Tracklist

Review: In evaluating “Kizunairo,” it is best to approach it in terms of what this song doesn’t do rather than what it does.

First off, the song’s technical demands tend towards the low side; the passages themselves aren’t difficult since the melody never fluctuates so wildly that it requires the singer to exercise firm control over her voice so that she hits the notes spot-on. It’s not much of a negative, but “Kizunairo” should compensate for that through other attributes like having a catchy melody or being able to convey the scope of the song’s sentiments. I’m sorry to say that it does neither aspect all too well. The melody is marginally catchy at best, and at the rate it’s going, it’s not one I’ll remember six months from now. Furthermore, the subject isn’t anything I haven’t seen or heard before, and so, would not be able to form a strong association with it either way. To shine at all, this song, moreso than many others, requires that its execution be decent.

Enter Lia.

I’m convinced that her vocal presence alone is sufficient to elevate the most vanilla-y J-pop song into something that’s enjoyable at worst. She certainly does so in “Kizunairo” where the clarity of her expression succeeds in drawing me into the song, especially during the verses, where I experience the urgency through Lia’s delivery. The verses hold my attention, even if it’s short-lived, and the fast tempo carries me along all the way to the chorus. It’s just a shame that once there, my attention wanders elsewhere since the sentiment it expresses doesn’t mesh too well with the melody. As pleasant as the whole package is, “Kizunairo” is a wasted opportunity because it doesn’t make good use of Lia’s vocals to deliver a truly memorable, heartrending experience.

“I Miss You” is better as it takes the form of a slow-paced ballad accompanied by a gentle violin and piano that evokes a soothing, heartfelt sound that, as you might expect from its title, treasures those joyous times long past. Based on the music, I thought for a second that this was the work of Hajime Kikuchi of eufonius fame since the relaxing, nostalgic tones that it offers up matches well with his style. But no, Yagi Yuuichi is responsible for its composition and he does a good job nailing the song’s sentiments in a way that I can empathize with the singer’s regrets. The song is a bit too simple though, and I’d peg it as a poor man’s “Natsukage” since it doesn’t have the brilliant melody or delivery to set it apart. If nothing else, it’s not as forgettable as “Kizunairo” as the repetition of the song’s title in the chorus reinforces the message that is easy to identify with.

It’s a shame that neither song is musically compelling, since it means that Lia’s voice isn’t used to its fullest potential. At her best, she’s capable of conveying unto us a deep sense of emotional pain or buoying our spirits by imbuing it with hope and doing it in such a way that it stays with us forever. With Kizunairo, I’ll be surprised if I can recall this single in a month. It doesn’t contain a song engraved by time, that’s for sure.

Rating: Decent

Kizunairo

Review: The soothing piano melody in the opening few seconds of Angel Beat’s OP, “My Soul, Your Beats”, belie a rather intense song from Lia.  Upon a transition of harsh electronic repetitions, “My Soul, Your Beats” expands once Lia starts singing. Her vocals are smooth and continuous, but they make for a contrast with the rhythmic harmony underneath it all, carried most noticeably by the playful cello vignettes that strike with mischievous regularity.

There’s a very brief moment of tension before the chorus breaks out and the song immediately intensifies even more.  Lia’s voice is multitracked and a subtle guitar riff underneath it all signifies a more serious turn in the song.  More importantly, the violins follow Lia’s singing by becoming smoother and more deliberate, giving the whole chorus an uplifting feeling.  This is repeated again in the final two choruses, but there’s a contrast, as the violins leave Lia’s melody and strike in a way that almost resembles lightning falling down with regularity.  The entire motif of the song is rather interesting because the melody carried by Lia’s singing is smooth and continuous, while the harmony that underlies it all is rhythmic and staccato… much like the beat of a heart.  The finale of the song is the same quiet soothing piano melody that the song began on, bringing it entirely full circle.

There’s one thing that doesn’t work about this song, though, and that’s the bridge in the middle of the song.  It’s not bad, but it doesn’t fit in with the song at all, and feels like it’s been wedged in. When you’re suddenly whisked away to a strange place before being whisked back to “My Soul, Your Beats’” familiar chorus, it makes the entire thing feel like an unnecessary distraction.

