There is no instrument that has dominated the soundtrack scene quite like the pianoforte. If you think about it, it’s not really that surprising. Practically thinking, using a piano cuts labor costs – whereas it would normally take around five violinists (or ten piccoloists, but no one wants to listen to that many piccolos anyway) to sound ten different notes at once, one pianist can handle that, no sweat. But that’s beside the point. With a clear and crisp tone that can duplicate the delicate shimmering of bells or summon an impassioned thundering of notes, the piano is truly beautiful in its own right.

Since anime is also awesome and this post is on an anime music blog, I have to connect my obsessing over the instrument to anime somehow. That’s where notable piano solos in anime come in. Below are ten tracks (in no particular order) that I believe represent the best of piano in anime BGM. Before someone asks me “where’s Hisaishi’s ‘One Summer’s Day’, ‘Ashitaka and San’, ‘Sixth Station’, etc. etc..?”, let me clarify. When I said solo, I meant it literally. I know that a solo can still have an accompaniment, but to prevent myself from being overwhelmed by the sheer number of options, tracks with anything other than piano weren’t considered. With that cleared up, let’s get started!

One crucial role the piano has come to serve in anime BGM (well, BGM in general, now that I think about it) is the performance of those melancholy pieces that usually accompany the emotional and/or gloomy parts of a show. It isn’t too much of a surprise that the pianoforte has risen to this task, since even in quiet solitude it never sounds “empty”. Such is the case in “Watashi no Theme”, a piano rendition of Tatami Galaxy’s protagonist’s theme. I love the wistful ache in this track because it speaks of so many things, be it loneliness, unreachable dreams, or nostalgic pasts. It conveys the kind of sadness that’s associated with wandering alone on a busy street pondering what went wrong in life (did I mention it’s raining? Well it is). All of these notions are packed in without the music ever rising above its restrained atmosphere. That’s pretty impressive, considering the standard emotional work establishes mood with dramatic displays of passionate zeal.

Watashi no Theme (Piano ver.) – Tatami Galaxy

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Of course that doesn’t mean a depressing piece has to hold itself back to be impacting.  Case in point: “The Will (Piano ver.)”, from the Rurouni Kenshin ~Tsuiokuhen~ OVA. In all aspects, the piece resembles a requiem, a composition for the dead, and it definitely isn’t taking the celebratory approach to the funeral. The deliberate funerary march chords tread on with heavy steps, until things finally escalate into powerful and impassioned hysterics as all the guests burst into tears. It’s an absolutely dismal piece that is depression incarnate, adept for darkening my spirits further when I’m in a foul mood.

The Will (Piano ver.) – Rurouni Kenshin ~Tsuiokuhen~

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But enough with these dreary tracks, let’s move onto something a little more lively! I’ve always enjoyed Mina Kubota’s melancholy piano compositions, but I like her upbeat tracks just as much. “Sora no Theme (piano ver.)” has a spring in its step that’s ridiculously infectious to the ear. After the bouncy beginning, the vivacity only slacks off in a middle portion that’s symbolic of obstacles and hardship with its downer atmosphere. Nevertheless, the contrast when things pick up again is wonderful, giving the end a soaring finish that’s confidently triumphant. After listening to “The Will” one too many times, this is the perfect, refreshing pick-me-up.

Sora no Theme (Piano ver.) – Kaleido Star

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The buoyantly jazzy “Livremente ~ Chiisana Itazura” will always be on hand, just in case I need backup, though. In this animated piano tune, the notes dance, quick on their feet. The resultant sprightly and frolicsome sound gives the piece a charming spontaneity that I’m terribly fond of. Coupled with the addictive rhythms, this is music that wants you to move right along with it. Indeed, practically all of Ken Muramatsu’s catchy piano jazz deserves some mention here, since I had such a difficult time choosing one out of the many options he’s composed.

Livremente ~ Chiisana Itazura – Kurenai

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The next piece doesn’t just want you to dance, it is a dance. A waltz to be more precise. “Introduction & Waltz”, once it begins with its showy chords and scales, quite obviously derives its inspiration from classical music. Nevertheless, it doesn’t take itself too seriously, which is what I appreciate the most about it. Adorning a spirited, regal melody with a generous amount of florid flourishes, the solo sounds much too fancy and dramatic to be anything but in good fun. In the end, all I’m able to do is tap my feet and savor the melodramatic music.

Introduction & Waltz – Ouran High School Host Club

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The next selection is a relaxed piece fittingly titled “Bartender” (guess what anime it’s from. You get one try). This track is the kind of laid back composition that you’d expect to hear playing in perhaps, well, a bar. It doesn’t aim to have you experience an emotional catharsis, an ecstatic high, or anything extreme of the sort. It’s simply a pleasant piece that opts to create an easygoing atmosphere which conveys a contented and unhurried sensation that’s enjoyable, especially as a break. After all, listening to sentimentally weighted stuff all the time can become a little tiring.

Bartender – Bartender

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“BARTENDER” might have been nonchalant, but compared to the next solo it’s as turbulent as a stormy sea. From the anime franchise Aria, “Soshite Fune wa Iku” is sublimely bucolic in a way nothing else has quite been able to match. The aural experience is so enchanting; the music gains a picturesque beauty, turning silence into calm water and sound waves into shimmering ripples on a crystal surface. It’s so wonderfully soothing that listening to it is akin to an emotional cleansing. Take my word for it: it becomes very hard to entertain any heartfelt ugly thoughts when this is playing within hearing distance.

