Album Title:	Oshiete A to Z
Anime Title:	B Gata H Kei
Artist:	Yukari Tamura
Catalog Number:	KICM-1305
Release Type:	OP/ED Single
Release Date:	April 28, 2010

Track Title	Artist	Time
1. Oshiete A to Z	Yukari Tamura	4:04
2. Hadashi no Princess	Yukari Tamura	4:30
3. Namida no Loop	Yukari Tamura	5:01

Review: When it comes to anime voice actor pop idols, starlet Yukari Tamura is the gold standard of the bunch. She hosts a radio show, tweets cute things day in day out, sings at Animelo every year, and constantly appears absolutely adorable and girly. Her voice is very distinctive for anime watchers and listeners alike, and Yukarin is a master of singing in character because the stability  and natural sing-songiness of her acting voice. She’s been at this business for more than ten years now and has accumulated more fans than Jesus and a bigger discography than Sting, but don’t tell her that; she’s forever 17 years old after all.

Oshiete A to Z is Yukarin’s 18th single and it sounds pretty much like what she’s been doing her whole career. It’s cute to a fault, bubbly, and set to a catchy melody with sugary lyrics. The titular track (the opening theme) is an upbeat, lightly suggestive song that uses Yukarin’s relatively high register and distinctively lightly whiny voice well. It’s very simple — the same general melody comprises most of the song and it’s accompanied by a basic drumline and occasional guitar riffs and brass instrumental that’s common in contemporary anime pop. It functions well as an opening theme, the careless whimsy feel of the track fits the show and the OP animation does its job. As a commercial single, I expect more from Yukarin.

Hadashi no Princess is a ballad with a lot more feeling to it. The structure of the song is clever, with deliberating and fragile verses contrasting the bolder chorus sections. The song conveys a slight feeling of loneliness with its mood and lyrics but still delivers a happy, confident attitude. The allusion to Cinderella is cute, but I thought the guitar solo in the middle was a bit out of place. Instrumental breakdowns have their place in anime pop, but it’s probably not here. Namida no Loop is another airy ballad, but not as sophisticated as Hadashi no Princess. This track didn’t trike me as anything special or memorable in particular. It’s really repetitive — as if the first verse was on a loop. Oh I get it haha!

Overall, the single is decent. These songs are stereotypically Yukarin’s style: highly relying on melody, the melody being driven by Yukarin’s voice, and bland arrangement. There’s very little diversity in her work and I’ll take that as a good thing. Yukarin is very good at the niche of what she does and rarely strays outside (her misjudged experiments with jazz in her studio albums are a notable exception). It’s not her best work but it’s not bad by any stretch of the imagination. Catchy little pieces like this are what anime pop is all about and I for one accept and appreciate that fact.

Rating: Decent

Opening – Oshiete A to Z

Ending – Hadashi no Princess

Review: Once the regular Mizuki Nana, ELISA and Tamaki Nami J-pop gets tiring, one starts going off the beaten path, which does yield some treasures from time to time (though as a warning, it also yields its fair share of trash). Of the albums that I’ve unearthed lately, Inori no Kanata is a gem that continues to leaves an impact, even after countless, repeated listens.

The single starts off with the B-side, ‘TETHE’ALLA ~Tai no Kodomo Tachi~’, which begins majestically before subsiding into the quieter instrumentals at 0:32, for just a few seconds before the fanfare resumes. All in all, the short track packs a punch, propelled by Shikata’s voice, which is unbelievably versatile, and really heightens one’s expectations up for the rest of the single.

Shikata’s music stands out in the way it’s produced; both ‘TETHE’ALLA’ and the A-side, ‘Inori no Kanata,’ sounds like something from a soundtrack rather than a single in the way it immerses you into the setting. Shikata opens the song with a fragile and gentle voice, before the background vocals smoothly glissandos up, then down, as though it was opening the doors to the lush land of Tethe’alla. The dancing flute melody spread throughout the track and dramatic chanting at 2:55 adds to this effect, and it is the imagery conjured through the song that propels this single above the ordinary J-pop. In one word, this track can only be described as magical. For the casual listener, this track is probably the only (slightly) normal one, and a break from the eccentric B-sides.

