joukou no Tema

[Audio clip: view full post to listen]
As if 2001 were not already a busy enough year for Iwasaki, he returned to write music for another OVA from the Rurouni Kenshin series. His score for Rurouni Kenshin: Seisōhen was in many respects even better than that of the previous Kenshin OVA, showcasing Iwasaki’s improvement as a composer in the span of just two years. In Seisouhen, an improvement in orchestration is apparent, with the melodies sustained by fuller accompaniments and harmonies. This is clear in tracks like “Pie Jesu,” whose tender oboe melody serenades to stirring crests of sound. Of course, one can’t forget “Eclipse,” where a melancholy, brooding horn solo escalates into a powerful string rendition of the main theme. All in all, Seisouhen contained some of Iwasaki’s most poignant melodies of all time, even to this day.

Rurouni Kenshin Seisouhen – Eclipse

[Audio clip: view full post to listen]
At some point between 2001 with Go! Go! Itsutsugo Land and the Read or Die OVA, Iwasaki showed signs of deviating from his usual repertoire. There must have been some motivating force from within that pushed him to experiment even further. GetBackers provided a good canvas for this surge in creativity, given the anime’s swings in tone that ranged from crazy and eclectic to deadly serious. To match this overall mood, Iwasaki would dip into jazzy tones, which is most apparent in the eponymous “Get Backers,” which carried with it a style fitting with the wacky situations in which the anime’s two protagonists would often find themselves. But there are serious moments too, which usually come about when the characters explore the mazy urban dungeon. Tracks like “Bloom” and “Awakening and Rage” depict the suspense to be found deep within that labyrinth. Although these two tracks are more traditional Iwasaki fare, what they do do is demonstrate Iwasaki’s skill at cultivating the atmosphere of the anime through his music, making him second perhaps only to Yuki Kajiura.

Getbackers – Getbackers

[Audio clip: view full post to listen]
Later in 2002, Iwasaki would have the opportunity to work on a 2-shot OVA series that is arguably the pinnacle of the iyashikei (healing) genre. That work would be Yokohama Kaidashi Kikō OVA ~Quiet Country Cafe~. Though much of the compositional legwork for this easygoing series was done by the Choro Club, Iwasaki still played a vital role in orchestrating many of the OVA’s memorable themes. Here, the Choro Club exercises their brand of relaxing choro melodies, exemplified most wonderfully in the main theme for Cafe Alpha. With Iwasaki at the orchestral helm, the meandering qualities really come out in the piece; as he adds a whimsical, wandering clarinet and serene strings to the mix, he captures the protagonist’s inquisitive nature.

Yokohama Kaidashi Kikou Quiet Country Cafe – Cafe Alpha – Main Theme Orchestration

[Audio clip: view full post to listen]
In 2003, Iwasaki would reprise the compositional role that he played with the R.O.D. OVA (which preceded the TV series by about 2 years) by composing the music to the new TV series. The OVA was an enthralling experience, with its crisp visuals and a nice even blend of jazzy tones, orchestral delights, and some solemn synth-based atmospheric tracks. Of those, the jazz tracks stood out the most and none moreso than the main theme, which delivers a James Bond-esque vibe to the OVA as a whole. The TV series would follow suit in reprising many of those themes. For fans who were looking for something a bit different, this was a disappointment, but the new tracks that did appear brought unto the TV series a grim atmosphere. Iwasaki excelled in adding dark, ominous tracks such as “A Body Without a Soul (God Save the Queen)” which, if you took a clue from the parenthetical, is a very grim arrangement of our favorite British national anthem.

Read or Die – Read or Die no Teema ~Long Version~

[Audio clip: view full post to listen]
But starting with Yakitate!! Japan in 2004, Iwasaki began to stumble just a bit as the awe-inspiring melodies that marked his previous works never materialized here. The problem with this soundtrack isn’t really anything overt and it’s actually still decent compared to everything else that’s out there. But within Iwasaki’s discography, it’s a noticeable drop. When you watched the anime, the atmosphere that Taku Iwasaki weaved was one that ushered a sense of free-flowing creativity as new baked delights are born from endless amounts of experimentation. While that sense of fun was packed through the very enjoyable “Yakitate!! Japan,” the later tracks never stand out quite as well on a standalone basis. Tracks like “Daybreak Symphony” seem bereft of the energy and came across as being overly repetitive and uninspiring, lacking the audacity that featured so prominently in the anime.

