Tracklist

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Review: Even though he was responsible for portions of the fantastic score to the popular anime Death Note, Yoshihisa Hirano has remained a relatively obscure composer amongst the anime fanbase. This doesn’t come as a great surprise especially when you consider how his classically influenced, chaotic style of writing makes for music that’s a little hard on the casual listener. Of course, that doesn’t mean it’s impossible to start enjoying his music. For Himitsu  ~The Revelation~, the show’s subject matter and Hirano’s style complement each other well, resulting in a soundtrack that makes it much easier to appreciate what Hirano can do.

HtR is a mystery series that follows a team of investigators as they crack cases on an episode to episode basis. While I checked Wiki to make sure that the above description is accurate, one could have easily figured out as much about the show from listening to the soundtrack. Right off the bat, the first track, “The Number Nines,” shoves the setting in the listener’s face. The intro executes perfectly with a sequence of tension-building rising notes only to precipitously crash into the main theme, a melody that brings to mind gunfights and car chases. Out of all the music I’ve heard in my lifetime, this is my favorite musical representation of a high speed crime chase. Another rendition of this theme can be heard in the accurately-named “Chase,” albeit with a ridiculously badass guitar solo inserted. Whichever of the two you prefer, just don’t listen to them while driving or you’ll probably end up speeding and being pursued yourself.

The Number Nines

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There are also plenty of suspense tracks that populate the album, presumably to build up tension before breaking out the action. In these, one can hear Hirano’s signature penchant for dissonance, resulting in music far more unsettling than what most soundtracks offer. “Chaos” and “Darkness” both use plenty of discordant chords, the first opting for eerily-rising woodwinds and the second for muted bagpipes that seem ominously distant. “Unseen Criminals” reminded me a little of the famous Jaws motif, with low strings chugging relentlessly onwards while chaotic noises punctuate the approach sporadically. None of these are quite as unearthly as “In the Realm of Memories”, which features one woman singing notes you might hear from a Halloween decoration. While these and others like them are all entertaining to listen to (especially if you like being creeped out), these suspense pieces begin to become repetitive once the novelty of the dissonance wears off.  It’s an unfortunate drawback, but probably the only one that really comes to mind in this album.

Chaos

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Of course, the tension and action in the field is but a small part of what actually goes on in an investigation unit. Most of the time is spent gathering and brooding over evidence. If all the thoughts flying around a busy mind were instruments, a thinking detective would probably emit something that sounds like “Maki”. In the track, multitudes of different instruments speak up, sometimes alone as individual notions and sometimes together in a united motif. I’ve always liked listening to it because this aural representation of a thinking mind is exceptionally accurate. “Investigation” uses a similar technique, except instead of creating a busy office-like atmosphere, it creates a hectic crime-scene-with-a-dead-body atmosphere by throwing in an electric guitar and a harsher beat.

Investigation

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At this point, it probably seems like the whole HtR soundtrack means nothing but business, and grim business at that. However, that’s not the case since Hirano gives the listener a surprising number of buoyant tracks to break up the dark atmosphere. “The Elite’s Restless Works” is a whimsical piece — while the melody comes off as playful, it is also very, very eccentric. Nevertheless, this eccentricity is oddly endearing and the track is very much an earworm. I was even more surprised to find a flamenco in “The Elite”. It was a very welcome surprise though, as the track packs plenty of over-the-top fun, offering both guitar and violin solos as things energetically whirl along.  And finally, since drunken woodwinds and fiery dances apparently aren’t already enough, Hirano throws us something cute. “Cutie Pie” is exactly what it sounds like: a delightfully dainty little piece whose charming melody is a far cry from the darker regions of the soundtrack.

The Elite’s Restless Works

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And last but certainly not least: the emotional stuff which no soundtrack can do without. It’s only natural that a heavy load of emotional baggage results when your job deals with murderers and dead people. The main theme is recapped again in “For Your Eyes Only”. However, it moves nowhere near as fast it originally did; there’s an overwhelmingly morose feeling in every note, weighing this formerly invigorated theme down with sorrow. It’s almost unbelievable that the theme here is the exact same one which kicked off the album because of how different everything sounds. Finally, the last track, “Sweet Memories”, isn’t quite depressed, but it also doesn’t shake off the sense of melancholy introduced in “For Your Eyes Only”. Still, the operatic voice which makes its entrance halfway through is a shining ray of hope for those working in a grim and unrelenting field.

For Your Eyes Only

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Sweet Memories

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In all honestly, even if everything except the main theme was awful, I would have rated this album well just because of how awesome “The Number Nines” and “Chase” are. More seriously, I’d say that the only drawback would be the large amount of dissonant tracks that pile up without adding anything new to the experience. Nevertheless, that doesn’t ruin the overwhelmingly positive overall experience Himitsu the Revelation’s soundtrack offers up. My hope, then, is that his efforts here are sufficient to tilt you more towards Yoshihisa Hirano’s generally excellent scores and get you to delve deeper into his other works.

Rating: Excellent

Tracklist

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Review: As difficult as it may seem, when it comes to orchestral arrangements of anime themes, I’m actually not that hard to please. All the music has to do at the bare minimum is take the theme and transcribe it in such a way that it’s melodically pleasing. Doing so gets you more than halfway to an arrangement that’s listenable, but given the scope of disasters like TAMusic’s pitiful efforts that are far from enjoyable, this must be a harder task than how I’ve envisioned it. Because of this, the bar for orchestral arrangements has been set pretty darn low.

That said, a doujin group arranging under the name Melodic Taste, has been able to meet this low bar through their Anime Song Orchestra album. Their arrangements are fairly innocuous; they might not consist of grand, orchestral flourishes, novel interpretations, or dynamically-arranged pieces that sweep you off your feet, but they get the job done. What you get are arrangements that are about as straightforward and orthodox as can be; pieces that generally don’t strive to be anything more than their originals.

So given the orthodox nature of these arrangements, the key to enjoying this album is the curiosity in hearing how these songs turn out. The opener, “Moon Signal,” is a straight-up transcription of the original, featuring the woodwinds in the early parts of the verses before letting the trumpets take over about halfway through and going all the way up to the end of the chorus. “Moon Signal” maintains its intensity and exuberance as it sticks steadfastly to the verse-chorus-verse-chorus structure, making it faithful if just a bit repetitive.

Moon Signal

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As you can probably guess from my earlier remarks, this faithfulness is pervasive throughout this album, with very few deviations. The Melancholy of Haruhi Suzumiya’s “Hare Hare Yukai” still retains its bouncy, fun melody, though novelty does come through the bassoon’s delivery during the bridge. To Aru Kagaku no Railgun’s “Level 5 -Judgelight-” successfully translates fripSide’s trance-pop into a saxophone-driven arrangement. Although there are no meaningful departures from the original, this take is still enjoyable because it draws strength from the original’s catchiness.

The best two tracks, however, materialize in the much-loved “Renai Circulation,” and “Higurashi no Naku Koro ni.” The former’s interpretation is very straightforward, but it does an excellent job of capturing the bubbly cuteness that made the original such a joy to listen to. In addition to using the xylophone’s and the flute’s timbre to convey a sense of child-like innocence as well as depict Kana Hanazawa’s little vocal outbursts, the most unexpectedly delightful section is when the snare drum and brass join the flute during the “KOI TSURU KISETSU WA YOKUBARI circulation” chant because I just didn’t think Melodic Taste would actually try to arrange that part nor did I think that it’d turn out so well.

Renai Circulation

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In “Higurashi no Naku Koro ni’s” case, the differences between this and the original are slightly more pronounced. The screechy, dissonant flutes in the introduction are a tad annoying, but once the piece gets underway, the lower-registered instruments come in, emanating an aura of doom and gloom. The pizzicato from the strings add to the tension, giving this arrangement a creepy feeling, before the bombast takes over during the chorus to evoke a sense of dread borne from imminent destruction. Given what the eponymous anime focuses upon, this arrangement captures the harrowing atmosphere of the anime well.

Higurashi no Naku Koro ni

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As enjoyable as some of these arrangements are, there are going to be quite a few duds. Tracks like “Strike Witches 2 ～egao no mahou～” comes off sounding the way you’d expect an upbeat, generic pop song to sound if it were orchestrated: like a generic orchestral arrangement of an upbeat, generic pop song. Tautologies aside, there’s nothing in this arrangement or the original that’s so engaging that it’d make me want to pay closer attention. Other problems include messy harmonies, which keep tracks like the perennial favorite, “Sousei no Aquarion,” from being enjoyable (it doesn’t help that the woodwinds during the bridge sound a tad off). Finally, “Ai Oboete Imasuka,” the only track that isn’t bombastic or energetic, falls short in delivering the original’s sentiments. This is a great example of a case in which an orchestral library is unable to deliver upon a song’s emotional components. The inflections and nuances of a human performer are where this piece can shine, and the sound samples used here just cannot replicate that human performer.

Strike Witches 2 ～egao no mahou～

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Ai Oboete Imasuka

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In spite of the faults and the album’s tendency to play it safe with its arrangements, Anime Song Orchestra still represents a competent effort. Having experienced so many terrible doujin orchestral arrangements, if the work that Melodic Taste displays here doesn’t put this group at the top of the heap in this tiny niche, then they surely are very close to the top at least. And what this proclamation does is say more about the state of the doujin orchestral music scene than it does about this particular group or these arrangements.

Rating: Decent

Tracklist:

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Review: Back in 2003, during my hazy university days, I watched Now and Then, Here and There for the first time. With little idea of what it was about, I finished the first episode unimpressed with its simplistic art style and clichéd storyline. Then I started episode two, became transfixed, and found myself embarking upon a thirteen-episode marathon, lost in the brutality and beauty of the series. I am not ashamed to say I got pretty darn emotional at the end of it. To me, this was what anime as a storytelling form was all about: a wonderful union of a magnificent plot, sympathetic characters, and of course, a brilliant soundtrack.

I’ll start with the opening theme first, as it’s an interesting one. Composed by Toshio Masuda, Ima, Sokoni Iru Boku opens up every episode. What’s interesting is that nobody sings it. While that’s not too unusual, it’s not exactly fast and catchy as most series openers are. What we have is something resembling a folk tune with an Ecuadorian feel to it. I half expected a man with pan-pipes to show up.  Though not finger-snappishly good, as the series goes on, the song kind of grows on you. It’s happy, compared to the series’s subject matter, and I think that’s important.

Ima, Sokoni Iru Boku

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Maestro Taku Iwasaki is at the helm for the rest, and is the perfect man for the job. This is the late 1990s Iwasaki, who composed the sublime Rurouni Kenshin: Tsuiokuhen soundtrack around the same time. He would then write the much-lauded soundtracks to Read or Die and Witch Hunter Robin in a couple of years. And he is in full flight in Now and Then, Here and There, creating something close to a masterpiece.