In the second B-side, ‘Aki Kakushi,’ Shikata once again starts off with a lighter voice, which flows like poetry, all the way up to the festival-like chorus breaking in at 1:01. The song even goes as far as to insert the word ‘Utae’ (“sing”) right before the chorus. Given such cues are virtually non-existent in J-pop, having one here packs both the surprise element in addition to marking where the song fully opens up. On the whole, ‘Aki Kakushi’ fluctuates between calm and feisty stanzas, all with very appropriate transitions so that the impact is just right, neither too jutting nor too subtle. The beat and instrumentals are also heavily Oriental-influenced. The chorus, for example, sounds really Chinese. Personally, nothing delights me more than hearing the traditional in contemporary songs, so having such themes once again establishes Inori no Kanata as one of the most outstanding even in the realms of the unusual.

One point I must also comment on is Shikata Akiko’s vocals. I find it very hard to believe all the vocals are just provided by one person. The effect created is very choral in nature and we see so many different facets of her voice in this single. Indeed, the only close contender would be Kalafina, though I’d give Shikata Akiko the edge since her vocals are more versatile and the style is more unpredictable than Kalafina’s. Also, Kalafina has three vocalists compared to Shikata’s solo after all.

Another plus would be the sheer number of instruments used. While staples like violins are not forgotten, Shikata Akiko also includes the more uncommon additions like the Koto, Bouzouki and whistle. And, of course, all the tracks are composed by Shikata Akiko herself, and listening to them made me realize how much attention she pays to each one of them. Indeed, she deserves a lot of praise for that alone, and more for how well they all turned out.

After all, when the mediocre songs are heard, they are subsequently forgotten; it is the unique ones which leave a lasting impression. And this is one single which will be staying firmly among my favourites for a long time to come.

Rating: Masterpiece

Tales of Symphonia: Tethe’alla Hen ED – Inori no Kanata

Review: Speaking as someone who frequently indulges in mellow music, Round Table feat. Nino has always been a long-time favorite, but ever since I listened to “Mebae Drive” from Hidamari Sketch’s first season, Round Table and marble have dominated my relaxing songs playlist. Marble has yet to disappoint in any of their anime intro/outro music. Their brand of relaxing pop music composed by Tatsuya Kikuchi coupled with the way micco’s vocals hit that sweet spot with her energy and optimism keeps me coming back for more, and Hidamari Sketch x★★★’s ED is no exception.

“Sakura Sakura Saku ~Ano Hi Kimi wo Matsu Sora to Onaji de~” is wonderful. Its guitar introduction grabs your attention with its energy and micco’s entrance follows suit, carrying with it a tone that is lightly restrained, but nevertheless hints at the effusive joy just waiting to burst forth during the chorus. Sure enough, marble’s buildup fuels the happiness just a bit further until it can no longer be contained.

Starting with the words “sakura saku,” our spirits are buoyed. Micco packs an energetic wallop through those words, channeling that sense of excitement that comes with the new friendships forged in this latest season as well as the assurance that this camaraderie will see them through life’s rougher patches. The outro animation adds to this feeling as the grayness dissipates in one fell swoop in favor of bright, vibrant colors that, when combined with micco’s passionate singing, brings out the exuberance that makes this song such a joy to listen to.

This wonderful performance is followed by “Drury,” which opens up with the more calming side of marble. The optimism from the preceding track is still present, though with the slowness, it’s more mellow and soothing, especially during the part where the word “tonari” is repeated. Micco’s intonation here is borderline wistful, but the warmth continues to seep in and with it, the reassurance that things will turn out for the best.

Marble’s strength has always been their ability to consistently deliver warm feelings coupled with energy or calmness depending on the piece and doing so in a way that resonates with me. Though I do enjoy Ryuusei Record just a bit more, “Sakura Sakura Saku” is a solid addition, and, with the additional boost from the B-side, makes it quite possibly the best Hidamari Sketch outro single to date.