Yakitate!! Japan – Yakitate!! Japan

[Audio clip: view full post to listen]
But if you really wanted Iwasaki’s lowest point you needn’t look far to stumble upon Iwasaki’s totally uninspired effort in Black Cat. The music initially sounded promising, with the main theme in “Konoyo no Uta” which just drips of sentimentality, but as you explore the disc, the music is compounded by a dullness that descends into lethargy. “ACCETAMI” does bring out a bit of operatic flair (something that’ll be a major factor in a late soundtrack of his. You know which one it is, right?) and it does an excellent job in bringing out the antagonist’s villainy, but that’s about as best as Black Cat is capable of delivering. Beyond that, it’s a dog of a soundtrack, something that’s best forgotten because it doesn’t do much to stand out aside curing you of insomnia.

Black Cat – ACCETTAMI

[Audio clip: view full post to listen]
His score for Angel Heart succeeded in being a bit more engaging, taking a more jazzy approach with noticeable success. The tell-tale signs of jazz are apparent from the beginning; the opening theme “Utsuru na Kokoro” is led by a saxaphone that embellishes the melody with the off-the-cuff flourishes characteristic of the musical genre. Iwasaki even graces us with a soppy love theme dripping with forlorn sentimentality as jazz love themes are wont to do. Unfortunately, while most if not all of the jazz tracks are catchy, the rest of the soundtrack falls prey to such common flaws as ambience and repetition. Consequently, the soundtrack never transcends being more than an average Iwasaki work, with enough sub-par tracks to cloud its overall impression.

Angel Heart – Utsuro na Kokoro

[Audio clip: view full post to listen]
If any remnants of his past stagnation still lingered considering the recent streak of mediocre scores, the music for Origin – Spirits of the Past dissolved them with aplomb. Perhaps it also helped that the movie gave him a larger budget to work with, allowing him to compose music with an entire orchestral ensemble in mind. Whatever the case, the end result was a wonderful score that truly captured the scope of the epic tale it accompanied. Iwasaki covers all the bases, effectively setting the scene with a selection of tracks that proffer an exotic world different from ours. As this world is increasingly drawn into conflict, the music becomes more agitated to match the battles that the characters find themselves embroiled in. However, nothing quite compares to the piece that ends the soundtrack with triumphant confidence. The trumpets in “Bokutachi no Mirai no Tame ni” resound with a grand and soaring melody borne aloft by precipitous runs of strings, climaxing in a monumental ending that fittingly ends the album. With this score, Iwasaki proved himself without a doubt one of the best orchestrators of anime music.

Origin Spirits of the Past – Bokutachi no Mirai no Tame ni

[Audio clip: view full post to listen]
Binchō-tan was a far cry from Iwasaki’s work with Origin. Unlike any other anime that Iwasaki had scored previously, Binchō-tan is a slice-of-life series and the music captured the slow and easygoing atmosphere of the show without sacrificing any of his signature styles. This time around, his experimentation manifests in the use of a saw (of the instrumental kind) in several of the tracks, including “Sora no Ue”. The warbling, otherworldly sound of the saw is nothing short of daydreamy and fantastical, lending a hazy sort of atmosphere to the piece and the soundtrack. On the other hand, a more lively side of life is explored in tracks a little less out to lunch – the woodwinds in “Oshigoto” create a brisk and perky atmosphere that aptly describe the work that the title takes its name after.