This soundtrack is packed with classic Iwasaki and he brings his trademark style, especially in his faster tunes. Rescuer and Decadence features his signature electronic bass sounds, machine-gun snares and sudden heavy drums. The strings then come in with the melody and pull the tension as long as they can before the piece all crashes down in a rapid drum and bass climax, which does well to drive the excitement of the scene.

And while I mentioned that he creates similar songs, he still manages to keep them varied. In Run, the strings play across the beats to create something surprisingly fun in an otherwise darker theme. Tumbling is also a favourite of mine, with a great guitar section that once again, does very well with the beats. Matched with the strings, the piece becomes an impassioned tune that races at breakneck speed.

Tumbling

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That’s not to say the whole album is composed of break-beats and electronica.  Iwasaki does throw in some introspective gems not just to slow the pace down, but to also involve the listener more emotionally. Tears starts with a tender, yet mournful flute melody before the strings take over, all the time supported by a quiet piano. Calmative uses its strings to evoke a suspenseful, ominous tone. Scattered about it are ringing bells and other oddities. Miss aims to bring the drama, with a duet between the slow and loud strings and the very sad, lone flute.

One Calm evokes the image of a happier piece through a piano and flute duet that comes on in the village part of the series. And just as the village was a refuge for the protaganists, this composition gives the listener time to breathe before the next tense piece. I also particularly like the ending song, Komoriuta. This one’s a lullaby, with very simplistic structure to it. Reiko Yasuhara, who voices Abelia in the series, sings here and makes this song more vulnerable. Its simplicity works because it’s such a contrast to the conflict that permeates the entire series. It’s a break of sorts, before the next dose of confrontation.

Komoriuta

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There are parts I find that, while having Iwasaki’s trademark style, doesn’t really engage me as much. The Bottom is too atmospheric for my tastes, and A Law Deal just sounds very much like a filler song. Deadlock has an interesting beginning with its quiet pulsating bass, but the synth bit at the end feels rather flat and useless. Of course this could be due to the song matching the scene in the series, but it really doesn’t work on its own. So there are some dud songs in the soundtrack, but you know, that’s all quite easily forgiven. Not because of the quality of the other songs. And certainly not because of Iwasaki’s pedigree.

No, he is forgiven because of the soundtrack’s very first track, Standing in the Sunset Glow. This, to me, is Iwasaki’s magnum opus. An absolute masterpiece. The epitome of the Iwasaki sound that becomes prevalent in his future works. Running at twenty minutes in length, this is his longest piece and certainly one of his most emotionally charged ones. It comes in three parts; the first (my favourite) leads in with a flowing line of violins that play a slow, sweeping melody. The melody repeats, with more harmony added in by additional strings and a piano. This builds until about the four minute mark, where it reaches a climax of strings, before ending on a very bittersweet note.

Standing in the Sunset Glow

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Straight away, the second act begins with a cello ushering in tension and conflict. It is dark and tumultuous, and leads into an even more ominous version of Calmative, before the strings come in again for another dose of drama. It’s a dark seven minutes yes, but there’s a stark beauty about it and does its job to herald in the next part.

Standing in the Sunset Glow

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As if the first rays of sunlight after the storm, a piano begins to play, soft and calm. The lush strings come in to support, before taking over amidst heavy drumbeats. They play the melody of the first act once more, but this one is infused with more hope and wonder. At the seventeenth minute, there is a pause for the lyrical flute to take the melody, which now begins to build and build and build. And finally, at the last minute of the piece, it all ends triumphant, beautiful and ultimately, inspiring.

Standing in the Sunset Glow

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I apologize if I sound like I’m gushing. This is really one of my favourite instrumental pieces around, because of its technical virtuosity and emotional impact. This soundtrack is well-worth the listen, if only to hear the beginning of Iwasaki’s brilliance before his subsequent compositions, and hopefully, you’ll fall in love with his music all over again.

Rating: Excellent

Tracklist

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Review: It’s hard pegging what “Spiral re-born” is aiming for without knowing the context since its vocals are tinged with an overwhelming sense of grief and the way they are delivered hints at some grave tragedy that’s occurred in the past. This haunting outpouring is followed by “Principle of the Abyss of Earth’s” tribal rhythm which reinforces the image of an ancient ceremony through the warlike chant. But it’s in this track that the music transitions out of that bygone era, first through a dissonant bagpipe, and then a brief, nostalgic-sounding flute melody, until the tribal beats back off completely. In the tranquil atmosphere that follows, a trumpet fanfare summons the heroes to undertake the epic journey. The melody sounds ever hopeful, and with the optimism riding high, the adventure is ready to begin!

Principle of the Abyss of Earth

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Is this really how ∀ Gundam starts out? I wouldn’t know; I’ve never seen the anime. On the off chance that I happen to be right, consider this a testament to Yoko Kanno’s ability to depict humanity’s steady march from a backwater culture into a modernized force through music. But her excellence doesn’t stop here. The remainder of ∀ Gundam exemplifies Kanno’s skill at orchestral compositions, yielding a magnificent soundtrack that takes us through the highs and lows of the anime’s conflict, from the catastrophe that arises as a result of an invasion, to the redemption and glory to be had as the survivors reassemble and successfully fight back.

That’s what we get in the next two tracks, “Memory of Military Boots” and “Springing from the Earth,” which prominently display the Wagnerian bombast that keeps me enthralled. “Memory of Military Boots” gets there through a slow, serene buildup as it takes the tranquility from the previous track and transitions to a military march which only suffers slightly from the way the two trumpets are muddled together. No matter because once the piece crescendos into the climax, the feeling is exhilarating as I eagerly look forward to the epicness that is in store. “Springing from the Earth” doesn’t even bother to wait, preferring to plunge you straight into the adventure with a ringing sendoff. In between the two awe-inspiring fanfares, this track is instilled with a heroic purpose which propels it towards the clash that will determine the heroes’ destiny.

Springing from the Earth

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Enter then, the “Advent” tracks, which show the conflict’s dark side. The “First Advent,” appropriately enough, brings out the track title’s implied religiosity through a foreboding chant with a grim orchestral layer to accompany the despair that ensues in the face of the overwhelming force. The “Second Advent” takes up where the first leaves off with a frenetic dose of action, appropriating dissonant cues to impart the imminent danger while incorporating a Russian dance form that radiates desperation in its movement. With its conclusion, the morbid doom is all too certain, and the “Third Advent” reflects the sheer destructiveness through a quiet, sobering melody, filled with heartache and sorrow. But once the bell tolls, the piece heads toward more uplifting fare, offering a supportive arm so that the survivors may endure past the pains and rise once more.

The Third Advent ~ The Thing Hiding in the Ground

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With “Final Shore,” the action tracks subside for a time, allowing Kanno to showcase some of her less intense symphonic tracks. “Girls Rule” is a beautiful example. Its short violin phrases are pleasantly charming in the way it cultivates a playful tone before soaring to great heights as the sweeping melody conveys freedom and happiness. “Quiet Landing” is no slouch either, taking the tranquil aura associated with the vastness and emptiness of space and slowly unveiling a marvelous sight, adding more instrumental voices (including a chorus) so that it blossoms into a dazzling orchestral display. And then there’s “Talking Soshie,” which shows what Kanno can do with a smaller ensemble. The piece is carried by the woodwind section which combines well with the violin to produce a light, whimsical melody that reminds me of Kanno’s score for Napple Tale and provides a nice contrast to the heavy-hitting orchestral pieces.

Quiet Landing

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But while I can revel all day in Kanno’s orchestral broth, its her emotionally moving themes that make ∀ Gundam such a gratifying listen. “Moon,” in particular, is absolutely unforgettable as its ethereal, serene delivery slowly transitions through the percussion to become a heartrending display of human endurance as the survivors struggle against all odds. “The Song of a Stone” also has that heartfelt touch, packing a feeling of loftiness through a hauntingly beautiful chorus part that could easily have been an extension of “Angel” from Kanno’s Escaflowne soundtrack.

Moon

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The Song of a Stone

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Finally, for those not fond of her orchestral flavorings, there are a few offbeat tracks like “Air Plant’s” New Age guitar work that’s mixed with a smattering or rock music. The chants do get an opportunity once more in the “Ceremony of Crossing Over” and “When Talking of Old Promises,” the latter of which sounds funereal as it grows louder all the while. Kanno does stick in a J-pop ballad in “Boys about 16,” and while Shikyoh Iwasaka’s singing and expressiveness is decent, its staying power lies in the catchy, uplifting chorus. Still, when speaking of the non-orchestral tracks, nothing beats “Guin Lineford’s Limousine,” which engrosses me through its lively Celtic flavor, and “5/4 moon,” which captures “Moon’s” beauty while adopting a more nostalgic tone through its folksy melody.

Guin Lineford’s Limousine

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When Yoko Kanno arms herself with her orchestral brush to score a series, the result is an engaging, evocative work. Of her soundtracks that I’ve let simmer and marinate on my playlist, ∀ Gundam is my favorite as of this writing. Through her efforts here, she unleashes an unforgettable, orchestral delight that, once again, demonstrates why she’s oftentimes so favorably compared to the film maestro John Williams.

Rating: Excellent

In case you’re here to only listen to the soundclips and not read any of the text, below is the master list of all the pieces featured in this profile entry in order. It’ll save time if you don’t want to have to click through each and every track.

Master List
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Biography:
Of all the anime composers who’ve crossed our paths, none is more draped with an aura of mystery than Yoko Kanno. Despite having composed so much anime music (last count was somewhere around 32 series and movies, including OP and ED themes), not much is known about her aside from a brief glimpse here and there from what other artists and directors tell us. The way in which she conducts herself is best described as eccentric, with a sprightly personality similar to Ed’s from Cowboy Bebop and a tendency to hide her singing prowess by denying that she indeed Gabriela Robin, but there’s no denying the effects her works have had upon audiences.

Born on March 19, 1964, Yoko Kanno grew up with music. She started piano when she was very young and, growing up, won many awards and competitions on the instrument. Kanno also had an ear for composing from an early age; amongst her earliest compositions are a song she wrote for a boy she liked in middle school. Despite her interest in music and composition in general, she had aspirations to be a novelist and went to college to study Japanese literature. Setting her priorities straight, she dropped out after just one week to pursue a career in music. After taking up the keyboard, she made her professional musical debut as the keyboardist for the band TESTU100%. From there, she gained momentum and recognition for her work with the group, and began to receive offers to compose for commercials and video games.

Kanno’s first foray into the anime music scene was in arranging the ending theme for Studio Ghibli’s Porco Rosso. Her first real task as an anime composer was for Production I.G.’s Please Save My Earth in 1994, where many of her compositions were performed by Akino Arai. Though it still hadn’t established Kanno as a standalone soundtrack composer, it did leave audiences with Kanno’s memorable theme “Memory of Time,” which would get a poignant instrumental treatment in “The Eternal Spiral.” Furthermore, it was through this soundtrack that Kanno would be acquainted with fellow composer and to-be husband Hajime Mizoguchi, with whom she’d collaborate with in future works.