“Brave Song”, from Tada Aoi, makes for Angel Beat’s sweet ED, and it’s a soothing, soft and relatively relaxed song most of the way through.  The song is simple, no where near as sophisticated as “My Soul, Your Beats”, but it’s uplifting by design, and its power is in its emotional straightforwardness.  The refrain of “Itsuka hito ha hitori ni natte/Omoide no naka ni ikiteku dake” is repeated a couple of times during the song, which says, in no uncertain terms, that “Brave Song” is a lonely song.  But, the feelings it evokes almost run counter to that, and despite the melancholy of the lyrics, it is ultimately an uplifting and sweet tune.  It’s bitter-sweet, which is fitting for the anime it concludes.

Rating: Very Good

Angel Beats OP/ED Single – My Soul, Your Beats

Disc 1

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Disc 2

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Review: If the lead composer for ANANT-GARDE Eyes isn’t Jun Maeda, you wouldn’t know it from listening to Angel Beats!’s soundtrack. Their music blends in almost seamlessly with Maeda’s compositions, and the only points of departure are the synth-heavy tracks that feel out of place from Maeda’s usual melodramatic fare but are nevertheless crucial to depicting the anime’s background.

The straightforward story is that Angel Beats! is set in a purgatory where a handful of people try to combat an entity who they believe is responsible for their unhappiness when they were alive. A more novel suggestion is that Angel Beats! is a video game. I prefer this explanation more for the purposes of looking at the soundtrack because its music reminds me of the music you hear in video games, specifically the type heard in JRPGs.

The three facets of JRPG music that I outlined earlier – battle themes, location music, and character themes – are all scattered across Angel Beats! soundtrack and should be easy to pick out. RPG battle music manifests itself in “Decisive Battle.” The dissonant chords opening the track create the sort of backing you’d hear in Masashi Hamauzu battle themes for Sigma Harmonics and SaGa Frontier II, and those mostly stay in the background, creating a chaotic layer while an ephemeral woodwind weaves in and out when the synth isn’t at the reins. In listening to this, and other battle themes like “Attack!!,” the combat music doesn’t reach the level of Hamauzu’s transcendent themes since they rely too much on the synth, and heavy-sounding synth at that, but they do pack the requisite amount of chaos and energy to stand out well enough.

Decisive Battle

[Audio clip: view full post to listen]
Locales aren’t nearly as prominent as the battle themes, but both the slice of life parts and the more ominous dungeon-like themes are represented. You get the initial feel for the former in “School Days” which sparkles in its simplicity, but I take more to “Girl’s Hop’s” laid-back chiptune-y goodness. Both pieces have a carefree aura to them, and their repetitive tones make it seem like time stands absolutely still. But hey, such is life in purgatory. “Enemy Country” hits on the typical RPG dungeon themes, with its thick, tension-filled atmosphere that segues into an emphatic rhythm as the dangers ramp up. Like the battle themes, there’s a lot of heavy synth leading the way and it can be overbearing for those not fond of synth, but it works to immerse you in an underground zone filled with traps and adversaries.

Girl’s Hop

[Audio clip: view full post to listen]
Several tracks later, “Niku Udon” bears mentioning. Though it’s not what people would think of as RPG music, it’s chaotic chiptunes does sound like video game music, with a melody that’s reminiscent of old games blaring out their music in unison in arcades of decades past.

Niku Udon

[Audio clip: view full post to listen]
Last, but not least, Angel Beats! offers some character themes, though it’s limited in that it focuses on the characters Kanade and Otonashi. Of the two, Kanade’s theme sounds the most like an RPG’s character theme, with a chiptune segment around the middle of the track to drive that comparison closer. The rest of the track is solid, featuring Jun Maeda’s bent towards piano melodies that glimmer down like sunlit beams, sharing its warmth upon those who receive its light. It’s soft, it’s soothing, but it’s determined when it needs to be, making “Kanade” a perfect reflection of the titular character’s personality.

Kanade

[Audio clip: view full post to listen]
I won’t be talking specifically about Otonashi’s theme though since that’s just an arrangement of “Theme of SSS” with the cello taking over the main melody. Rather, it’s “Theme of SSS” that deserves the focus. The desperation the piece emanates jibes with the SSS’s seemingly hopeless goal of fighting the entity in charge of purgatory. Through the tragic piano melody that opens the track, you can sense not only the depths of the pain and suffering surrounding the SSS members’ backgrounds, but also the resolve to which they will go to fight the perceived source of injustice. Its stark depiction of tragedy comes off poignantly, and it works in hitting all the right emotional spots.