Bincho-tan – Sora no Ue

[Audio clip: view full post to listen]
He hasn’t scored another slice-of-life since. Instead, he made Oban Star Racers his triumphant return to action music. Oban Star Racers doesn’t disappoint, most notably offering some intense tracks that accompany the adrenaline-filled races of the anime. Rhythm plays an important role in maintaining this atmosphere, imparting into the music a lively sense of velocity and drive. “Molly’s Theme – Action” is a prime example. The airy strings rollick on a spirited beat while a joyous melody soars above it, creating a piece of music that rejoices in its own movement. Similarly engrossing, “Aikka’s Theme” adopts a more ethnic sound with an obvious Eastern influence. The drums push the melody onwards relentlessly, resulting in a track that could pass off just as much as a song for battle as a race. To be sure, Oban Star Racers succeeded in capturing every bit of velocity a space marathon could possibly offer.

Oban Star Racers – Aikka’s Theme

[Audio clip: view full post to listen]
In Kekkaishi however, Iwasaki’s experimentation is actually fairly minimal. If anything, this soundtrack tends more towards the style used in Iwasaki’s earlier works, with a melancholy pall dominating much of the music. And of the experimentation that does surface, most of those tracks portend at the Iwasaki fare that is to come rather than making their stamp upon this particular soundtrack. For example, “Magic Mushrooms” offers the sort of dissonance more commonly associated with Soul Eater. And then there’s Iwasaki’s partnership with the rapper Tarantula, who makes an unforgettable impression on anime fans through Gurren Lagaan, though the impact he has here is more along the lines of silly than inspirational. But then again, it is kind of hard to surpass ROW ROW FIGHT THE POWER, so maybe he can be forgiven somewhat.

Kekkaishi – Take over destiny

[Audio clip: view full post to listen]
009-1 is another of Iwasaki’s scores that delves into the genre of jazz in addition to his typical strings and beatwork. The tracks characteristic of his usual fare are rather run-of-the-mill and are not very notable, neither presenting a memorable theme nor offering anything novel. The real attractions in this soundtrack are the pieces in which Iwasaki goes for the all-out jazz sound. “Theme of 009-1″ starts off the soundtrack with a beat that’s hard not to move to. It’s soon covered by some laid-back strings and suave brass that make for an easygoing theme that’s rather addicting. The more dreamy and nostalgic kind of jazz usually associated with bars on a late night can be found in the lulling wandering in “Suddenly, Last Night”, a soothing track if there ever was one. Although not one of his most stellar works, these tracks and others are a nice sampling of Iwasaki’s talent when it comes to playing around with jazz.

009-1 – Theme of 009-1

[Audio clip: view full post to listen]
Anime fans who’ve been obsessive enough about anime BGM to have scouted out and enjoyed Iwasaki’s numerous past works were probably eager to listen to this next soundtrack. For everyone else, his score to Tengen Toppa Gurren Lagann would be his magnum opus as he placed his stamp upon the series. To call Gurren Lagaan big is to make the biggest understatement of 2007. In its execution, the anime pierced barriers and appealed through its sheer scope, a scope that Iwasaki was more than capable of delivering upon through an audacious effort that has yet to be duplicated since. The sheer epic magnitude brought about through tracks as “‘Libera Me’ from Hell,” which would be remembered for years to come as a sterling example of how to combine rap and opera. To imagine Gurren Lagaan without Iwasaki’s epic score borders upon unthinkable since the grand scale of the anime’s narrative is captured so fluidly through this Iwasaki effort.

Tengen Toppa Gurren Lagann – Libera Me From Hell

[Audio clip: view full post to listen]
Persona -trinity soul- would prove to be a much less groundbreaking score than TTGL. The majority of the soundtrack is made up of ominous ambience – a flaw that a soundtrack enthusiast comes to know well and fear. Tracks like “Old Wise Man” simply continue on without direction as it offers little beyond a dull mixture of synthetic noises and strange voices heavily smudged with an echo effect. Nevertheless, there are gems to be found scattered throughout the monotonous atmosphere. Iwasaki makes another foray into opera in “Der Mond Zeigt mir meine Eigne Gestalt” with the well known Kasahara Yuri as vocalist. The result could very well pass off as a piece from an actual opera, though Iwasaki’s character is never lost from the music. The soundtrack is also graced with a beautiful main theme, “Trinity Soul”. There is a wistful feeling in its melody, but the notes also glow with a warmth and bucolic hope that makes it a pleasure to listen to. This theme is performed with Natalie Gudziy’s pure voice in “SOMEWHERE,” which leaves listeners in awe through its captivating rendition.