Please Save My Earth – The Eternal Spiral

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It wouldn’t be until the Macross Plus OVA that Kanno would work on a soundtrack by herself and where she would really enter the mainstream fan’s awareness. Macross Plus’s score saw such gems as the patriotically uplifting fanfare in “National Anthem of MACROSS” as well as the serene and introspective “MYUNG Theme,” parts of which seemed like a natural outgrowth of the music she did for Please Save My Earth and would undoubtedly influence her momentous score for Escaflowne.

Macross Plus – MYUNG Theme

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Kanno went on to score the first “episode” titled Magnetic Rose of the 1996 three-part film Memories. To match the serious, intense tone of Magnetic Rose, Kanno drew deeply from the opera canon for inspiration and arrangement, resulting in tracks such as “End” as well as her spin on Italian opera composer Giacomo Puccini’s Madame Butterfly and Tosca. But as far as 1996 goes, Magnetic Rose would be almost insignificant. At least, next to a veritable giant of an anime series which aired during the same year.

Magnetic Rose – End

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Escaflowne, released in 1996, was a landmark work for Kanno in a number of ways. First, it marked Kanno’s first joint effort with Maaya Sakamoto, a budding artist with whom she would find herself working with on many future projects. Secondly, she would team up with Hajime Mizoguchi once more. This time, however, she’d be much more involved than in Please Save My Earth. Escaflowne’s score is noted for its eclectic genres, encompassing classical, contemporary/experimental, and even Gregorian-styled chanting. Kanno would compose the bulk of it, bringing forth such memorable themes as “Dance of Curse” and the enchanting “Angel,” though Mizoguchi arguably stole the show in composing the uplifting “Gloria.” Still, the two composers’ works blended well, and Escaflowne’s score continues to be highly regarded as being among the finest original soundtracks of its time.

Escaflowne – Angel

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While working on Escaflowne, Kanno also contributed small parts for other shows around this time, including bits and pieces of X Clamp Characters File and the ED for Clamp School Detectives. She also collaborated with Production I.G. on the short film Noiseman Sound Insect in 1998. The ED in particular, is noteworthy, featuring vocals by a budding Crystal Kay Williams, who would go on to perform in more prominent anime down the line.

But 1998 offered more than just a long-forgotten I.G. film. It was a big year for Kanno, where heavy hitters like the opening themes for Record of Lodoss War: Chronicles of the Heroic Knight and Cardcaptor Sakura landed on her list of projects. A return to the Macross franchise also followed, with the sweeping “Angel Voice” for Macross Dynamite 7. And, of course, there was Sunrise’s Brain Powerd, which allowed Kanno to flex her orchestral muscles and deliver a score noted for its majesty and scope.

Brain Powerd’s subtle, complex orchestrations and creative flourishes impressed listeners. Though the show itself received mixed reviews and was not a huge success, the OST had lasting value. “Power of the Light” was one of the highlights, shocking us with Kanno’s ability to compose something so complex and intricate without formal training. The song moves at breakneck speed and is reminiscent of certain ultra-modern wind ensemble pieces, driving towards a soft, emotional ending. This is regarded as one of Kanno’s most underrated works; most blame the less-than-stellar show for casting a shadow on her excellent score.

Brain Powerd – Power of the Light

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But nothing – and we mean nothing – could compare to the juggernaut anime of 1998, which was none other than Cowboy Bebop and was arguably the greatest and most far-reaching of Kanno’s work thus far. The soundtrack for this watershed series rocketed Kanno to near super-stardom in the anime community. Never before was a composer so crucially and lovingly associated with an anime series’ success; nary a review of Bebop failed to mention the jazz-inspired soundtrack as a major factor of the show’s quality. From the opener “Tank!” to the insert songs to the ED “The Real Folk Blues,” the sheer audacity and effectiveness in the OST’s execution left many (especially Aftershok) in awe.

What was particularly notable about this soundtrack was its reach. People who had never seen the show or even heard of anime found themselves enamored of the energy and mood of the songs Kanno composed. In terms of worldwide success and universal appeal, few composers matched the feat that Kanno accomplished through Cowboy Bebop.

Cowboy Bebop – Tank!

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Kanno would return to Bebop once more for its sophomore run in the feature film Cowboy Bebop: Knockin’ on Heaven’s Door. Though still strongly rooted in jazz, Heaven’s Door’s soundtrack leaned more toward vocal pieces and had a more rock-inspired feel. It’s generally regarded as an excellent complement to the show’s OST, which centered more around instrumental big-band arrangements.

Cowboy Bebop: Knockin’ on Heaven’s Door – Ask DNA

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Riding that wave of success, she returned to mecha by becoming yet another successful Gundam franchise composer by scoring the ∀ (Turn A) Gundam soundtrack. Of the tracks that shined, none stood out more than the “Memory of Military Boots,” a glorious theme that reminded us of why she’s often compared favorably to John Williams. On the flip side, she also delivered the poignancy and introspective feel through the “Moon” theme which imparted a wonderful sense of lightness unto the listener. As a plus, “Moon” is performed by Gabriela Robin, or Kanno herself, as we’d prefer to call it, demonstrating her range of expression. Although the soundtrack does contain some tribal-like chants (your mileage may vary), it’s the orchestral tracks that once again, show what Kanno’s capable of.

∀ Gundam – Memory of Military Boots

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All of these successes gave her more room to experiment, allowing Kanno to gladly take the plunge with Earth Girl Arjuna, where she delivers her interesting take on Indian music through a more modern lens. This was most evident in the second track, “Awakening” which included some really weird chanting with electric guitars backing it up. The sense of drama still existed, but in terms of it being conventional it most certainly wasn’t. Overall, traditionalists will be drawn in by the whimsical, outworldly tracks like “Clóe,” while some of the more chant-heavy songs fused with those Indian influences will appeal to those looking for something different. It’s more experimental than most of her works and so, the ability to tolerate this eclectic brew of chants, guitar distortions, and whimsy will lie at the core of whether you’ll enjoy the experience or not.

Earth Girl Arjuna – Clóe

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The experimentation continued in Ghost in the Shell: Stand Alone Complex where Kanno dabbled in more modern genres, most notably, techno, trance, and harder-edged rock. Kanno’s goal was to bring a human charm to Ghost in the Shell’s cybernetic/robotic world and she largely succeeded. Whatever impressions one may have about the CG opening, there’s no doubt that the ethereal OP song, titled “Inner Universe” and sung by Origa, made for a solid entry that immersed the viewer in this mechanical future while other tracks like the spine-tingling “Torukia” expanded the scope of what it means to be human through its vocals, which moved from a tribal chant to a full-blown chorus.

Ghost in the Shell: Stand Alone Complex – Torukia

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In Wolf’s Rain, Yoko Kanno made a return to the orchestra as her medium of choice for bringing out the moments of tenderness and euphoria while also conveying the awesome scope of the journey the characters undertake through sweeping orchestral classics like “Shiro, Long Tails” and “My Little Flower.” But in keeping with her idiom, she continues to explore other musical genres and her explorations yield plenty, fusing the soundtrack with a Latin flavor while scattering about some New Age guitar music, and tribal flutes and rhythms.

Wolf’s Rain – My Little Flower

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Next up was Kawamori’s Sousei no Aquarion, a show with some of the silliest pilot combining sequences ever. Nevertheless, the soundtrack was anything but silly as it featured some hard-hitting tracks that are among Kanno’s best. Once again, the orchestral pieces formed much of the album’s base, but, while the mixture of piano, strings, and orchestra continue to shine, the choral works, which haven’t been featured as prominently in Kanno’s scores since Escaflowne, made a triumphant return, lending an air of majesty to the mecha fights that took place. Of all the orchestral pieces that appeared in the soundtrack, nothing shone quite like “First Love Final Love,” a piece that incorporated orchestra and chorus into such a glorious combination that it may very well be the best finale piece that Kanno had ever written.

Sousei no Aquarion – First Love, Final Love

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In contrast to the highly-praised orchestral portion, her stylistic exploration in Aquarion is much more mixed, with very prominent electronica and heavily distorted synth tracks. Of those, none have really stood (to us at least) as being particularly memorable and play second fiddle to the soundtrack’s orchestral backbone.

Her Darker than Black score was another instance where Kanno’s experiments in other genres met with mixed reactions. Stylistically, half of the music was improvisational jazz with a Spanish or Latin flavor. “Highheel Runway,” for example, could very well be a lively Brazilian bossa. Unfortunately the atmospheric nature of improv didn’t give the tracks any direction. While the jazzy rhythms DtB utilized are nostalgic of Cowboy Bebop, there is no clincher track with the attention-grabbing ability that “Tank!” had. However, what truly brings the album down (in a few eyes) is the rock music which made up the other half of the album. “Outside,” the most notable of these, contains an electric guitar that screams aimlessly, to the listener’s chagrin, throughout the track. All in all, the grungy sound became such a messy affair that the rock tracks are better avoided.

Darker Than Black – Highheel Runaway

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In spite of her mixed record with DtB, Kanno made a triumphant return in her soundtrack for Macross Frontier, which recaptured the commanding orchestral sound that has endeared her to many. Here she borrowed stylistically from many Western film composers (especially the intensity of Hans Zimmer and the majesty of John Williams). She even pays tribute to the former, quoting Pirates of the Caribbean (or Gladiator if you prefer) in “Tally Ho!” Nevertheless, the pieces are clearly her own as she skillfully drew on the power and versatility of an orchestra. Very few anime can boast a soundtrack with pieces like “Take Off” which recreated the epic nature of, well, a take-off. Nor have I heard another composer beside Hisaishi utilize an entire ensemble to create a playful atmosphere like that in “Test Flight Delight”. Macross Frontier truly delivered an enthralling experience all around, demonstrating Kanno’s remarkable skill and ingenuity.

Macross Frontier – TALLY HO!

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No Kanno discussion would be complete without a mention of all the pop music she’s composed either. The most iconic of her works probably are the ones performed by Maaya Sakamoto and, more recently, May’n. As we said above, Kanno’s collaboration with Sakamoto dated all the way back to 1996, with the single Yakusoku Wa Iranai for Escaflowne. Sakamoto’s gentle voice lent itself excellently to many of Kanno’s works, with the most memorable ones including “Gravity” from Wolf’s Rain and “Hemisphere” from Rahxephon. “Gravity” is especially poignant, with a sense of uncertainty brought about by Sakamoto’s expression and the repetitive piano chord drumming out the despairing monotonicity of it all. One cannot do justice to the song with words; it’s a song that achieves the rare feat of reaching directly into the listeners’ hearts through the composition and performance which convey the emotions that come from the artists’ themselves.