Rating: Very Good

Review: While the saying goes that one should never judge a book by its cover, it is hard to remain neutral when one comes across a cover like Perfect-area Complete!’s. On the surface, it looks like something not far from an Aya Hirano spectacle. Vocal wise, I expected something along the lines of Savage Genius.

The first guess was quite close in terms of music style and energy level. However, Aya Hirano never fails to transform that energy into something that sounds oddly forced, while Asou Natsuko’s sound feels truly cheerful and makes listeners want to move along to the music. Her voice is almost an exact replica of Yoko Ishida’s; that is, it doesn’t really have anything special to boast of but is nonetheless steady and strong throughout and will never fail to bring a smile to one’s face, which translates into one very entertaining and light single.

The way she expresses herself through her cheerful voice and her ability to easily keep up with such a fast tempo while the instrumentals, like short whistle blasts and violin pizzicato, definitely make this song stand out from the many ‘cutesy’ songs out there. This last bit can be heard in the more peaceful bridge from 3:08, where you can really appreciate the cute instrumentals and how connected Asou Natsuko’s voice fits the song.

The second song, “Dream into Action,” though inferior to the first, is still an enjoyable listen. Here, Asou Natsuko brings across the calmer side of her voice to fit the slower pace. The reduced reliance on instrumentals does make this song sound relatively uniform, though for a B-side, I have no major complaints.

While these kinds of songs are not usually to my taste, I am absolutely not ashamed to admit I honestly loved this single. And of the more recent releases, Perfect-area Complete! ranks really high among my favorite singles!

Rating: Good

Baka to Test to Shokanjuu OP – Perfect-area Complete!

Review: Nagi’s crisp and soothing voice beckons me forward, luring me into a most wonderful trap. In composing “Kimi no Shiranai Monogatari,” Ryo seems to know my musical weaknesses all too well, and once the piano began to play, I was completely enthralled.

Prior to watching Bakemonogatari, my only exposure to supercell had been through “Black Rock Shooter,” a song that I thought was merely okay (and I’m sure I’m in the minority on this). “Love and War” was better; I liked it well enough but beyond that, I wasn’t about to go out of my way to check out more of their music.

Nagi’s voice makes all the difference here. Miku, being the piece of software she is, cannot express the beauty of the lyrics quite like Nagi. In “Kimi no Shiranai Monogatari,” Nagi conveys unto us the clumsiness that she feels upon realizing her feelings for another person amidst the beautiful, starry backdrop of the night sky! And as she gazes out into the vastness of the galaxy, the energy from the instrumentals goes up a notch as to reflect her pounding heart resulting from looking at that wondrous sight while coming to terms with her feelings as she compares herself to the legend of Orihime and Hikoboshi (see Tanabata).

Altogether, this song is masterfully done. The piano part during the bridge is reminiscent of the energy in Nodame Cantabile’s “Allegro Cantabile,” and Nagi’s quiet voice builds up nicely to a rousing finish, filled with a touch of nostalgia that, when tied in with Bakemonogatari’s last TV episode, makes this song all the sweeter and more satisfying.

With “Kimi no Shiranai Monogatari” bringing such a strong impression, it’s a shame that “LOVE & ROLL” doesn’t quite match it in terms of addictiveness. Nagi’s voice does shine once more, but this time, the mixing of soothing vocals amidst a vague feeling of anxiety is marred by the noticeable repetition. That is, all pop songs are going to have it, but here, the melody isn’t catchy enough that would really hold one’s attention and so, ends up dragging on. Other faults abound, ranging from the use of engrish that I find to be distracting, the whispered parts which feel more of a gimmick, and the abrupt way in which this song closes out. The funky rhythms and instrumentals are nice, but the way “LOVE & ROLL” is presented just does not cater to my tastes.

But the single picks right back up with the “theme of ‘CENCOROLL’” which puts its electronica to good use to create a purely instrumental, but engaging track that has a short snippet that sounds almost like a Touhou theme. The beats are pretty nifty and I just wish the song was developed further. Still, I do like what I hear from this track.