Persona Trinity Soul – SOMEWHERE

[Audio clip: view full post to listen]
Iwasaki’s successful efforts did not mean that he was done experimenting. Soul Eater, released in 2008, would see him try blending together such diverse genres as electronica, rock, R&B, and, of course, his standard bits of piano and symphonic music. The big takeaway from this melting pot is how well it brings out the ominous setting of the anime and the characters’ disposition. The former is characterized by a lot of dissonant tones; nothing quite matches the chaotic, surreal world quite like “DEATHCITY.” As for the characters, while Black Star’s prima donna tendencies gets played through a heavy rock track and Death the Kid’s R&B brings out a calm and cool demeanor, it’s Soul’s theme in “Soul-Eater (so scandalous)” that’ll tend to come out on top with smirking attitude also set to R&B.

Soul Eater – DEATHCITY

[Audio clip: view full post to listen]
Iwasaki follows this up with a slightly more orthodox effort in Kuroshitsuji’s soundtrack. Though the music doesn’t quite hit as high a standard as some of his previous works have reached, his skill in nailing the atmosphere does shine through with a competent effort. The first disc is effectively all setting, with a few ominous waltzes, a few Baroque-styled tracks that depict the aristocracy, and a grandiose operatic delivery that reeks only slightly of pomposity. These themes all work together to convey all of Kuroshitsuji’s facets, from its supernatural, Gothic bent to its high and mighty air of snobbery. As enjoyable as the first disc is, much of Iwasaki’s excellence comes in through the second disc, which is far more diverse, especially through the inclusion of the Indian-themed tracks to cover Kuroshitsuji’s curry-related story arc and add a bit of spice to the listening experience as a whole.

Kuroshitsuji – Si deus me relinquit

[Audio clip: view full post to listen]
But if there’s anything that can be considered a bounceback into fine form (the finest since Gurren Lagaan at any rate), Katanagatari would be it. The anime’s main theme, heard in the epic “Bahasa Palus,” literally screams epic as vocalist Yutaka Fukuoka gives it an air of badassery through his intense delivery. But that’s not all it holds, because after Lotus Juice’s rapping subsides, the piece goes through a period of melancholy as Fukuoka’s voice grows soft, bringing a somber mood to it all. This track, and others, reflect Katanagatari’s ups and downs, from the bombastic battles, to the more tender, emotional moments seeped in doubt and uncertainty. But there’s no doubt in grading the quality of Iwasaki’s music as he fires off his best work in the last 3 years.

Katanagatari – Bahasa Palus

[Audio clip: view full post to listen]

His latest work is none other than the soundtrack to the currently-airing [C]: The Money of Soul and Possibility Control. So far, the music has made a return to the sort of dissonance that most people will associate with Soul Eater and much of the music playing during the battles are fairly standard as far as Iwasaki’s music goes. That said, there’s some caution to be had. Prior to the anime series airing, Iwasaki was complaining a lot on his personal blog about scoring this project and so, seemed pretty unhappy at the deadlines that were looming. Whether this will translate to a lackluster effort has yet to be determined, but it’s something to be wary of in any case.

Page 2 offers our staff’s impressions of Iwasaki’s music and career progression to date in the anime industry.

Really, I swear I’ll finish this before the year’s up.

As usual, don’t forget that all previous installments are filed under the “Decade List” tag and if you wanted to knock yourself silly by listening to the stuff I enjoyed from 2007 on back, that’s the place to go to.