Wolfs Rain – Gravity

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While Sakamoto brings out the more relaxing and introspective feel of Kanno’s works, May’n shines in the pop-rock pieces. With a rather thin and reedy voice, May’n shines in faster tracks like “Nothern Cross” and “Lion,” where one can feel her passion pulsing through (and even more so during her outstanding live performances). While lacking the ability to age as well as works of Sakamoto, it does rank rather high on the enjoyment factor, if one is not bothered by the thin quality of May’n voice.

Macross Frontier – Lion

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And for a quick assessment of how her works have gone, check out page 2 where you get a breakdown by each staff member’s thoughts.

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: Death Note is not an anime known for its cheerful attitude or its positive outlook on the human condition. Following that line of thinking, if you’ve ever wanted to know what it feels like to have your soul crushed by music, look no further than Death Note’s soundtrack.

A curious amalgamation of electronica rock and orchestral pieces, it nonetheless beautifully depicts the slow descent of a brilliant young mind into the abyss of power-obsessed madness. A two-man job between relative unknowns Yoshihisa Hirano and Hideki Taniuchi, the album is predictably divided into two main sections, one for each composer (the opener and closer aside). Overall, the OST is filled with exceptional orchestration and brilliant texturing on Hirano’s part and a surprising level of rhythmic sophistication on Taniuchi’s. Though each section is tonally and thematically a tad homogeneous, the result is a soundtrack that brims with moody energy and dark complexity which ultimately is a resounding success as both an effective OST and a work that can stand on its own.

I’ll begin chronologically with Taniuchi’s contributions, which comprise tracks 1 through 18. On the whole, these songs are moody, expertly scored, and wouldn’t sound out of place on an American rock album from a professional label. With instrumentation ranging from lightly overdriven guitar to piano to synthesizer voices to heavy distortion guitar, the tracks are as well-crafted for setting atmosphere as they are for pleasure listening due to the thoughtful intricacy put into each one. Especially notable in this regard is “L’s Theme,” which is one of the boldest experimentations in time and meter I’ve ever seen in any type of music, ever. Written in the unheard of meter of 25/16 (I dare you to try to tap your foot to it), I was at first baffled when I sat down to really listen to it and then had a musical nerd-gasm at Taniuchi’s bald-faced subversion of all traditional conventions of rhythm when I finally figured it out. It seems a lot of thought went into crafting a song that defined L’s complex character, and I’d say Taniuchi succeeded soundly. Like his song, L is a character that you can’t quite figure out at first glance. He’s not random; you know there is a method to his madness and an arcane logic behind his actions. You just don’t know what those are, or just quite how he ticks.

L’s Theme

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“Light’s Theme” is also a carefully assembled character study. The song is triumphant, but, at the same time, it is a lamentation, an elegy for a promising young man corrupted by power whose idealism and ambition twisted him into committing acts of unspeakable evil. The song is prodigious from a songwriting standpoint as well, featuring an impressive three-guitar climax and an ending that seems to ask “Who knows?,” as Light’s final fate is yet to be decided.

Light’s Theme

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Tracks 19-28 is where Yoshihisa Hirano gets to flex his Julliard-trained musical muscles. This set is made up of the notorious orchestral pieces with the Latin choral chanting that became famously associated with Death Note. Not only does this fit perfectly with the show’s pseudo-religious overtones, it also provides an appropriately “epic” backdrop for the tense intellectual cat-and-mouse game that Light and L play throughout the first half. The orchestration is simply superb, with brass glissandos and percussion flourishes used to great effect. “Kyrie” will bring you goose bumps every time, with the ominous dronings of “ky-ri-eeeee….,” the piercing chimes, and weeping tremolo violin creating an atmosphere that will make your hair stand on end. Especially impressive is “Domine Kira,” translating roughly to “Pastor Kira” or “Clergyman Kira.” The deftness of the orchestration here impresses deeply, with rapidly-sequenced glissandos in the strings and horns punctuated by percussion crashes and fierce choral exclamations of “Kira!” It vividly portrays a character’s worsening condition as events are quickly spiraling out of control. The use of audaciously brassy bellows as in “Theology of Death” and luscious string chorales like “Light Lights up Light” is simply masterful throughout this section. They must be heard to be believed.

Kyrie

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Domine Kira

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Theology of Death

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Light Lights up Light

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The final tracks on this disc are the first opener and closer from the series in their edited form, “the WORLD” and “Alumina,” respectively. Their inclusion feels like an afterthought and doesn’t leave much of an impression, mostly because we got to hear these songs in the exact same edited state in the series multiple times. The vocalist still sounds like he’s singing through clenched teeth while chewing gum, and his constant vibrato is stifling if not simply tiresome. They are both excellent in their own right but feel out of place, especially after being edited down to 90-second bite-sized bits. It’s a shame some petty record label bureaucracy kept them from including the full versions.

the WORLD ~Aftershok’s Edit~

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Overall, the album is great fun and will bring a knowing smile to your face when familiar themes spark a sudden recollection of scenes from the series. Unlike many OSTs, these tracks have surprising depth, waiting for those who are brave enough to dive past the murky surface, and will reward those who stick around long enough to appreciate what’s there.

I can’t help but feel that this album is a sort of music nerd’s feast. If you are an anime fan who enjoys music, consider this OST excellent. If you are an anime fan that is also a music nerd, consider it a masterpiece.

I happen to be the latter.

Rating: Masterpiece

Tracklist

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Review: The first few scenes from Rurouni Kenshin: Tsuiokuhen are unforgettable; barely two minutes have transpired and already, the audience has witnessed a horrific massacre that is as senseless as it is brutal. As this carnage unfolds, the music conveys the totality of the sadness and despair that runs through this scene. I’m especially overcome by the lonely-sounding flute solo that amplifies the suffering and anguish the protagonist feels as he sees loved ones cut down before him. The vividness of this scene is impactful, partly because of the strength of its visuals, but also because of Taku Iwasaki’s music which succeeds beautifully at depicting the scope of the eponymous protagonist’s storied past.

In Memories “A Boy Meets the Man”

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An experience of this magnitude is life-changing and the protagonist’s chance encounter with the swordsman Hiko Seijiro propels him towards his destiny as the chaos of the Bakumatsu period begins to churn violently. The music keeps our mind within this era of disorder, as “In Memories ‘A Boy Meets the Man’” paints an image of the long, lonely road our determined hero, travels down, dogged by the specters of death and suffering. These last two elements surface in “One of These Nights” which shows Iwasaki’s masterful management of the atmosphere through the buildup. The mournful sound heard in “In Memories” transitions into a discordant air that allows tension to accumulate as it waits for the action to hit its stride. Once there, the full tilt of the attack is on display and the music flows with the intensity of a crashing wave. The rhythms bring out the urgency and the chords have the sharp cut of a sword blow. It ends quickly, brutally. In the aftermath, the mournful theme returns, emphasizing the tragedy and destruction left in his wake.

One of These Nights

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The thrill of the action and the emotional pain and anguish dominate this album; “Quiet Life” offers a much-needed breather. The melody in both the piano and the orchestral version is relaxed as it cordons us from the discord that has gripped the rest of the world. Its calming aura, more subdued when played by the solo piano, carries contentment, even happiness and the lulling melody lowered my guard for a brief moment. It’s provides a welcome respite, for we know that the story is not yet over; there’s still conflict afoot as the ominous storm continues to brew, one that will reach in and call upon Kenshin to kill once more.

Quiet Life -pf solo version-

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So it begins in “The Wars of the Last Wolves” with its grim introduction marked by a string melody dripping with dread and purpose. The percussion section’s militaristic rhythm works in tandem with the orchestra to heighten the anticipation through a buildup that leads one to expect the action to manifest with full fury. Its intensity does not disappoint. The string section’s steady repetition carries a great sense of urgency and the rhythm conjures images of troop assemblage, mobilization, and action which springs forth effortlessly to match the conflict’s escalation. The brass part adds a pinch of glory, but the victory it connotes is short-lived as the realities of war set in. At this point, a soft trumpet takes over, bearing a forlorn, mournful melody that illustrates war’s aftermath as many of the bold and brave lie fallen. The music is sobering and poignant, and the way it depicts the conflict from start to finish yields a thrilling, pathos-filled track that makes it the best track on this album.

The Wars of the Last Wolves

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As the “Last Wolves” sounds its last note, a feeling of unease sets in. The next few tracks are a varied bunch. Some wander around restlessly while others are softer and more introspective. Of those, I’m fond of “Sound of Snow Falling,” which carries a quiet, still vibe that meshes well with the pizzicato, bringing to mind the dripping sound of the snow melting partway, refreezing, and forming glistening icicles. When the mournful flute theme plays, its solemness foreshadows one last tragedy before the journey’s end. And yet, its shift towards a more optimistic tone suggests that there’s some redemption to be had and Kenshin’s sins may yet be expunged, leaving him pure once more.

Sound of Snow Falling

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But the calls of battle sound and “Shades of Revolution” carries us through the final leg of this long, perilous journey hinted through the synth’s ominous sounds and discordance that grows uneasier by the second. The howls and screeches scattered throughout amplify this further until finally, the action theme materializes. It retains its intensity, though the chords strike harder than before, emphasizing the final strikes that bring an end to the conflict. But the best part comes after the solitary trumpet air makes clear the approaching rendezvous with destiny. An intense, rhythmic section quickly takes over, rushing in with bombast and flair that possesses an unstoppable sense of urgency. The glorious fanfares bring a sweet rush of victory, ending it on an affirmative note that signifies an end to this warring era.

Shades of Revolution

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If albums could have bookends, “In Memories ‘KO-TO-WA-RI’” would function as exactly that. It reprises the solitary, mournful theme from the first track, but subtly shifts the tone so it’s more optimistic. The track is a perfect reflection of Kenshin’s tortured past that, hopefully, will turn out for the better in a new era of peace. Though the tragedies weigh heavily upon his soul, he endures past the pains and forges a new destiny. Iwasaki’s music has carried us through some of the most heartwrenching moments of Kenshin’s odyssey and conveyed unto us the pain and sorrow he’s experienced along the way through this evocative soundtrack that ranks among his best.

Rating: Excellent

Tracklist

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Review: The existence of an orchestral arrangement of an anime movie’s score makes one wonder why that album was ever made, since the danger of redundancy is all too real when the anime itself sets its music to a magnificent, orchestral soundtrack. In this instance, the effort the Czech Philharmonic Orchestra pours into this symphonic suite pays off handsomely as they take the shorter tracks from Princess Mononoke’s soundtrack and by lengthening them, casts them into a mold worthy of the show’s epic plot. The best way to describe Symphonic Suite Princess Mononoke is that if the soundtrack conjures up the movie scene by scene, the music in the Symphonic Suite takes it a step further by delivering a full-fledged, awe-inspiring odyssey that immerses me into the middle of all the action.

