Tracklist

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Review: When an anime has great music, it can mean several things. The anime could be part of a popular franchise with the resulting large budget. It could be a genuine masterpiece crafted with the creativity and hard work of many people. Or, as Kannazuki no Miko taught me, it could be an overly melodramatic yuri show.

I decided to check out KnM after hearing some samples from its soundtrack and was rather surprised at what proceeded to unfold before my eyes. Containing absolutely everything known to occur in anime, from mecha to cat-girl nurses to love triangles, the whole mix was laughable. Despite this, the series was oddly entertaining in a so-bad-it’s-good way. The last episode even had me holding back emotional tears for Himeko and Chikane, the two girls whom the series revolves around. Perhaps I’m more susceptible to drama than I believe I am, but I like to think that the amazing score Mina Kubota composed had a role in keeping me watching the series to the end.

The soundtrack opens with the aptly named track “Kannazuki no Miko”. This piece does well to capture the true essence of the show; namely, the relationship between the girls and the duty they have been bound to by the gods. There is a melancholy bleakness in the woodwind melody, as if the music is lamenting the inevitable sacrifices the two will make. Near the end of the track, a trumpet proffers its voice, lending a sense of regal beauty to the tragic nature of the piece.

Kannazuki no Miko

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What’s a yuri drama without some angst? Not much. It’s a good thing excessive cheese makes music (as opposed to anything else) better, because KnM’s soundtrack is full of it. The aching utterances of the cello in “Hikisakareru Omoi” convey the agony of a heart in stark despair. Simply hearing the instrument grieve in its solitude causes one’s own heart to be weighed down with pensive woes. The piece perfectly embodies the bitter anguish the characters experience as they rail against the duty forced upon them by fate.

Hikisakareru Omoi

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However, amidst the angst and the impending end of the world, KnM is not without its happy moments. A cheerful setting is expressed in tracks such as “Hikari no Naka de”. The lively beat and the enthusiastic brass make it one of the most lighthearted tracks in the album, creating a joyful atmosphere free of troubles. In contrast to the energetic happiness expressed in “Hikari no Naka de,” “Yuki no Sei” captures the warm peace following calamity with a quiet and restrained piano solo. While the characters’ ability to experience outright joy has been dulled by past hardship, they find tranquil solace in the fact that they are simply in each other’s company for a fleeting moment.

Hikari no Naka De

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Yuki no Sei

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Despite the show’s heavy focus on the drama between the two main characters and a male love interest, there are still mecha piloting villains hanging about and generally making nuisances of themselves. Battle-scenes ensue, allowing Kubota to show off her prowess at composing action music. “Ankoku no Yami no Naka de” demonstrates Kubota’s ability to write gripping suspense music. An atmosphere of impending and imminent doom is created as ominous swells slowly increase in volume accompanied by the breathy cries of a despondent flute. In the distance, a deep and reverberating beat marches relentlessly onward, emphasizing the futility of escape. As the track approaches its end, the flute begins to frantically splutter as if writhing in the agonies of despair, losing all hope in the face of catastrophe.

Ankoku no Yami no Naka De

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Considering how ridiculous the conflicts were in the show, the authenticity of the battle music is something to marvel at. “Senkou no Kanata ni” begins with powerful string chords that echo into the intertwining silences and resonate into the listener’s very body. The strings act in the stead of percussion, setting up a driving pace. Soon the violins take up a propulsive theme which proceeds to morph into a soaring melody, expressing the strange beauty of perilous conflict.

Senkou no Kanata ni

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Although victory is eventually won after many hardships, it comes with a great price. “Namida to Izumi” manages to perfectly embody the bittersweet ending of the show. There is an overwhelming sense of sorrow as the piece laments the forced separation of the two lovers to the point where the instruments seem to cry out in sympathy. The music enters a hauntingly beautiful refrain of the theme originally expressed in the first track, “Kannazuki no Miko”, demonstrating that events have come full circle. The world has been saved, but at the cost of the seemingly eternal separation of its saviors.