I’ll admit a healthy dose of context bias that comes with “Kimi no Shiranai Monogatari,” especially with how it all comes together in Bakemonogatari’s last TV episode. But even if you have no knowledge of that, it’s hard not to be taken by Nagi’s vocals, which fit in with supercell/Ryo’s compositions extremely well. Though “LOVE & ROLL” doesn’t make for as strong a followup, it doesn’t diminish what the previous track was able to imprint in the minds of its listeners and looking back at all the OPs and EDs to come out of 2009, “Kimi no Shiranai Monogatari” still remains my favorite.

Rating: Very Good

Bakemonogatari ED – Kimi no Shiranai Monogatari

Tracklist:

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Review: After listening through Satoru Kousaki’s compositions for Bakemonogatari, I came out of the experience ambivalent. There are some noticeable tracks, but the vast majority did not have as strong an impact unless you’ve seen the anime. That doesn’t mean it’s bad music, especially for fans of minimalist music (Eric Satie’s compositions for example). The problem is that absent context, it comes down to whether one likes this kind of music and after listening to Bakemonogatari’s score, I conclude that I do not.

Before we dive into the details of the BGM, there is Yui Horie’s OP song for the Tsubasa Cat arc to mull over. Of Bakemonogatari’s OPs, this one would have been the least memorable if they had anyone else singing it, but with Horie at the helm, it’ll get some notice. To her credit, she delivers a passable performance. Like most of Bakemonogatari’s OP themes, “Sugar Sweet Nightmare” is a love song, but one that differs because of the slight edge that suggests she’s trapped in a situation that will ultimately result in the destruction of her loved one if she is forced to reach out to him to seek his aid. For those who have watched the anime, you’ll find that this song mirrors Hanekawa’s (voiced by Horie) situation perfectly. To that end, Horie does a good job of intoning her anxiety-filled feelings to the audience, sharing her innermost thoughts. While unmemorable, in light of her other recent works, “Sugar Sweet Nightmare” deserves a pass.

Sugar Sweet Nightmare »

It’s harder to decide whether Kousaki’s compositions meet that standard. Granted, a soundtrack composer’s role is to write music that fits in with the anime’s mood, and if I were to judge solely on that criterion, Kousaki would pass with flying colors. In “Machi Dan Chimata Setsu,” the piece plods along with its purposeful rhythm and you can hear Meme Oshino’s mind moving methodically through the melody, making sure not to leave any stone unturned until he nails down the cause of the supernatural problem. The contextual enjoyment can also be had in “Shugendou,” which gives off the atmosphere of a Shinto ritual through the measured drumbeats, and works to draw you in with its mystical tones.

Machi Dan Chimata Setsu
[See post to listen to audio]

Shugendou
[See post to listen to audio]
Where they don’t work too well is when you listen to it on a standalone basis. Both tracks employ a repetitive melody and because none of these pieces deviate from the pattern that they set early on, both turn bland quickly. Kousaki does work in some variety through the really repetitive tracks like “Jinchiku” and “Tawagoto” by adding instruments to the main piano or xylophone part. It packs the pieces with more substance and if I knew more about music theory, I could spend time figuring out how the instruments work well to complement the main melody. Unfortunately, my preferences are much more basic than that, and though I recognize both pieces’ musical complexity, as a more casual listener, the repetitiveness is irksome and I oftentimes find my attention wandering elsewhere when listening to it.

Jinchiku
[See post to listen to audio]
But my attention is brought right back through tracks like “Haikyo” and “Kami Iki,” both of which exhibit a country blues melody through the harmonica. Aside from Cowboy Bebop I’d be pretty hard-pressed to come up with other anime series that uses this type of sound, and so, its novel use is very enjoyable. I particularly like the mini-cadenza at the end of “Haikyo” which allows for the performer to show off just a bit with his harmonica skill to engage the listener further. “Kami Iki” is the more mournful of the two and it works along with the bells to intertwine a sense of mystery and tragedy into the piece. What these two tracks demonstrate is Kousaki’s ability to go off in different genres and execute them well and had this soundtrack contained more of these tracks, I would have enjoyed it much more.