Anyways, 2008 once again saw a slew of excellent shows gracing the small screen accompanied by solid music, even if, when compared to 2007, it felt like a bit of a drop-off. Still, there were plenty of notable shows like Macross Frontier which renewed fans’ interest in the Macross franchise while also bringing in a boatload of new fans, Casshern Sins would also hearken to older fans as well, while Code Geass would fire off a sequel with plot twists that became far too numerous to keep track of. Musically, it was a pretty strong year as well, with artists like Akihiko Matsumoto, Yoshimori Makoto, and Yuuji Yoshino putting their stamp on this year’s works.

So as usual, full clips are delivered here while the ones done through Youtube are spoilered. Be warned though the some of these will be short as I’ve already reviewed them someplace and if you want long, drawn-out thoughts, go check there. So with that out of the way, let’s explore this year’s offerings!

Spice and Wolf
I don’t know if this year had any clear winners since the quality of the music remained high though no one soundtrack really towered above the rest. Still, if there was one that stood out to me, it’d have to be Yuuji Yoshino’s work for Spice and Wolf. The dynamic between the two leads, Lawrence and Horo was already captivating, but what made it better was the way Yoshino brought the setting to life through his music. Tracks like “Shounin to Okami to, Tabi no Nibasha” and “Hikaru Wadachi” evokes the Middle Ages/Early Renaissance sound to help you get immersed into the show’s setting. To top it all off, the anime came with a solid opening theme in “Tabi no Tochuu” where Natsumi Kiyoura once again brings her dreamy voice which, while soothing, gets us started upon a long journey.

Shounin to Okami to, Tabi no Nibasha

[Audio clip: view full post to listen]

Hikaru Wadachi

[Audio clip: view full post to listen]
Macross Frontier
And competing with Spice and Wolf for my top spot is none other than Kanno’s soundtrack for Macross Frontier. The background music features some really eye-opening stuff reminiscent of Western film music, especially with tracks like “The Target” and “TALLY HO!” with their quotation of John Williams and Hans Zimmer respectively. But Kanno does show her bouncy, lighter side in “Test Flight Delight” which feels free in its expression, putting the feeling of flying in music really well. Age has also dulled my annoyance regarding May’n as my Anime Expo concert report will attest, though the wish that all the BGM were put on one disc still stands.

The Target

[Audio clip: view full post to listen]

TALLY HO!

[Audio clip: view full post to listen]

Test Flight Delight

[Audio clip: view full post to listen]
Code Geass
Speaking of action, one of my readers pointed out that I had completely forgotten to cover Code Geass in one of the previous years, and that’s my mistake really because Kotaro Nakagawa’s music has always been pretty enjoyable. Even though I’ve not watched the anime, I’ve always been enthralled by the music whenever it crops up during some MALKeionbu week. The feeling that I get out of Code Geass is its bent towards a Latin/Spanish flavor, carried through in works like “Black Knights” that also uses an awesome chorus part. But hey, there’s also a dab of Celtic in “Continued Story” (complete with ethereal Hitomi vocals) to enjoy too.

Black Knights

[Audio clip: view full post to listen]

Continued Story

[Audio clip: view full post to listen]
Kure-nai
Kure-nai’s soundtrack is wonderful, employing more of Ken Muramatsu’s jazzy rhythms that he used in sketchbook. That said, the first disc felt inconsistent, and I could never really get into the groove. But once the second disc rolled around, tracks like “Surf Song ~Oikaze wo Ukete” and, of course, “Suiheisen no Mukou ni,” which some of you may know better as the instrumental rendition of the song the characters performed in the musical episode. Come to think about it, that track may very well be my favorite Muramatsu piece to date.

Surf Song ~Oikaze wo Ukete

[Audio clip: view full post to listen]

Suiheisen no Mukou ni

[Audio clip: view full post to listen]
True Tears
True Tears irked me in a few ways, but on the whole, it was a positive experience. The music, aside from the ending theme at least, was solid through and through; I don’t think I have to go to deep into why I like “Reflectia” more than once. In addition to composing that opening, Hajime Kikuchi goes on to write beautiful piano and violin melodies throughout the show’s soundtrack. I particularly liked the way he captures Noe’s eccentricities in her theme while delivering a rather nice buildup through the strings in pieces like “SeLecT.” Still, nothing quite beats the upbeat tracks, featured in “Nyuushakou ni, Migite wo Kazasu,” which creates a pretty strong first impression when you first give the soundtrack a go.