This journey is reflected in “The Legend of Ashitaka,” which delivers a stirring orchestral air that leaves no doubt about the status of the eponymous character’s rendezvous with destiny. It’s grandeur sweeps the listener into its clutches as the string melody gushes forth with a commanding air, ushering all in its grasp far away from the misty mountains of Ashitaka’s village and into the rough and tumble of the world beyond. By removing himself from the comforts of home, Ashitaka embarks upon a path less traveled, but one that leads to greatness. The smooth, intrepid musical passages dominated mostly by the strings attest to the strength of his will to see things through to the end and become the force which shapes the world for the better.

The Legend of Ashitaka

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But for that journey to begin, there must be an impetus and that moment is depicted in “TA TA RI GAMI.” This track, with its drumbeats, takes on the air of a chaotic battle as the dissonant melody brings out the savagery that only Nature herself could conjure up. There’s no stopping the fury evoked in this piece; the music’s relentlessness only slows down to depict the climactic showdown between man and beast. In that brief moment, the orchestra makes the most of it by weaving a thick layer of tension, before returning to the intense battle theme. As the encounter winds down, the aftermath leaves me uneasy with the discordant string phrases highlighting that anxiety keenly. Though the immediate threat has been quelled, it opens up many questions; to answer them, Ashitaka must go west.

TA TA RI GAMI

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The next few tracks are evocative of the middle part of the story which starts with Ashitaka’s departure. “Journey to the West’s” introduction contains a hint of melancholy, reflecting the sadness of leaving home, but those somber tones quickly dissipate, making way for melody that carries a richer sort of purpose, elevating it beyond the textbook travel/adventure music and places it in the realm of quest music. Thoroughly grand, this track is where the scope of the odyssey is at its most apparent. “Mononoke Hime” is softer and more introspective, utilizing a warm, serene piano melody that nevertheless carries a slight dash of willfulness to encompass San’s multifaceted personality, delivering an excellent, heartfelt track all the while. The music takes a dissonant turn in “Forest of the Deer God” which tilts more towards the atmospheric as the strings play a glistening tone that radiantly reflects the warmth of the sunlight cascading through the treetops. Further in however, a thick, mysterious layer begins to form through a tone shift, and in doing so, depicts deeper forays into the heart of the forest. It’s at this point that the piece turns menacing once the bassoons settle in with their dissonant melody, and it’s soon evident why.

Mononoke Hime

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“Requiem – The Demon Power,” true to its name, is grim, with a melody more foul than fair once it hits the two-minute mark. Its harshness, heard through the dreadful crescendos that segue into dissonant phrases, is a harbinger of doom, which takes the form of a monstrous being that bears Nature’s fury. Those tones don’t subside until five minutes in when they’re replaced by the requiem that represents the death of Nature’s innocence as the call to reclaim what is hers sounds. This sets the stage for the danger that becomes fully-realized in “The World of the Dead – Adagio of Life and Death,” where the feeling of urgency dominates as the floodgates of doom are unleashed and few can survive its onslaught. Yet, even a rampaging entity can be appeased, and with that decisive chord to close out the piece, it signals an end to the entity’s anger as mankind is allowed a new beginning.

“The World of the Dead – Adagio of Life and Death

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The wellspring of hope emerges in “Ashitaka and San” draws me in with tones suggestive of a rebirth. Through the piano melody, punctuated with moments in which the woodwinds take over, the ardor and gentleness seep into every fiber of my being, nourishing me by melting the pains and sorrows accumulated, and letting me start fresh. The gladness that stirs forth through the woodwind sections is soothing and as the rays of hope shine radiantly, I cannot help but feel optimistic for what lies ahead. Ashitaka has given his all to bring peace. May his efforts not be in vain as the spirit of cooperation he’s forged tie us together with Nature forevermore.

Ashitaka and San

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Rating: Excellent

Tracklist

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Review: In an ideal world, Howard Shore would be scoring Fullmetal Alchemist: Brotherhood. Though I haven’t heard his other works beyond the magnificent soundtrack to the Lord of the Rings trilogy, whenever I listen to Akira Senju’s efforts for FMA:B, I feel as though Senju is trying to evoke the atmosphere contained in Shore’s music. Trying, being the key word here because a critical component seems to be missing, thereby keeping this soundtrack from being on par with his previous works. Whether Senju’s just overworked or the demands that the producer or director placed on him didn’t give him much wiggle room, the soundtrack does not inspire. It simply does its job. No more, and no less.

As I went through the second soundtrack for FMA:B, the same standard litany of complaints that arose when I reviewed FMA:B’s first soundtrack comes up once more. The ambience continues to make up a large portion of the album and all too often, pieces build up in a repetitive fashion and peter out without ending conclusively. It’s not as overbearing as it was in the first soundtrack, but it’s still there.

The Plot Thickens

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Part of the problem lies in the lack of development. For a soundtrack to become an engaging experience, the music needs to be more than just a collection of cues. It needs to ebb, tease, shift, and flow together in a cohesive fashion. So when Senju serves up something that is rhythmically and melodically repetitive like “Xing Symphony ~Overture~,” he’s not going to win me over without developing it so as to capture more facets of the piece’s titular land because there looks to be a lot of territory left unexplored. The same can be said for “Mount Briggs ~Undulation~,” which should have been combined with the “Mount Briggs ~Overture~” so as to yield a track that immerses you into the cold, bleak mountain and deliver a commanding aura akin to the music that played in Lord of the Rings as the Fellowship is going through the mines of Moria. As is, all “~Undulation~” does is reflect a grim atmosphere without giving me any melodic hook to grab my attention.

Xing Symphony ~Overture~

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Mount Briggs ~Undulation~

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If there’s one positive that can be wrung out of FMA:B’s OST 2, it’s that the music is a notch better overall than in OST 1. My preferences have always leaned towards some of the quieter fare like the “Resembool” tracks, and here, the “Amestris” tracks radiate a calming aura that complements the image one gets of a home. “Nocturne of Amestris” does well in setting the balmy mood through the strings and clarinets, creating a bubble that encloses the characters in a comforting sanctum far from the tumult of the main plot, allowing them to relax and unwind. It is a tad repetitive, but the melody is more enjoyable though.

Nocturne of Amestris

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The other strong set of tracks is in the pairing of “Versus Homonculus” and “Battle Scherzo” which, together, depict the flow and intensity of combat well. “Versus Homonculus” starts off by weaving a grandiose fabric by using the strings and percussion to lay down the foundation. Once that’s set, the brass comes in with its ominous airs, interrupted by moments in which the strings lay down the tension really thick. “Battle Scherzo” picks up from there with its energetic introduction that builds up the grand struggle nicely. The brass fanfares weave in and out with the frenetic violin melody and together, those two components evoke a duel that will decide which destiny shall prevail.

Versus Homonculus

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Battle Scherzo

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With “Brotherhood ~Postlude~” the xylophones close out yet another chapter in the ongoing saga, beckoning for us to take in all that’s happened and to provide the dab of hope that things will turn out right in the end. I hope that it portends well for the third OST. The more I listen to FMA:B’s soundtracks, the more suspicions I have about Akira Senju’s contribution to this franchise. I just won’t verbalize them until I give OST 3 a go.

Brotherhood ~Postlude~

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Rating: Decent

Tracklist

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Review: Michiru Ooshima has this knack for putting in at least one track that’s so beautiful and poignant it’s absolutely unforgettable. Fullmetal Alchemist had a few to choose from, but “Brothers” will be the one most people will point to and more recently, Sora no Woto’s soundtrack boasts “Servante du Feu” and “Un Bol d’Air” (my readers will say “Flanerie” deserves that spot too).

Of all the tracks on Yojouhan Shinwa Taikei (also known as Tatami Galaxy), “‘Watashi’ no Theme (Piano Ver.)” is that track. The original “‘Watashi’ no Theme” captures the protagonist’s romanticized thoughts of what awaits him as he enters university through the violin, which depicts an optimist, a dreamer, someone who fully embraces the idealized vision of finding not only a direction in his life, but also that special someone with whom he’ll spend the rest of his life. Beautifully dreamy, it’s a sharp contrast with the piano version, which is far more somber. The piano’s slower tempo has that tragic, empty feeling one gets when one’s ideals are completely shattered resulting in an outflow of regrets, sorrow, and loneliness. As the piece ends, I imagine the character wondering, “what if I chose differently?” That final thought that the piano leaves behind leaves tugs at my heartstrings and I won’t ever forget the impression it left on me.

‘Watashi’ no Theme

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‘Watashi’ no Theme (Piano Ver.)

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The protagonist’s theme isn’t the only one that shines. Ozu’s theme, carried mostly by the clarinet, is unsettling and mysterious. This presentation jibes well with his ghoulish appearance and his penchant for scheming; you can never really tell whose side he’s on until it’s too late, and the clarinet captures that effectively through the way the piece slinks along while the accordion adds a slimy touch to top it off. Akashi’s theme also has an aura of mystery about it, but that’s only because she seems like an unreachable ideal (think yamato nadeshiko here). The music captures her prim, no-nonsense nature and though it doesn’t quite succeed at nailing her idiosyncrasies, its melody is soothing and charming, which works since she is a calming, stabilizing presence in the protagonist’s life and he really does enjoy her company.

Akashi-san no Theme

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As good as the character themes are, they only form one part of what makes this album enjoyable. The rest of it lies in the music’s depiction of the hijinks and shenanigans of the protagonist’s college experience. His adventures end mostly in disaster and regret, but they can be a wild ride if you listen to tracks like “Kamo Oohashi,” which sounds wonderful in its use of dissonance. The way it crescendos in and out highlights the risks and dangers he gets put into, and the methodical pace in which it flows sounds like someone’s machinations being set into motion, bringing all involved to the brink of disaster.

Kamo Oohashi

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From the other tracks, you get an idea for the scale of the protagonist’s efforts at fitting in. “Eiga Circle ‘Misogi’” has all the ham-handedness of an epic movie with its larger than life personas, nailing down the film club’s direction in the process. “Jigyakuteki Dairi Dairi Sensou” is meant to be silly and ridiculous in the vein of a spaghetti western with its flamboyant introduction that suggests the players involved taking part in an elaborate display of saber-rattling before finishing the confrontation once and for all. But amidst that are tracks like “Maru wo Sagashite” which channels a yearning tone borne out of wanderlust. Sung by Higuchi in one the earlier episodes, the guitar and strings possesses a sense of finality and preparedness in moving on, suggesting to us that his job is done and that he’s ready to see new sights to quench his thirst for enlightenment, knowledge, or whatever else it is he seeks.

Jigyakuteki Dairi Dairi Sensou

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Maru wo Sagashite

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As I clued you in above, the protagonist’s adventures don’t end well, and nowhere is that depicted better than in “Yojouhan to Castella to ‘Watashi,’” which is seeped in loneliness, hopelessness, and despair. The piano’s poignant melody illustrates the extent of the protagonist’s dejection and the tragic feeling that accompanies it makes him easy to empathize with. But there is hope, there is redemption. The protagonist, when deprived of the experiences finally realizes what was lost. “Yojouhan Ki Owari” describes this sudden realization perfectly, and the trumpets and the strings create a call to action, urgently pushing the protagonist to proactively seek out his oasis of happiness through the experiences he might not have noticed before. That the instrumental portion of the OST closes on out on that track is fitting, leaving behind the message that you might not necessarily get what you’re looking for when you do something, but there will be moments to cherish and experiences to take in, so enjoy them for what they are. Don’t ever lose sight of that.