Haikyo
[See post to listen to audio]

Kami Iki
[See post to listen to audio]
In the end, it all boils down to an issue of taste and how much you like listening to repetitive, minimalist tracks. It doesn’t change the fact that Kousaki is a competent composer. It’s just that in Bakemonogatari, his focus on working the music within the scenes doesn’t make the score a memorable one unless you’re using it as a means to remember the show’s wonderful moments. If that’s precisely what you’re looking for from your soundtracks, you may enjoy it. It might not glue you to your seat, but at least it won’t staple you there either.

Rating: Decent

Disc 1

Show »

Disc 2

Show »

Review: A snap judgement of G.A. Geijutsuka Art Design Class would be to label it a poor man’s Hidamari Sketch. Both focus upon the day to day lives of a group of girls in a special art program, both feature an OP sequence sung by the show’s seiyuu, and both make use of a soundtrack that is relaxing, employing light jazzy melodies to depict its scenes. In each of these instances, Hidamari Sketch comes out ahead, but the gap in the quality of the soundtracks is much smaller. This bodes well because those who liked Tomoki Kikuya’s compositions for Hidamari Sketch will feel perfectly at home with Jun Abe’s score for GA.

Before we actually descend into the nuts and bolts of the score itself, I’ll just briefly go through the first disc which contains the OP, ED, a few insert songs, a nonsensical ditty, a super sentai theme parody, and a soft piano version of the OP. The OP itself is enjoyable enough, but doesn’t really leave a lasting impression like Hidamari Sketch x365’s “Hatena de Wasshoi” simply because it doesn’t come with a catchy segment to draw me in. On the other hand, the piano version is pretty in the way it captures the light-hearted, gentle mood of the series, thereby preparing me for the actual score.

GA OP – Osaki ni S’il Vous Plait »

As for the EDs, those are a mix batch. I do like the soft accordion in Haruka Tomatsu’s rendition even if the vocals feel off since I’m more familiar with her energetic pieces like “motto☆Hade ni ne!” Of the five, Kaori Nazuka’s mature-sounding version backed by the gentle, soothing swing melody is the most enjoyable and the result is what you’d get if marble decided to add a dab of jazz to their music. The others do not catch my fancy and of those, Yui Horie’s performance is the most obnoxious since it insists on injecting a heavy pop beat which ends up overshadowing her singing completely.

GA ED – Coloring palettes Kyoju iro »

While the vocal tracks vary in quality, it’s the score itself that wins me over. Up to this point, I haven’t heard enough of Jun Abe’s compositions to form an opinion, but I was enthralled with his offerings here. The main theme catches your attention through an upbeat, jazzy keyboard that makes way for a rhythm and light melody that draws forth the undercurrent of energy and enthusiasm from each scene as the characters move from one art genre to another. I loved the way the many instruments transitioned in and out of the melody, making it a perfect depiction of the characters’ creative, playful exploration into the world of art.

GA ~ art design class
[See post to listen to audio]

That it’s really catchy doesn’t hurt either and Abe takes advantage of this to arrange several variations, doing it in a way so that the theme never outlasts its welcome. For example, “Sakura Blossoms” offers a slow, wistful melody that conveys a wonderful spring morning through its light touches on the piano. “Sunset Smile” has the flute playing a slow air as its purpose is to bring the day to a close while retaining the optimism that tomorrow will give rise to new adventures and new discoveries. Every variation adds a different perspective, allowing the main theme to encompass all aspects of the girls’ lives.