Theme of SSS

[Audio clip: view full post to listen]
And what’s a Maeda soundtrack without some utterly beautiful piano pieces that really tug upon those heartstrings? Both “Ichiban no Takaramono” and its instrumental version, “My Most Precious Treasure,” progress brilliantly. The pieces start with a gentle piano that comes slowly, carrying with it an air of finality. As they progress, you can sense the load of regrets and heartaches that the character has gone through, but all of that’s coming to a close as death approaches. The feelings of acceptance dominate the melody, and even though the time of passing is near, I’d like to think that it ends on an optimistic note to reflect that the person has firmed up their resolve and is prepared to move on from this life. I do prefer “My Most Precious Treasure” because it succeeds in conveying those tones without the need for words to get in the way. In short, it brings out the emotion in what I consider to be its purest form.

Ichiban no Takaramono (Original Version)

[Audio clip: view full post to listen]

My Most Precious Treasure

[Audio clip: view full post to listen]
And before I close out, I’ll just give the piano version of “My Soul, Your Beats” my full approval. The vocal version did feel a bit too messy when I listened to the background instrumentals, and Lia’s voice was what kept the song alive. The piano version, titled “My Heart,” does not suffer from that problem. Like “My Most Precious Treasure,” the heartfelt emotions feel much stronger, instilling within us the love the characters feel, along with the sense of hope of being able to flee this endless cycle of the purgatory while leading others towards a better end.

My Heart

[Audio clip: view full post to listen]
For all the failures of Angel Beats!’s narrative, its soundtrack manages to shine wonderfully. The heavier synth tracks make a good backdrop for the action and the locales, but those play second fiddle to the stunningly heartfelt tracks that, once again, demonstrate the extent of Jun Maeda’s composing abilities. I’ve yet to hear a bad Maeda track so far, and here, he demonstrates once more that he’s the best composer on Key’s staff.

Rating: Very Good

Notes: Eternal offers his own thoughts as well and his makes for some very good reading.

Disc 1

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Disc 2

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Disc 3

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Tracklist and miscellaneous album information provided by VGMdb.

Review: Watching the entirety of the Clannad anime (including the After Story) felt like completing a long journey that, looking back, yielded a mix of wonderful and bittersweet moments in the life of its two principal characters. Much of the show’s success is derived from seeing the personal and emotional growth that its protagonists, Tomoya Okazaki and Nagisa Furukawa, undergo as they fall in love and together, face the obstacles that fate has put in their path. Through it all, the series serves as a firm reminder that no matter what tragedies one may have to endure, the family will always provide that firm bedrock of support that one can celebrate along with in the best of times, but also rely upon in the worst of times.

And as we sit through Tomoya’s ups and downs, the music is always hovering just out of sight, but the impact it delivers when it needs to can transform a scene that’s merely sad into one that’s emotionally wrenching. The credit goes to Key’s Jun Maeda, Shinji Orito, and Magome Togoshi for delivering unto us a soundtrack that is absolutely beautiful in the way it captures the mood of the series and to Lia and riya, whose performances made this album truly shine as my favorite soundtrack to a Key/Kyoto Animation collaboration.

The question is where exactly one starts when addressing this soundtrack? There’s no doubt that the characters themes are particularly delightful. For example, Fuko’s theme, “Hurry, Starfish,” will elicit cheers and groans depending on one’s perception of her, but there’s no denying that the piece’s light-hearted aura gets her eccentric, capricious nature down pat through the piano introduction that depicts the appearance of a whimsical sprite. Kotomi’s theme, “Études pour les petites supercordes,” uses the violin in a rather bumbling manner which fits with her socially awkward tendencies, but it retains her good-hearted nature that is positively endearing.

Hurry, Starfish
[Audio clip: view full post to listen]
Of all the character themes though, I consider Nagisa’s to be the most important because of the role she plays in Tomoya’s life and, by extension, in the anime. Her theme may be simplistic, but it illustrates her warm personality, her caring nature, and her determination to see things through to the end in spite of her health problems. This piece is one that I will return to a few times because it represents so many of Clannad’s themes, from the sense of hope that things will turn out for the best to the ensuing tragedies that come up along the way, but regardless of the ups and downs that the audience experiences, “Nagisa’s” beautiful melody reassures us that happiness lies in store at the end of it all.