Namida to Izumi

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Simply put, Kubota outdid herself with KnM’s music. Her ability as a composer is written all over this album. It’s an inconceivable travesty that the soundtrack was only sold with the limited edition version of the DVD release (which has been discontinued since). I can only continue to support Kubota’s other, purchasable, enterprises in the hopes that she produces something akin to KnM’s music once again.

Rating: Excellent

Tracklist

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Review: No matter how much one may wish to preserve the comforts of the present, the passage of time has other ideas. There’s always this constant push towards new horizons. For some, change comes swiftly like the tempest that turns one’s world upside-down, but for ARIA’s characters, it’s more as though a zephyr was passing through, bringing with it the hope of a brighter future. There may be some tentativeness and timidity when it comes to internalizing this change, but the warm breeze reassures them that all is well, all will be well, as it invites them in with open arms.

With that image in mind, DIPARTENZA opens up with a tranquil air in “Shiki ~Soshite Boku wa Umi ni Kaeru~.” Its softness captures the image of the early dawn where nary a creature is stirring, allowing you to take in the quietude and look upon the still waters that lay mostly undisturbed aside from the occasional ripples from a falling dewdrop, depicted wonderfully through the piano’s grace notes that trickle gently down. This arrangement, moreso than the original, is effective not only in the way it pauses time, but also in the way it grows more confident as the piece progresses, calling in the dawn and with it, a future with endless possibilities!

Shiki ~Soshite Boku wa Umi ni Kaeru~

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But that brightness can be a little intimidating since the next step involves the characters making their first foray outside their comfort zone as they proceed to put their training to become skilled, professional gondoliers in their own right. The hesitation amidst the backdrop of the changes in the characters’ lives lie at the core of the emotions that DIPARTENZA imparts unto us through tracks like “Eien no Umi -A Song for Zephyr-“ and “Mirai he no Kouseki.” These piano arrangements occupy that fence-sitting position where the characters look upon the road ahead with some trepidation and aren’t quite ready to take that first step. That reluctance is conveyed particularly well in “Eien no Umi -A Song for Zephyr-,“ which hits the melancholy notes more profoundly than the original does. The piano channels a sense of solitude and in doing so, evokes all manners of doubts and uncertainties, but like “Shiki,” it ends with a comforting melody that prods them onward.

Eien no Umi -A Song for Zephyr-

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Mirai he no Kouseki

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Amidst the overwhelming joy and wonder mixed in with the occasional dose of melancholia that this album brings to the fore, there’s one thing that makes the listening experience fall slightly short of its full potential: some of the pieces drift too close to the original. In most cases, the feelings that the original track emanate are enhanced in this album, but the piano versions of Origination’s OP, “Spirale” and “Kin no Nami Sen no Nami” are transcriptions. That is, they proceed to match the songs in perfect step rather than add panache so as to stand out on their own merits, and so, hold back on the true depths of their expressiveness.

Kin no Nami Sen no Nami

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This is a minor flaw, one that’s easy to overlook due to the sheer quality of the source tracks and the piano’s capability in accentuating the mood of each piece. Starting with “Shiki’s” wellspring of quiet contentment and hope and ending with “Ashita, Yuugure made’s” exquisite warmth that reaches out and embraces all, DIPARTENZA is a perfect reflection of what Origination signifies to the ARIA franchise: the culmination of the lessons learned and the enduring bonds of friendship forged that give the characters the strength to step outside that protective bubble and come into their own.

Ashita, Yuugure made

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Rating: Very Good

Review: Aria Piano Collection: Stagione, the first of two Aria Piano collections, is aptly named after the Italian word “Stagione” for “seasons.”

To have an air of simplicity that still has the ability to convey deep and powerful emotions is the fundamental ethos the Aria series lives by, and as such, the Aria Piano Collection: Stagione does well to follow the same standard. The arrangements done by the artists are thoughtful and well crafted, and although they are simple renditions of their original counterparts, the piano versions of each song carry enough of the original piece’s spirit, but are still distinct enough to carry a soul of their own. Stagione’s piano pieces are not nearly as intricate as other piano arrangement albums, but what they lack in complexity, they make up for in flawless execution. The various artists, who contribute their own unique rendition of our beloved Aria classics, give a very subtle touch to each piece and make it their own. Moving and captivating, Stagione is a prime example of an album that doesn’t rely on overly complicated musical riff-raff , but is instead fueled by a natural charm that very few albums manage to have, thereby offering an immersive experience that will captivate the listener for years to come.