Sakura Blossoms
[See post to listen to audio]

As we move away from the theme, we find that the soundtrack delivers on the other aspects of the show such as the character depictions. Kisaragi’s theme is sweet and mellow as it moves at that slow tempo to match her easygoing nature while Noda’s is more energetic. Though I’m not fond of that heavy accent that precedes each section in the latter, the way the piece jumps around captures Noda’s eccentricities and ADD tendencies perfectly. Like with the EDs, Kyouju’s theme is my favorite since it’s more dignified and even a bit mysterious. But probing deeper, one can hear a playful aura that shows how she’s able to have fun in her own way while exuding calmness in spite of her occasionally chaotic surroundings. As for the rest, Tomokane’s is more energetic, employing a funky style that nails her tomboyish attitude while Namiko’s normal personality is reflected through a piece that doesn’t stand out a whole lot. Ironically, it’s all too fitting because that is how she is presented in the show as well.

Kisaragi (forget me not blue)
[See post to listen to audio]

Kyoju (Silver Lining)
[See post to listen to audio]

Tomokane (Funky Strawberry)
[See post to listen to audio]

Jun Abe also incorporates other sounds and experiments around so as to cover the myriad situations that the girls find themselves in. “So Many Minds’” synth and sound effects create the feeling of vastness of space before introducing a fast, electronic melody that feels like an explosion of life coming forth from the void as various new life forms parade out. As far as experiments go, I enjoyed “Talkin’ Bass” because the dissonant notes come together to create a monologue replete with moans and groans amidst the murmuring from the background instrumentals. It’s off the beaten path musically, but the execution is cleverly done. Moreso than Natsume Yuujinchou’s soundtrack anyhow.

So Many Minds
[See post to listen to audio]

Talkin’ Bass
[See post to listen to audio]

Though the remainder of the album is diverse, GA’s focus on smooth jazz music and the way variations on the main theme help tie it all together makes this soundtrack an enjoyable listen. Compared to shows of the same genre that use a similar style of music (Sketchbook and Hidamari Sketch), GA’s is the weakest offering, but not by much. Its use of jazz still feels fresh, instilling within you the joy and energy that the characters experience in their daily lives and making this album a good recommendation if you’re looking for relaxing fare.

Rating: Very Good

Added Note: For those who don’t know, Kyoju is the one in the upper left corner eating paint. No, I don’t know what this means when I say I enjoy her character themes the best. Maybe I need to get myself psychoanalyzed. orz

This really should have been written up sooner, especially since Shinmaru over at Unmei Kaihen has put up a good post outlining the purpose behind those OPs and EDs and I’ll just expand on it a bit further. I think that for most of us, the idea behind those sequences are fairly obvious, but it never hurts to put it in writing so that any misconceptions (mine or the readers’) can be dispelled.

So yes, Shinmaru covers the business side by noting that these sequences are a way for music companies to bring new artists to light and expose their music to different audiences. If you want to divide the domains between OPs and EDs, then OPs generally give us an idea of what the series is about and since it’s generally the first thing the viewer will see, it’ll most likely use good art/animation to draw the audience in.

That’s not to say that there are times when the studios will try to be misleading. If you want a good example, look no further than Renkin 3-kyu Magical? Pokaan, which creates expectations that the series would involve some great magical, cosmic struggle with some yuri thrown in for good measure. Of course, audiences hoping to get that kind of action are bound to be disappointed by the story, which is mostly about us watching the characters in the OP go through hilarious hi-jinks as they try to adapt to modern-day society. But hey, if the goal was to make the audience curious about the show, it worked!

Anyways, my favorite OPs tend to be relevant to the story, so the ARIA OPs are always going to get a thumbs up from me. But when it comes to a strong mesh between the opening and the actual story, I think Gankutsuou’s “We Were Lovers” stands out the most. That the lyrics are in English gives us a grasp of what’s going on in the way it captures Edmond Dantes’s sentiments and the feelings of vengeance that stir deep within him. So taken in sum, the music is really poignant in the way it captures the pain, the lyrics give the audience a feel for how the story unfolds, and the art/animation gives us a glimpse of Gonzo’s effort in the series. That it was composed specifically for the anime rather than sell CDs probably helps too unless I’m gravely mistaken and this got a lot of people to buy Jean-Jacques Burnel CDs.