Yojouhan to Castella to ‘Watashi’

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Yojouhan Ki Owari

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Tatami Galaxy’s soundtrack just goes on to demonstrate just how versatile and consistent a composer Michiru Ooshima is and that no matter what genre or show she’s assigned, she will put forth a solid effort each and every time. This soundtrack won’t eclipse her fine work with Sora no Woto, but it sure is an enjoyable outing, especially when paired with a show that is one of the best to come out this year.

Rating: Very Good

Tracklist

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Review: I’ve had an odd relationship with mecha series in that I’ll avoid having to actually watch one the whole way through (I think the list of mecha shows I’ve completed stands at about 3 or 4 now), and yet, I’ll happily embrace the music because of the way it evokes the vast final frontier and the ensuing conflicts within through a majestic, orchestral sound that is heaven to my ears. Gundam SEED is no exception to that rule with Toshihiko Sahashi doing an excellent job helming that soundtrack. That said, exploring its four-disc soundtrack can be a daunting task. That’s why I’d recommend the Symphony SEED album for those who want to experience Gundam SEED’s music, but in bite-sized chunks. And delicious bite-sized chunks at that.

Gundam SEED’s symphonic album takes ten already-superb tracks, and polishes them further by having them performed by the London Symphony Orchestra. Pieces like “Opening” become nothing short of glorious, as the music alights upon our ears, beckoning us to dive into a saga just waiting to unfold before our eyes. The brass section’s fanfares and the occasional dipping into the heavier melodies hearken towards the militaristic side of the story, with its depiction of the battles between heroes and villains, and yet, it still leaves room for the strings and woodwinds to provide calmer, inspiring fare to assure us that the end result is a lasting peace with the heroes immortalized forevermore.

Opening

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With that kind of opener, one can safely infer that glorious and grand themes are going to dominate this album. Its approach is nono too subtle, and people who favor bombastic melodies and militaristic fanfares that announce their intent straight from the get-go will be pleased by what this album offers up. “Take off’s” pompousness in its opening lines possesses the sort of melody that works as a triumphant sendoff as the trumpets hail those departing as heroes bound upon the adventure that epics aim to retell. The same vibe permeates “Gundam,” except the strings starts out softly, allowing the listener to appreciate the mech’s structural beauty. Its war-making capabilities come once the regal, stately tones subside, unleashing upon us the mechs’ true potential, as the tempo speeds up, and the orchestra moves into a rousing, fanfare-driven finish that leaves no question-marks about its superiority as a weapon on the battlefield, one that is capable of inspiring fear and dread in enemies.

Take off

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Gundam

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So yes, these arrangements aim to get you pumped in anticipation of the action, and that can be a bit exhausting if there aren’t quieter tracks to provide some respite. To that end, “Memory” and “A Wish” work well in bringing an aura of tranquility amidst the fighting. I particularly like how the former conveys its gentle, longing tones through the woodwinds and xylophones as it reaches far into the past, bringing to mind the nostalgia of more peaceful times. The latter, though an orchestral arrangement of Lacus Clyne’s (cv: Rie Tanaka) “Shizukana Yoru ni,” is beautifully arranged. “Shizukana Yoru ni” is simple, but the basic melody is easy to latch onto, and when executed by an orchestra, “A Wish” is more poignant than the original. I love its progression as it blossoms from its quiet, calming air into an unforgettable piece dripping with sentimentality and happiness that settles one’s heart so that one can be at peace with oneself and the outside world.

A Wish

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Symphony SEED then ends with the wonderful “Finale,” which takes us through countless battles and emphasizes the intensity before slowly drawing it to a close, first, with the usual round of triumphant brass fanfares, before letting the horn, woodwinds, and strings carry the war’s events to the history books, where the brave deeds can be chronicled for future generations. And in closing, it never loses its sense of grandeur; the London Symphony Orchestra carries the heroism all the way to the finish line. The music isn’t subtle and it certainly doesn’t show Gundam SEED’s angstier moments, but it sure is hard for me to not be swept up by the epic melodies it serves up.

Finale

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Rating: Excellent

Tracklist

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Review: When Akira Senju is scoring any anime, it’s not unreasonable to expect nothing short of greatness, but that’s unfortunate baggage to be carrying around when he does finally stumble. His previous works, from Arete Hime to the fantastic Red Garden soundtrack have shown us just how good he is at writing music that brings out not only that upwelling of emotion associated with loneliness and suffering that the characters experience, but also the wellspring of hope that the characters draw from to see them through to the very end. With such lofty expectations, it’s a matter of time before he’d let us down.

Fullmetal Alchemist: Brotherhood’s soundtrack is that letdown. It’s far from a fall from grace, but it’s riddled with enough inconsistencies to raise a few questions. Was the sheer immensity and scope of the project just too much? He’s done a quality job for the 51-episode Victory Gundam series which also featured a three-disc soundtrack, so that can’t be it. Perhaps he’s just going through a phase where his creativity isn’t as high. Whatever the reasons are, FMA:B should have been a good fit with Senju’s compositional style since the show’s plot centering upon the physical and emotional trials and tribulations that Edward and Alfonse Elric must undergo isn’t unlike that of Red Garden’s, and yet, Senju doesn’t draw out those poignant emotions as well as he normally does.

The pieces featured early on carry the hope that once again, Senju will deliver a memorable score. “Main Theme ~The Fullmetal Alchemist~” opens up with an ominous tone, depicting the extent of the monumental struggles that the Elric brothers will face throughout their journey. The orchestra builds its tension slowly, and once it hits its peak, the chorus takes over with the orchestra in accompaniment and together, they bring a sound that mixes in both majesty and sadness in showing a long road, filled with little reprieve from tragedy and suffering, that will take the brothers to hell and back. “Laws of Alchemy” follows that with a rigid-sounding violin melody that highlights the unforgiving nature of alchemy and the horror inherent in its backlash should anyone cross that forbidden line. It’s a strong start, and because of that, you’re not quite prepared for the drop in quality when it materializes.

Main Theme ~The Fullmetal Alchemist~

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Laws of Alchemy

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Starting around “Fire in the Sky,” Akira Senju moves away from the distinct melodies that characterize his past works and aims towards building ambiance. While it works well in context, I find my attention wandering rather than focusing upon the music without the visuals to accompany them. Tracks like “Mist” bore me out of my mind because it repeats a bland melody that fails to grab my attention in any way. The same goes for “Fifth Laboratory,” which heaves in the bombast and crescendos it further without tossing in much variety to keep the listener interested. “Fanfare for the Brave” takes on a different form of badness because initially, its melody inspires, but as it keeps on progressing towards glory and redemption, it becomes painfully evident that the piece intends to leave us hanging by not delivering any sort of payoff at the end that would clinch it all and leave us in awe.

Mist

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Fanfare for the Brave

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Scattered amidst the ambient doom and gloom are a few delightful tracks like the “Far East Suite” which bring out the scope of FMA:B’s epic odyssey similar to the feeling evoked in Joe Hisaishi’s Princess Mononoke score. “Home -en route to Resembool-” is jaunty and happy while “Home -a house on the hill-” is warm and nostalgic even if a subtle hint of sadness lies underneath it all. Together, their mellow melodies provide a welcome break from all the tension that’s built up through the other tracks. And as the soundtrack winds down, “Overture -Brotherhood-’s” poignant melody gives us a peace of mind with the hope that at the end of the odyssey, the two brothers will find the happiness that they have sought all along, making this track a strong closer.

Far East Suite

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Overture -Brotherhood-

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Depending on how you look at it, this letdown could be seen as a positive because even amidst the boring ambiance, Akira Senju still manages to draw forth a handful of tracks that are as good as the ones he’s composed in the past or a negative in that this album on the whole is so inconsistent in comparison, making it difficult to sit for the whole way through. My mindset definitely falls into the latter category, and so, I hope that FMA:B marks the bottom in the spectrum of Senju’s compositions.

Rating: Decent

Tracklist and miscellaneous album information provided by VGMdb.

Tracklist
Disc 1

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Disc 2

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Review: Now I understand why anime directors love Satoru Kousaki’s compositions so much: his music blends in wonderfully with the scenes, yet isn’t so overpowering that it takes away from whatever the scene is trying to convey. Throughout The Disappearance of Haruhi Suzumiya, the background pieces weaved themselves seamlessly into the movie with their ambiance, going from inspiring hope to inciting panic. But by doing so, the album is harder to listen to and enjoy on its own. Bereft of the scenes, the soundtrack to The Disappearance of Haruhi Suzumiya doesn’t have quite the same level of impact. While that’s not totally a bad thing, it does mean that if you’re looking to get a decent amount of mileage out of this album, it’s best to listen to it after you’ve seen the movie.

After all, when you listen to an opener like “A Story Beginning from the Usual Scenery,” there’s not really much to it that you can put your finger on. The trumpet’s languid pacing fits the title of the track like a glove. It’s so seeped in the pleasantness of the ordinary that you’d be hard-pressed to find something remarkable about it. Maybe its optimistic flavor is worth commenting upon or the shift over to a guitar section is nice, but beyond that, it doesn’t offer any line or melody that would keep you rapt at attention. And if it did, it’d be missing the point of depicting ordinary ordinariness completely.

A Story Beginning from the Usual Scenery

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So in looking for pieces that will catch your attention, you’ll have to do some digging around because this album has a tendency to stay far from the bombast and aim towards subtler fare. Tracks like “Footprints to the Future” channel a mellow mood that positively exudes its optimism ever so slowly, but nevertheless, it comes off beautifully. “What Lies in Yuki Nagato’s Heart” is similarly subtle, though it differs in that the strings’ tone is more introspective. Through it, you can feel Kyon considering every single one of his options in terms of what makes him and those around him happy. The cloud of uncertainty hangs over the track, but its depiction of the main dilemma is spot-on, and by the end, a smidgen of hope appears, assuring you that things will turn out all right in the end.

Footprints to the Future

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What Lies in Yuki Nagato’s Heart

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That said, there were a few tracks that caught my attention on the first pass. “From Anxiety to Fear” was absolutely dazzling as the strings brought out that heightened sense of panic that Kyon must have felt when his world was turned upside down. The brass section’s entry accentuates that feeling of fear, and the piece builds up spectacularly as it unleashes a rousing finish to illustrate Kyon’s stunning realization of what’s happening to him. “READY?’s” dramatic buildup is also worth mentioning, especially its deliberate pacing that develops into a beautifully grandiose moment before leveling off slightly as Kyon makes his fateful decision. It doesn’t end definitively, suggesting that making the choice sends Kyon into a new adventure as he works to bring order to the chaotic state of affairs.