Nagisa
[Audio clip: view full post to listen]
After all, “Nagisa” makes its appearance after “Town, Flow of Time, People,” which is depressing as it illustrates the hopeless, despairing thoughts that have encumbered Tomoya’s mind through the piece’s grim aura that leads one to believe that the city’s atmosphere is slowly suffocating him with the painful memories he’s associated with it. But “Nagisa” comes in like a healing wind, and this transformation results in Tomoya’s prospects brightening up considerably, making way for tracks like “Spring Wind” and “Country Lane” which brings in an air of optimism into his day to day life and allow the listener to take in the relaxing aura and enjoy the brief moment of happiness that Tomoya experiences through his daily interactions before things take a turn for the worse.

Town, Flow of Time, People
[Audio clip: view full post to listen]

Spring Wind
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The point at which tragedy strikes is where the second disc takes over since most of the melancholy themes that one associates with Clannad’s downhearted moments are found here. For example, “Snowfield” exemplifies the same sort of hopelessness that “Town, Flow of Time, People” carries by hinting at the tragedies that are soon to come. What really struck me when listening to “Snowfield” was the sense of loneliness that emanates from this track. Not only does it hammer the feelings of despair, this suffering is something that Tomoya goes through alone as the person he cares for most is taken from him. This emotional turmoil is also evident in “Roaring Tides II” which moves at a slower, more deliberate tempo as though to illustrate the extent of the despair that has engulfed Tomoya, weakening him and making him especially vulnerable to what will happen next.

Snowfield
[Audio clip: view full post to listen]
“Nagisa ~ Farewell at the Foot of a Hill” deals him the final blow, and by incorporating Nagisa’s theme into the piece, the audience too acutely feels his pain. While I have discussed the effect of this piece during the scene which depicts Nagisa’s passing, it bears repeating that what makes this piece so powerful lies within the context of the scene. When the music plays, it sparks one’s memories and one cannot help but remember all the times Tomoya and Nagisa spent together and how her death profoundly affects him. By using a synth as a backdrop towards the end of this piece, we are encouraged to reflect upon those happier times as her death finally sinks in and Tomoya’s life unravels from the shock and pain.

But amidst the melancholy and despair are some bright spots like “To the Same Heights” and “Shining in the Sky.” “To the Same Heights,” in particular, raises the specter of hope that things don’t have to be so bad as long as that familial foundation of support still exists. This bittersweet brew tastes more sweet than bitter and the message I got from this wonderful piano melody is that fate may deal one a terrible hand, but by maintaining one’s relationships, one can overcome those difficulties and soar on to a brighter tomorrow. That it’s used as the basis for “Toki wo Kizamu Uta” makes for an interesting comparison since my first impression of this piece had been an uplifting one rather than the mournful feel that I derived from the After Story opening.

To the Same Heights
[Audio clip: view full post to listen]
“Shining in the Sky” is also mentioned as a bright spot. This track carries an aura of contentment as it brings its air of finality through the crescendo around 1:53. Through the music, one gets a feeling that the struggles had been a valuable lesson and the characters have learned to move past the tragic events to become stronger as a result. “Country Train” takes the feeling of optimism further by adding in a dose of resolve through its rhythm and tempo which allows one to not only hear the swift-moving train, but to also feel as though Tomoya has awakened from the pits of despair as he pours his heart into making amends (especially towards Ushio) and reconnect with the people he cherishes so much.

Shining in the Sky
[Audio clip: view full post to listen]

Country Train
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The best aspect of the second disc belongs to the three vocal pieces though. “-Two Shadows-” has a nostalgic feeling imparted through riya’s upbeat and emphatic delivery and “Ana” is also a beautiful track that utilizes Lia’s ability to express herself wonderfully. Although the lyrics which can be incoherent at times as it talks about a paradise that goes through cyclical changes, Lia’s soaring vocals carry a peaceful, almost ethereal aura which channel the song’s lofty sentiments.

-Two Shadows-
[Audio clip: view full post to listen]

Ana
[Audio clip: view full post to listen]
Of the three vocal songs, “Tiny Palm” is absolutely unforgettable. It starts with the theme from “Nagisa” but quickly makes way for riya’s heartfelt delivery which takes us through the story from start to finish. The initial meeting with Nagisa is heard at the very beginning and through that fateful encounter, their lives are changed, and for the better. Although the feelings of love take awhile to build up, when it shines, it does so radiantly through the chorus where riya expresses the characters’ hopes and dreams as they vow to face life’s challenges as a couple. I cannot get over how beautifully this song imparts its themes as it uplifts the spirit through the genuine emotions it instills in the heart of the listener and it is by far the best song on the soundtrack.