Gankutsuou – We Were Lovers »

But EDs. Yes, it’s true that there’s no real discernible pattern that one can put one’s finger upon, and the closest that I’ve come is to suggest that it’s there to ingrain themselves in the viewer’s mind by providing the lingering effect that will allow people to contemplate on whatever has just taken place in the show or to make us look forward to the next episode. That most of them don’t really deliver this kind of effect means that it’s probably wrong and that there actually is no pattern, so I’ll just save myself the hassle and say that the ones that I enjoy the most do achieve this effect, and I love them all the more for it.

So which shows manage to nail this down pat? Well, Wolf’s Rain’s “Gravity” definitely comes to mind. The lyrics within the song give us an idea of how long the wolf pack has been searching for their paradise, and though the conditions are right, there’s still a struggle that they must overcome if they’re to reach it. These feelings tie in with the show rather well and definitely leaves that lingering effect as we too come to empathize with their need to seek out that sanctuary and their determination to make it.

Wolf’s Rain – Gravity »

Or how about Welcome to the NHK’s “Odoru Akachan Ningen.” That sequence sure ties in well with in the series. Kenji Ootsuki’s harsh vocals are pretty good at capturing the insanity possessed by those who are looking to regress by turning into that “kidult” rather than live up to the demands of society and nails Tatsuhiro Sato’s state where he withdraws from society rather than confront it directly. The lyrics and animation do a good job of capturing his delusional tendencies borne from his crazed mindset that it’s a mad mad world and this song nails it. I might not have a great deal of affinity for it, but I’ll be damned if it doesn’t leave that strong impression behind. I certainly remember it a lot more vividly than I do the show’s second ED at any rate.

Welcome to the N.H.K. – Odoru Akachan Ningen »

OPs are definitely more clear-cut than EDs and in general, they hit their purpose better. EDs are not as memorable because though we might want them to leave behind that strong association with the series, they generally do not. That’s why the two examples I cited will stay with me: they enrich the viewing experience by matching the content of the music and animation to the show’s primary plotline, ending each episode on a note so as to render the entire entity unforgettable.

Review: What makes “Renai Circulation” so catchy? I can’t speak for others, but I’ve had this song on repeat for these last few days and it never seems to get old. But articulating why I like it? Well, that’s harder to pin down.

Maybe I’m just enthralled by this song for non-musical reasons. After all, Sengoku is a very charming character and you cannot divorce her character and personality from this song. As you watch her behavior and listen to her dialogue in the anime, her shyness, earnestness, and honesty already go a long way in making her an appealing character.

But while the association to Sengoku Nadeko is there, “Renai Circulation” derives its enjoyment from the way Kana Hanazawa brings out her character. In the beginning, you can hear Sengoku feeling doubtful and wavering over whether to confess her feelings to Araragi. The soft rapping part that follows captures her anxiety-filled monologue quite well since the thoughts aren’t totally coherent and she jumps around a bit. But through it all, Kana Hanazawa’s speed and tone is light and gentle, fitting Sengoku’s demeanor like a glove. This is especially true of the chorus where the fluffiness and cutesy levels are completely off the charts which result in an endearing performance overall.

The only part that even gave me pause was the bridge from 2:33-3:05, but that’s hardly a deal-breaker since I’m willing to write it off as Sengoku repeating a mantra to herself to summon the courage needed to take action. Also, the instrumentation doesn’t play as strong a role save for maybe the tuba which helps keep up the rhythm and tempo. Since the focus is pretty much on Hanazawa’s performance anyways, that isn’t really a problem either.

Between this song, “Kimi no Shiranai Monogatari,” and “staple stable,” Bakemonogatari has a comfortable monopoly on the catchiest themes of 2009. But it should be noted that these songs have the power to endure. Getting me to listen to “Renai Circulation” repeatedly after it airs is one thing. But doing so about 4-5 months afterwards is a testament to it being more than just a fly-by-nighter. I wouldn’t bet against me listening to this song years down the road.

Rating: Very Good

Renai Circulation

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

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

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

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

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

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

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

Rating: Good

Sora no Woro OP – Hikari no Senritsu