From Anxiety to Fear

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READY?

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And what a fantastic ride that turns out to be! “A Turning Point of History,” which plays during the most intense, standout moments of the film, uses dissonance to convey the scope of the danger that Kyon faces. The opener nails the ominous atmosphere through the chorus and the piece moves in slow motion as it depicts imminent doom. The climax, where the chorus crescendos to a near-fevered pitch, then makes way for a quieter melody that comes with a slight tilt towards the melancholy, as though to depict Kyon’s final moments. Once again, there’s no conclusiveness as the piece closes out, but when “The Brigade Members Who Met Again” plays, you know everything ends well. The soundtrack closes with the chipper “A Story Ending in the Usual Scenery” which is upbeat as the strings and woodwinds bounce along. Kyon’s struggles result in a newfound appreciation for the anomalies which, while inconvenient, spice up his life. “A Story Ending in the Usual Scenery” reflects those sentiments through its joyful sound that contains a hint of mischief mixed in with a pleasant sense of normalcy and makes us look forward to the next chapter in the Haruhi franchise.

A Turning Point of History

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A Story Ending in the Usual Scenery

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In the realm of ambient orchestral music, The Disappearance of Haruhi Suzumiya’s soundtrack is one of the best; I can listen to it while reading a book or doing work because it somehow blends in perfectly without distracting me from my work. It’s when I want to listen to it carefully that it becomes difficult to fully commit my attention to it. My preference for engaging background music that can function well in context and on its own means that I’ve yet to find a Satoru Kousaki composition that has kept me riveted over the long haul. That said, Disappearance’s soundtrack is his best work yet, and I did enjoy it even if I do hope Kousaki will get to the point where his compositions can stand well on their own.

Rating: Good

Tracklist

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Review: More often than not, listening to a soundtrack without having contextual knowledge requires firing up one’s imagination to figure out exactly what moods or settings the show’s composer is trying to capture through the music. Ryo Kunihiko is probably one of the better composers at this task since he has proven time and time again of being able to seamlessly blend his compositions to fit the scenes. In Victorian Romance Emma, his tracks depict the quiet, romantic atmosphere of the plot as well as the show’s English setting really well. It’s no surprise then, that, fresh from his work on the Aion MMORPG soundtrack, Kunihiko has little difficulty in bringing out the sense of adventure that Tegami Bachi (Letter Bee) evokes through the anime.

Before I go on, do note that I have neither seen nor read Letter Bee. Anything written here is purely speculation on my part combined with some heavy inference based on the track titles. If my descriptions reveal ignorance, well, you will know why.

Anyhow, I bring up Kunihiko’s work on Aion because the first thought I had was how much Tegami Bachi’s score reminded me of an RPG soundtrack. Its grand main theme, titled “LETTER BEE,” encapsulates the scope of the anime through a strong, attention-grabbing introduction featuring an orchestral melody that depicts a growing sense of excitement and adventure. Though there are moments where it moves into a more somber section to highlight the importance of the titular carriers’ task and the hardships they face on their journeys, it never loses sight of the awe-inspiring sights and sounds the carriers experience as they go about their work. The exhilaration carried throughout the piece is not unlike an RPG’s main theme, which gets the listener pumped about experiencing and interacting with the game’s world as the story soon unfolds.

LETTER BEE

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The similarities don’t end there either. You hear music reminiscent of battle themes in “Heavy-Metal Enemy (Shuugeki Gaichuu)” and “Shoot Down!” The former builds its menacing tone through screaming electronica and synth tones which support the bass guitar’s rhythm well enough though the track could certainly be improved if the tension were cranked up a few notches. “Shoot Down!” is the better of the two. Its introduction moves at a frenzied pace, conveying the imminent danger, before bringing the strings to the fore to play a series of grim chords that could be taken out from an action flick. Or, if you need a video game comparison, think Metal Gear Solid. To be sure, it’s not quite as developed as Harry Gregson-Williams’s score for the MGS series, but its dissonance works well enough to heighten the intensity of the action sequences.

Shoot Down!

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And what about the character/town themes? That’s one area in which this soundtrack really excels. Although Niche and Steak’s eponymous theme is a mix of melancholy and shyness that grows more playful and open as the piece progresses and Connor Culh’s unwieldy melody is a perfect semblance of the character’s rotund, clumsy manner, it’s the theme depicting the duo of Lag and Niche that really does it for me. The animated melody has the feel of an Irish dance that issues forth exuberance and eagerness by the truckload. It’s energy imbues the soundtrack with life and just listening to the lively music makes you want to join them on their travels and share in the wondrous sights and sounds that they come across.

Niche & Steak

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Lag & Niche

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One good example of such a place would be the “White Desert of Jose” which I presume to be an actual location in the series. In listening to it, you’d hardly be able to picture it as a dry, uninhabitable desert because of how the electric guitar and the piano combine really well to breathe life into the area. It’s almost as though the desert flowers were blooming right before your eyes, leaving you completely awestruck by the vibrant colors that meet your gaze. And of course, it goes without saying that the the underground world of AmberGround, with its mysteries and wonders, is depicted beautifully through a slow chant that makes you feel as though you’re walking upon hallowed ground, especially when the female chorus augments the mood through their ethereal voices.

White Desert of Jose

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Canon of AMBER GROUND (Full version)

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Through it all, the emotional fare like “Nocturne ~ a Destiny” will come in to fulfill the needs of the show’s more introspective moments, but make no mistake about it, Letter Bee’s soundtrack’s forte is in its ability to convey the excitement the characters must feel with each and every assignment. The path the characters tread may be dangerous at times, but it’s a rewarding trek the whole way through, and Kunihiko’s latest score certainly reflects that well.

Nocturne ~ a Destiny

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Rating: Very Good

Tracklist

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Review: The acoustic guitar comes in softly, playing a Spanish-styled melody that brings to mind the longing people have for a once-glorious past that now lies in ruins. It’s a painful scene to look upon, as people struggle to survive in a world where the geopolitical situation constantly teeters on the brink of war. “Une Lumiere Envoutante” opens up Sora no Woto’s soundtrack on a decidedly melancholy note through its dirge-like melody, and we feel that overwhelming sense of sadness envelope us. There is a glimmer of hope, yes, but its tone reinforces the feeling that the characters must stubbornly cling to their ideals and fight to achieve the happy, peaceful end they seek.

Une Lumiere Envoutante

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Through these mournful tones, the opening track conveys the breadth of Sora no Woto’s setting and its overarching plotline. It etches into our minds the images of the blasted landscape, wrecked by some phenomenon that the creators never reveal, but that we could guess at. That the music is capable of doing all this is a testament to Michiru Ooshima’s skill in the composer’s chair. Listening to this album brings back fond memories of her work for Fullmetal Alchemist, a series that was just as despondent, which required that she be able to convey the depths of sorrow and despair like she does here. Those of you who have seen Sore no Woto know that there are lighter moments to be had and those moments are present in the soundtrack. However, the melancholy tracks stand out quite a bit, serving as a reminder of how tattered the world has become.

“Servante du Feu” drives that point home adeptly through its tragic tone which tugs upon one’s heartstrings. In listening to this track, one cannot shake off the mournful feelings that emanate from this ode dedicated to those who willingly made the sacrifice in defense of the town. By conveying the extent of life’s ephemerality through the vocals and allowing us to feel the town’s grief, the way “Servante du Feu” draws out the emotion from the listener is similar to Fullmetal Alchemist’s “Brothers,” and its flawless execution makes it one of Ooshima’s best songs to date.

Servante du Feu

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Yet, the wellspring of hope is always there and nowhere does it manifest more inspiringly than in “Amazing Grace.” I’m especially mesmerized by this piece, from the trumpet solo that feels like a clarion call for peace, to the solidarity that builds up as the strings and the rest of the orchestra join in to lend their voices to the cause. Just listening to it is soul-stirring; you can feel the hate dissipate away as your spirits are refreshed and lightened as the trumpet and strings summon that sense of profound of joy which bursts forth, leaving you to gaze on in wonder as the world’s prospects brighten considerably.

Amazing Grace

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Furthermore, the many bright, energetic tracks scattered in this album work well along with “Amazing Grace” to show that even in these troubled times, people can still muster their energy and optimism towards building that better future. “Ciel Bleu” uses the strings beautifully to capture Kanata’s enthusiasm and energy. The enjoyable mood it depicts is absolutely infectious; I find myself being drawn in the way it playfully captures the main character’s gusto for seeking new experiences as she immerses herself into her new surroundings. “Un Bol d’Air” is equally enthralling. Initially starting out with a militaristic fanfare that you might hear at the start of a parade, this track makes way for a jaunty, whimsical melody that conveys the city’s festive mood. The strings fill this piece with life and the energy it radiates leaves you feeling elated as the melancholy tracks that came before seem like nothing more than a distant dream.

Ciel Bleu

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Un Bol d’Air

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Through this mixture of the mellow and the melancholy, the despondent and the delightful, Michiru Ooshima once again demonstrates her mettle in Sora no Woto’s soundtrack. The mournful tracks pack a considerable punch like her compositions for Fullmetal Alchemist while her lighter, bouncier fare evokes the playfulness of George Gershwin’s music (thanks to Nick for pointing this out), but it comes together really well, making this soundtrack a keeper as it kept me engaged from start to finish.

Rating: Excellent

Good doujin music is hard to find. That’s the message I’ve gotten when I was unfortunate enough to have to listen to either of the Anime House albums or TAMUSIC’s godawful Haruhi arrange album. Hell, if it weren’t for kevo’s post celebrating the better Japanese doujin electronica works, I’d probably be giving up on the endeavor altogether.

My chief complaint with doujin music lies in its lack of creativity; most groups seem content with taking a well-known melody, be it an OP, ED, insert song, or, even more rarely, BGM, and slapping some UNTZ UNTZ UNTZ on top of it. Such a method feels so half-assed that I just become disenchanted by what passes for effort, and head off to better anime music pastures. I realize that such pastures are thin indeed, but the one that has stood out has been the works at AnimeRemix.org.

Back when videogame music dominated my listening charts, OCRemix.org was a site that I’d check out a lot. Not only did it (and still does) offer a whole lot of video game remixes, the ones that were posted there were generally pretty good. You didn’t have lazy techno beats draped on top of an anime melody, straight up transcriptions of game scores, or anything that simple. The people whose submissions were put on the site demonstrated a good amount of effort and creativity in their works, which made listening to their compositions a very fulfilling experience.

AnimeRemix is pretty much an offshoot of OCRemix and their goals are the same, except their focus is on music from animated works (be it Western or Japanese). The scale to which they’re operating isn’t quite as large as OCR because anime music is still an underdeveloped area within the anime fandom, but that it even has more than 100 remixes housed on the site is something to celebrate.