Nyuushakou ni, Migite wo Kazasu

[Audio clip: view full post to listen]

Kage Hazumi ~theme of noe~

[Audio clip: view full post to listen]
Toshokan Sensou
Toshokan Sensou is enjoyable as far as one can find the concept of militant librarians battling to preserve the written word against censors to be enjoyable (which I do) and still has enough time to develop its romantic angle. The music is by Kanno. Yuugo Kanno, that is and though I wouldn’t give the soundtrack plaudits, I do want to highlight the main theme which is absolutely jaw-dropping; a superb example of orchestral music done right as all these woodwinds weave in and out, creating a piece that is stately and majestic. I remember being really enthralled by this piece the first time I heard it and now, I’ve listened to it so much that there’s no way I can forget it at all. The last track at the end is also beautiful and once again, you can hear that main theme crop up.

Toshokan Sensou -Main Theme-

[Audio clip: view full post to listen]

Toshokan Sensou -END TITLE-

[Audio clip: view full post to listen]
One Outs
I love the One Outs soundtrack! That has to be said loud and clear and repeated over and over since this work by Summer Wars’ composer Akihiko Matsumoto is so woefully underrated. It didn’t help that this show didn’t register on many people’s radars and fewer still will have actually listened to the soundtrack. But those who have given it a shot have enjoyed it; I’m not the only one. I’ll continually highlight tracks like “Aerobatic Funk” and “Wild & Crazy” as the pieces which really are awesome because of how different they are compared to the BGM you’ll normally find. It’s a breath of fresh air to be sure and with his work on Summer Wars, I feel that Akihiko Matsumoto still has plenty of upside since his two soundtracks that I’ve listened to have been solid and I hope that he continues to improve.

Aerobatic Funk

[Audio clip: view full post to listen]

Wild & Crazy

[Audio clip: view full post to listen]
Natsume Yuujinchou
Another composer who also has displayed a knack for improving, Yoshimori Makoto, has gone a long way since Baccano! and shines with Natsume Yuujinchou’s soundtrack! This guy will explore the boundaries of music and try to turn whatever he gets his hands on into music. At least, that’s the only way I can explain off the track that features a mosquito buzzing around (worse than a vuvuzela. Fact.) and the one that features weird-ass ghoulish noises. Well, through tracks like the main theme, Makoto shows that he is capable of composing what many of us would consider to be normal fare, and tracks like the theme to Natsume Yuujinchou which has the lazy feel of a summer day though “Kimi ni Fureta Hikari’s” piano wins me over every time. Especially when it shifts at the 4:50 mark (yes, make sure you get to that part at least!!) in the way it evokes that sense of happiness and joy.

Kimi ga Yobu Namae ~Natsume Yuujinchou no Theme~

[Audio clip: view full post to listen]

Kimi ni Fureta Hikari

[Audio clip: view full post to listen]
Kuroshitsuji
No, I haven’t forgotten Kuroshitsuji. Taku Iwasaki continues a good run of form and hits gold by nailing the darker aspect of the show while also showing a good amount of skill in his composition of Indian music, which I’ve rarely heard in anime music thus far. There’s not a whole lot more I can add to my Kuroshitsuji soundtrack review. Oh well, have some Indian music to close it all out.

The Stranger from India

[Audio clip: view full post to listen]

Long journey isn’t it? We’re more than halfway through, and that’s only because there’s not a whole lot of OP/EDs to highlight because my focus kind of shifted away from those as of late. Still, see which ones made the cut on page 2!

Disc 1

[[Visit blog to check out this spoiler]]

Disc 2

[[Visit blog to check out this spoiler]]

Disc 3

[[Visit blog to check out this spoiler]]

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
[Audio clip: view full post to listen]

A diabolic waltz
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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!
[Audio clip: view full post to listen]

The Dark Crow Smiles
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]

Call thy name, “Stella Mystica”
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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