Each piece in Stagione is utterly moving and stands as proof that less is sometimes more. It should be noted that one of the key aspects of this album that sets it apart from other arrangement albums is the ability for each song to have a very distinct touch that differs from the original. We are not talking about carbon copies; rather, each song carries a life of its own and has an invigorating effect upon the listener, while allowing the listener to explore a distinct array of different styles and nuances rarely captured effectively on one album. It isn’t all that rare for soundtracks to receive piano arrangement albums, but what sets Stagione apart from the rest is the way the album immerses the listener into the world of Neo Venezia, which makes the music feel the more real and endearing as a result.

The album begins with Akari Mizunashi, the lead character of the Aria series, welcoming us into her world of Neo Venezia, and her soothing voice sets the perfect mood for the rest of the album. Organizationally, the album is separated into four different seasons, each introduced by a cast member of the show, hence the album’s title, “Stagione.” After Akari’s brief introduction, the album starts off with Mina Kubota’s rendition of “Euforia,” which functions wonderfully as a gateway to a widely varied album. With a soft, and gentle touch, Mina plays “Euforia” with unparalleled grace that complements the album’s simplistic nature.

Euforia:
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It is spring in Neo Venezia, and the new season blossoms forth through Sasako Shigeharu’s tender rendition of “Aqua” and “Hanabie” and ends with “Natsu Machi” played by Shouri Kitagawa. All three songs blend seamlessly and complement the “spring” portion of the album quite well, but it is “Natsu Machi” that stands out from the three as being the principal track that captures the essence of this season. The song gives a very distinct warm feeling that is arranged by Kitagawa to accentuate the back melody rather than the vocals of the original song. The chorus segues into an almost ballad-like direction, which is a step away from the original piece, but does not detract from the overall arrangement in any way.

Natsu Machi:
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As summer and fall pass by in Neo Venezia, three of Aria’s most recognizable melodies play. “Tooi Kobune” and “Smile Again” represent the summer season wonderfully. “Smile Again” is arguably one of the songs that makes the biggest departure from its original counterpart, but once again, the piano rendition is just as every bit as beautiful as its source. Takeshi Senoo opts to take a far more mellow and melancholic approach to the song, whereas the original is far more upbeat, but that doesn’t mean Senoo makes the song depressing. Instead, he chooses a very light and airy nuance that brings a whole new dimension to the song. “Undine” is the principal track in the album’s fall cycle. This arrangement sticks close to the original rendition, but Mina Kubota’s playing of “Undine” is exquisite, and reflects her serene style previously seen in her rendition of “Euforia”

Smile Again:
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And now as the last season of Neo Venezia, winter, dawns upon us, Takeshi Senoo lends his talent once more and plays endearing arrangements of “Shourou no Patori” and “Santa Claus no Sora” which fit the season’s atmosphere perfectly. Ou Akioka arranges a wonderfully emotionally balanced rendition of “Soshite Fune wa Iku” played by Takeshi Sonoo. So as the album comes to a close, and the female cast share parting words with the listener, “Rainbow” plays as the fitting final piece to end our journey. “Rainbow” is arguably the song on the album that takes the largest stride away from the original, but it is given an entire new aura that is lacking in its counterpart. The feeling of the song is far more somber than the rest of the album, but even so, the wistful tone of the song still has an air of tenderness that invokes deep thought and reflection.

Rainbow:
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The first time I listened to this album, I realized that very few albums have the ability to touch the listener on a very raw human level; where music can come to life, and become something far deeper and more meaningful, where notes on a piece of paper become something so tangibly relatable, that it becomes embedded into a person’s very being. Stagione dares to be one of those few albums, and executes its goal to perfection. Whether you are a fan or the Aria series or not, the album is fit for almost any occasion, and if you are in the mood to simply relax, and ease the aches and pains of your day, Stagione is your best bet.

Rating: Masterpiece