Tiny Palm
[Audio clip: view full post to listen]
Although the third disc consists of arrangements that are enjoyable, but nowhere as integral as the first two discs, it’s worth finishing since it’s the conclusion of a long, but fruitful journey in the same way the anime series is. Through it all, the music succeeds in being a heartfelt addition as it not only takes us through the joys and the sorrows, it also serves as a subtle reminder to us all to cherish the relationships we have and to build new ones along the way.

Rating: Excellent

After reading this post, I was inspired/compelled to address the impact that the background music had in Episode 16 of Clannad ~After Story~, specifically in the last five minutes where things come crashing down emotionally. So before we actually go too deep into the discussion, those of you who haven’t watched the episode should be warned that there are spoilers ahead. For the rest of you, we will start by examining the scene and taking a look at how well the music succeeds in bringing the viewer’s emotions to bear because of the associations that have been put in place.

Background: Nagisa’s pregnancy is already in full force, and though the arrival of a child is supposed to bring happiness, there are enough doubts lingering over Nagisa’s health to dampen the occasion. Each passing day brings forth a mixture of hope, despair, and uncertainty. Tomoya tries to temper his feeling of hopelessness and sense of self-loathing by dismissing it outright or keeping up a mask to hide his worries. This approach does work for a time but fate ultimately deals the two a rather cruel hand and when the day finally came, tragedy struck. Tomoya had already been worrying, his mind in a haze and he was practically wandering through a world of mist and fog and only the sound of Ushio crying was able to jerk him out of his dazed state and bring him back to reality. But it had already been too late. Nagisa lay there, minutes away from dying and though the two were able to exchange tender words, there was no doubt as to what was going to happen. Tomoya’s voice cracked. His tone indicated a sense of desperation as he began babbling while his eyes pleaded for Nagisa to hang in there but alas, the ordeal was enough to sap the last remnants of her strength and she passed from this world. In their final moments together, the viewer is treated to montage that allows us a peek into Tomoya’s memories that he shared with Nagisa, but in reverse chronological order. And while all of this was occurring, a familiar melody begins to play:

[Audio clip: view full post to listen]

The Music’s Impact: The scene is very beautiful and moving in its tragedy and “Nagisa” nails that sentiment by starting out soft and subtle. Up until now, this piece had captured Nagisa’s character as well as her experiences with Tomoya perfectly in the way it’s structured. The subtle piano opening conveys her shy, unassuming personality but it grows ever so slowly, starting with the left hand on the piano, and then with the addition of a violin part at the 0:38 mark accompanying piano motive. A transition section takes over around 0:57 and the piano is replaced by an instrument that sounds like a harpsichord which plays a melody that brings forth the imagery of someone taking baby steps cautiously at first, but with increasing confidence as time passes. This confidence culminates at 1:17 when the full strength of the melody blooms, its arrival announced by a bass drum that brings in a melody that is buoyant, colorful, and alive as the harpsichord and piano play side by side, bolstered by percussion instruments that moves at a deliberate pace. The way this section expresses itself feels like a depiction of Tomoya and Nagisa’s happiness as they resolve to go through life together with all its joys, pains, and sorrows, while overcome any obstacle that gets in their way.

But in spite of the optimism imbued in the last section, this piece comes across as being very melancholy within the context of Nagisa’s death scene and it’s only logical to ponder why. My thinking is because this melody isn’t one that we, the audience, are unfamiliar with. Rather, we’ve heard this piece play quite a few times and the fact that it fits her character so well is strongly ingrained within our subconscious that we’ve come to associate that melody with her. That element is why that piece is so powerful in the scene described above. The way it plays is absolutely subtle but its presentation blends in perfectly that it augments the raw emotions gushing forth. As “Nagisa” begins to play, it dawns upon us that this really is the last time we’ll see her and the feeling of loss that we experience upon realizing that fact hits us pretty hard. Furthermore, the scenes in which we backtrack from Nagisa and Tomoya’s married life, to the Theater Club, to helping out fellow classmates, and finally to the moment where the two first met serves as a strong reminder of all they’ve been through and the memories that they’ve created together. When you put “Nagisa” on top of all that, the memories we recall become really clear and we get a sense for the scope of the tragedy borne from the hole that now exists in Tomoya’s life; a hole that, I might add, is unlikely to be repaired anytime soon.