After going through their cache of remixes, I figured I’d showcase some of my favorites in no particular order. If you want to download the track in question, I’ve linked to the track’s downloads page for your convenience.

Dale North – Close Your Eyes (Witch Hunter Robin)

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This is, by far and away my favorite piece on the site. Composed by Dale North (yes, that Dale North), this composition stands out not only because it combines some of my favorite BGM from Witch Hunter Robin, the work remains cohesive as it weaves that mysterious aura that one feels while watching the show. I’m also fond of the the quote Dale takes from the Prophecy movie in the beginning of the piece. It helps to establish the piece’s tone while giving you something to think about as you connect those lines to the anime.

David Hsu – Castitatis (Elfen Lied)

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David Hsu (or Dhsu as he’s more commonly known), is a fantastic arranger, dealing mostly with piano arrangements for video game music, but here, you’ll find his anime contribution in the form of an arrangement of Elfen Lied’s “Lilium.” Though the initial impression that one gets is that this is nothing more than a softer version of “Lilium,” do give it a listen to the end. You might find yourself dazzled by the departure around the middle as the piano picks up and the syncopation towards the end of “Castitatis” times the pauses just right to give you room to ruminate further.

Tepid – Something Special (Spirited Away)

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What can I say? I really love the way the way the piano and the guitars work together in this remix so as to create a feeling of sweetness that Chihiro might experience after reuniting with her family at the end of this movie. I could attempt to expand my thoughts further, but I find that I just can’t. My thoughts are silenced by how well-executed this piece is, reducing me into a state where all I can tell you is to listen to the interplay between the instruments.

Vampire Hunter Dan – To Fly (Anime Medley)

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I’m not sure whether people know this or not, but I really love “Decisive Battle” from Evangelion, so when this arrangement opened up with that piece, I was immediately hooked by the orchestral treatment that it got. I didn’t know this would be a full-blown medley, so the first time I listened to this, you could imagine the shock of delight on my face when a well-known Rurouni Kenshin arrangement came on. Still, of the pieces that got to share time on this medley, I really enjoyed Escaflowne’s “Yakusoku Wa Iranai.” Vampire Hunter Dan works that piece in the medley in such a way that it really seems like the subject is dancing through the skies. It’s a wonderful feeling, that’s for sure!

Final Thoughts:
Looking at the pieces I’ve selected, I’m afraid they do reflect my musical tastes/biases towards piano/symphonic music. My apologies for those who were looking more for electronica, which you’ll find more of in the Japanese electronica post I referenced earlier.

Thanks to Overcoat and Xaleph for keeping the Anime Remix ship steady! I hope to see more stuff posted in the future and that one day, it gets as much attention as OCR!

Rest assured that Anime Remix won’t be the only ones to get a chance to shine. I’ll do Josh Agaraddo next since I really enjoy his piano performances and arrangements quite a bit. Especially when he puts together medleys like this one.

And yes, as long as I can keep finding good arrangements, this segment will continue.

Tracklist:

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Review: It starts softly and calmly. All of the tracks do. But once the main theme hits, its impact cannot be denied. The crescendo into that brilliant, shining moment draws your breath away as the music conjures up images of the Gundam franchise’s illustrious history from its epic battles to its memorable cast of heroes and villains. And through Gundam Unicorn, this chapter unfolds beautifully, complete with a stirring soundtrack that touches not only upon the victories and the heroism, but also the tragedies. The magnitude of the conflict can certainly be felt through tracks such as “UNICORN,” that can only be described as glorious, but its magnificence is evenly matched by sorrowful fare like “PIANO TO ANNA” which illuminates the ultimate sacrifices that must be made during wartime.

UNICORN
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Gundam Unicorn represents a big step for Hiroyuki Sawano. Before he had been commissioned to work on this soundtrack, his works have not received much notice. The stirring Gigantic Formula soundtrack is woefully underrated and Sengoku Basara, while dazzling viewers with its anachronisms and displays of machismo, did not bring him much recognition either. But here, he makes a huge stamp by working on a well-known franchise and delivering a soundtrack that is marvelous. The extent to which his music depicts the war demonstrates Sawano’s ability to ply his trade competently alongside Gundam composers of years past such as Yoko Kanno, Akira Senju, Toshihiko Sahashi, and Kouhei Tanaka.

It goes without saying that much of this soundtrack’s highlights will be focused on the intense battles which are majestic in a way so as to leave the audience in awe. “UNICORN” is, of course, going to be on that list with the way it crescendos into the chorus part to reflect Banagher’s moment of awesomeness, but one shouldn’t forget other tracks like “MOBILE SUIT” which takes us from the call for a sortie all the way into the battle. The way it moves back and forth between the bombastic sections while employing the electronica melody on top of that immerses the listener into the rhythm and flow of combat.

MOBILE SUIT
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But war isn’t all fun and games and in the face of such momentous conflicts, the tragedies, depicted through tracks like “PIANO TO ANNA,” are handled exquisitely. The somber mood of the piece brings Beethoven’s “Moonlight Sonata” to mind through the repetitive piano melody which paints a grim picture of the pain the characters feel upon seeing the death of a loved one before their very eyes. This heavy mood is also felt keenly in the second half of “FEAR → SORROW.” Though the piece initially starts out with a large amount of tension crafted through the dissonant string section, it gives way to a very moving violin section that captures the depths of the tragedies suffered by combatants and civilians. In listening to it, the sense of desolation lies all about, as the conflict inflicts both physical and emotional scars upon all those within its grasp.

PIANO TO ANNA
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FEAR → SORROW
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The two songs on the soundtrack, “A LETTER” and “LICHT MEER,” are both beautifully executed, with the former starting off with a hefty dose of melancholy as the singer recollects upon days long past. But as the song moves on, the hope grows, and you can feel Cyua looking forward and discarding the vestiges of the past so that she can move on with life. The way the piece adds on more instruments towards the end gives us the feeling that her will has triumphed. As for “LICHT MEER,” the chorus comes across as a giving a benediction to those who gave their lives in defense of their country. The mournful atmosphere is really apparent around 1:09 when the lyrics emphatically carry with it the sense of grief and loss for the fallen. It’s expressed really well, and Sawano conveys the sense of suffering well.

A LETTER
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LICHT MEER
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Given the praise I’ve heaped upon Sawano’s compositions for Gundam Unicorn’s soundtrack, it’s fairly evident that this is one phenomenal album, especially if you’re looking for epic orchestral music. The only issue that I can complain mildly about is that some of the pieces don’t strike the emotional chords hard enough, which is why Kanno’s score for Turn A Gundam will remain my favorite. And if the only composer Sawano really loses out to is Yoko Kanno and maybe Akira Senju, then what Sawano’s managed to deliver can only be labeled a smashing success.

Rating: Excellent

Review: Nogizaka Haruka no Himitsu’s soundtrack, much like the actual show itself, is unmemorable but both are different in terms of how enjoyable they were. The show, to quote Sorrow-kun at the Nihon Review, was “clichéd, shallow and predictable” but the soundtrack, while filled with classical clichés (if I may go as far as to call them that), was a pleasant listening experience. Most of the tracks on the album clock under 2 minutes, which means there won’t be much musical development, but thankfully, each track is consistently enjoyable without being overly repetitive.

For people who have watched the series and have listened to the soundtrack, it’s almost amazing how well-synchronized the two are. After listening to “Tomadoi Bitter Tune,” the soundtrack moves into a set of pieces that introduce the two protagonists and set the lighthearted mood. “Hakugin no Hoshikuzu (Nuit Etoile)” introduces us to Haruka through a classical piece that captures her elegance, daintiness, and seeming perfection. Up next is “Ohayou Gozaimasu, Yuuto-san,” which serves the dual function of introducing the show’s down-to-earth, but kind-hearted male lead as well as putting the two protagonists’ meeting in a hopeful light in that the two may find love and happiness by being with each other.

The music then shifts into slice-of-life mode with “Tanoshii Date,” which sounds like a carefree romp around town as the harmonica melody backed by the piano and percussion gives it a laid-back feel. “Sora wa Dame desu, Komari masu” brings forth some of the more comedic aspects of the series with a piece that’s upbeat tinged with a mischievous aura (most likely coming from Haruka’s sister Mika). This segment is where the characters really learn about each other through their shared experiences which include each other’s foibles, conveyed through “Ah, Yopparai…” “Haruka-sama,” a piece which offers a gentle piano melody that seems to be partly influenced by Joe Hisaishi, illustrates how the two have become comfortable with each other with its calming, soothing melody.

The album starts to get into some of the more dramatic scenes with “Fuan,” but the mood is broken up by “Tokimeki Fortissimo (Dojikko Aki-chan’s Theme)” which parodies the stereotypical magical girl themes with its overexaggerated levels of cuteness and girlish squealing. The next few pieces give us picture-perfect representations of some of the side characters. “Nobunaga~!” is a perfect illustration of its namesake’s enthusiasm when it comes to anime and manga with its upbeat melody. Likewise, Mika’s Theme is a good reflection of her spunk and mischief and Shiina’s theme shows off Shiina’s bubbly personality and upbeat drive to fit in with her new classmates.

At this point, the drama really begins to kick in as Yuuto and Haruka’s relationship gets tested. The soundtrack follows suit, starting with “Kodoku” which is somber throughout with a tone that would fit right in as a dirge. “Mou Oshimai desu…” sounds equally despondent through the bassoon and the discordant piano chords and the tracks that follow have an introspective feel to them as they portray the characters trying to sort out their feelings for one another.

Finally, things begin to straighten out. “Namida” feels reconciliatory as though everything looks hopeful and they will overcome the obstacles that prevent them from finding happiness. While there’s a melancholy feel to this, the optimistic undertones are definitely there. With each succeeding track, the hope keeps coming. For example, “Futari Dake no Himitsu” gives the listener the feeling that everything is going to turn all right in the end, a theme that is reiterated in “Happy End” which lives up to its title with its upbeat and carefree melody. You can catch a snippet of triumph as the characters finally achieve the happiness that they had sought.

Finally, “Nogizaka Haruka” closes out the album with its soothing orchestral melody that urges the listener to ponder back over the trials and tribulations that the protagonists had to get past to reach their goal of being together. This piece contains a lot of hope and relief, especially with the crescendo around 1:22 that bursts forth with optimism, signaling the happy ending. As the piece fades, the piano solo around 1:53 reassures the listener that their love shall be eternal as they spend their time together blissfully.

If you’ve gotten to this point, you’ll probably notice that this review takes a shallower approach to this soundtrack and that’s precisely because this album concentrates on the style and very little on the substance. Nogizaka Haruka no Himitsu’s soundtrack doesn’t strive towards pieces that stir deeper emotions or are musically complex, but focuses on simple, but pleasant orchestral melodies. While none of the melodies will really stick out as being particularly memorable, it does its job of complementing the anime series by putting the listener in the right mindset (for all the good that it does) with its enjoyable melodies.

Rating: Good

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