The piece succeeds at bringing out the brunt of the pain as we too sympathize with Tomoya’s loss. Throughout the piece, we’re reminded of all the good times that Tomoya and Nagisa shared as they practically grew up with each other’s support. Even if some of us saw this outcome, the sense of loss isn’t diminished. So with that, I’d like to leave you all with Lia’s rendition of Nagisa’s theme, titled “Chiisana Tenohira,” which is probably the most beautiful version that I’ve heard because Lia’s voice brings out the sheer beauty of the piece so well:

[Audio clip: view full post to listen]

It’s tragic. It’s beautiful. And it’s a poignant scene that we’re unlikely to ever forget.

Information provided by Bigblah of VGMdb.net/Gamingforce.

Review: For those of you who’ve talked to me either in person or online, it should not come as a surprise as to how much I had been anticipating this album’s release. I’ve long been a fan of Lia’s vocal works since I listened to “Tori no Uta” and add to that the fact that Clannad’s game soundtrack managed to deliver a comparable listening experience to Air’s soundtrack (a very good thing) and you’ve got a pretty good record going on. So when I saw that Clannad ~After Story~ would use an arrangement of “To the Same Heights” (Disc 2, Track 5 from Clannad’s soundtrack) with Lia on vocals, I knew we’d be in for a treat. After listening to the song a few times, I can declare “A Song Engraved in Time” to be the best song from Fall 2008′s lineup.

Words just can’t describe the heartfelt emotion with which “A Song Engraved in Time” instills within its listeners from its opening chords all the way to the very end of the song. This song starts off by capturing your attention with its brief introduction that lends itself to a rather soothing atmosphere. Then, Lia’s voice enters the picture and the sheer power of her delivery succeeds in entrancing the listener and she builds up the melody to transition over to the heart of the song, which makes its entrance at the 1:03 mark. At this point, the song enters high gear as Lia conveys a sense of loneliness and longing and does so in such a way that’s nothing short of being stunningly beautiful and depressing at the same time. The depths to which this song hits at one’s emotions is just astounding and it’s definitely a testament to the richness of Lia’s voice that brings with it a sort of expressiveness few other vocalists can match. Everything about this song, from the vocals and the piano interlude 1:50 to 2:00 to the refrain that wraps up the song is just poignant and came pretty close to reducing me to tears a few times. There aren’t many songs that have that sort of effect, which demonstrates how well this track does when it comes to delivering a solid, emotional impact upon the listener, making it a wonderful listening experience.

Any song that comes after “A Song Engraved in Time” just simply won’t compare and it’s even a steeper climb for “TORCH” since I wasn’t enthralled with the piece when I watched the ED sequence. Its jumpy, celebratory introduction is a jarring transition compared to the heavy, emotional moments that “A Song Engraved in Time” put forth. However, if you force a separation between the two pieces, I think you’ll find “TORCH” to be a decent, competent track even though it’s certainly nowhere as good as the track that preceded it. The opening notes certainly give this song a festive air packed with energy that oddly reminds me of music from any given Mario Kart game just before the race begins and if you’ve paid attention to that ditty, I don’t think the comparison is too far off. Lia enters at the 0:15 mark and the mood shifts from an energetic piece to one that’s a bit mellower where you can sense a buildup, though it’s more subtle this time around. The buildup culminates at 1:03 where the melody shifts back to its joyous introduction before starting the second verse.

As I stated before, “TORCH” just doesn’t have the same kind of pull and by having Lia on vocals, the song is passable only because she’s a very good singer. Furthermore, whether it’s because I’m only concentrating on the music instead of being distracted by the accompanying or some other factor, “TORCH” is actually more tolerable in its full version than in the series. It doesn’t change the fact that it will forever lie in “A Song Engraved in Time’s” shadow, but at least it’s not as bad as I had initially made it out to be when I first heard it.

It’s albums like this that serve as a reminder of the power that music has upon people. While it’s easy to dismiss most anime OP/EDs as bland, uninspiring J-pop, there are enough songs out there that grab on to you emotionally to make the process of digging through lots and lots of anime music worthwhile. And in this instance, the sheer beauty and poignancy of the music puts “A Song Engraved in Time” in a class of its own.

Rating: Very Good

Opening – A Song Engraved in Time

Ending – TORCH