Soshite Fune wa Iku – Aria the Animation

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From Binchou-Tan, “Ameoto” is also notable in its serenity. However, it possesses a different kind of calm. This little composition has not the serenity of water but the dreaminess of air (it’s air-headed! Get it?). Instead of following a very distinct melody, the notes, like a breeze, seem to wander, meandering from one half-formed reality to the next, only lightly brushing existences and never closely interacting. I think of the music as Impressionist in nature – the concepts are formed, yet they do not have distinctive boundaries. It’s as if they’re not quite there. All of this makes for a very unique ethereal and otherworldly aura that’s incredibly well-crafted.

Ameoto – Binchou Tan

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Of course the top ten would have to include some selections that expound on love, the emotion humans have been obsessed with since forever. What better way to start than with a track from the anime adaptation of the classic love story Romeo and Juliet? “Deai”, or “Encounter”, chooses to depict the innocent side of the sentiment. While the music remains quietly affectionate for the entire duration, it also conveys a sensation of movement. How this quickening influences the flow of the music, thereby capturing the sensations of first love, is truly this piece’s strong point. It creates the perfect portrait of two enamored lovers, hearts stirring as they spend brief, stolen moments of time in each other’s company. Thinking of these images, I get mushy every time hearing the heartwarming sentiments this piece gushes.

Deai – Romeo x Juliet

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And finally, Tenmon. This guy knows how take a lovely tune and arrange it into an even lovelier sounding piano work. “One more time, One more chance (Piano ver.) is probably my favorite out of them all. The theme itself is quite beautiful already, but that isn’t what I consider the forte of this track, especially since it repeats so many times. Instead, what makes this work unique is the feeling with which it is performed. Every rendition of the theme is different – sometimes it’s played delicately and tenderly, other times it’s performed powerfully and passionately. Consequently, the melody is transformed every time it’s repeated, capturing a different aspect of love every time.

One More Time, One More Chance (Piano ver.) – Byousoku 5 Centimeter

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So there we are, ten notable piano solos from anime BGM. As I said before, there were many, many tracks that I wanted to include but couldn’t either because of lack of space or inclusions of other instruments (Albergo from Gunslinger Girl, anyone?). I may have also clear-out forgotten some well deserving compositions (which you can feel free to remind me of in the comments).

In case people wanted to read what I’ve written about years past, they’re all filed under the “Decade List” tag.

Anyhow, I’ve been warned about 2007′s list since it’s a disgustingly huge list to pick from, and when you casually look over what the music selections are like, you’ll find a lot of solid names to highlight. 2007 saw the coming of shows such as Gurren Lagaan, Baccano!, ef, and Sketchbook. All of these shine in quality on the content front, but it’s a sure bet that people can pick out a track or two that they really enjoyed from these shows. The problem is that we’re looking at the tip of the iceberg here. As much as I’d like to knock a few shows out of this grouping, it just wouldn’t do. So strap yourself in and prepare to go through this slowly. Music is, after all, best savored rather than chugged.

With that, let’s begin with something VGM fans can appreciate:

Romeo x Juliet
I’ve already heaped enough praises on Romeo x Juliet’s soundtrack, partly because I’ve been a fan of Hitoshi Sakimoto’s music ever since I’ve played Final Fantasy Tactics. Even so, it never hurts to give this OST a few more plaudits. While his music wasn’t able to keep me from dropping the series towards the middle, it does compel me to give the soundtrack repeat listens, especially when he serves exciting, majestic music like “Touch,” which is by far and away my favorite track on that album. Add a few more tracks like “Neo Verona” and “Fate” and you’ve got the trappings for a fantastic score that finishes up as my favorite anime soundtrack from 2007.

Touch

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Sketchbook ~full color’S~
There are two aspect to Sketchbook ~full color’S~ that warrant a mention here. The first is the OP, titled “Kaze Sagashi,” with Natsumi Kiyoura’s soothing voice moving in like a light wind to lift us up and take us on a journey through time and space as we alight upon the idyllic setting of high school life where our attention falls upon members of the school’s art club, each with their own distinct, quirky personality. At this point, this is where the second part kicks in: Ken Muramatsu’s score. Muramatsu dabbles in a fusion of traditional Japanese music and light jazz and though his style hasn’t really changed much as you listen to his later works, none of those works have quite surpassed his compositions for Sketchbook. When you’ve got lazy, drift-y pieces like “Balloon Mode ~Yume Kara Samete Mo~” and “Yuumagure no Kuni,” you know you’ll be in for a treat, especially if you’re keen on relaxing fare. Unlike the next soundtrack, you don’t actually have to watch the series to appreciate it!

Balloon Mode ~Yume Kara Samete Mo~

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Yuumagure no Kuni

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Hidamari Sketch
And while we’re on the same subject as Sketchbook, do check out Tomoki Kikuya’s compositions for Hidamari Sketch since the two are somewhat similar in the way they depict high school life. Initially, I didn’t even pay attention to the background music since the series captivated me through its likable cast, whose camaraderie would guide them past the difficulties of living alone without adult supervision while only attending high school. The interactions make for a heartwarming series even if there isn’t much that happens. Because of that, do prepare yourself for a slow-paced soundtrack that, like Sketchbook, carries that light, jazzy feel. It helps to have knowledge of the context, since the music’s ability to conjure up scenes from the anime is the key to really getting the most mileage out of it.

a sunny place 1

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And before I forget, I love the OP, “Sketch Switch,” with its energy and it was what had gotten me to try the show to begin with. The ED, “Mebae Drive,” is where my introduction to marble came about, and I’ve really come to enjoy their mellow sound in their subsequent offerings, especially for the HidaSketch franchise.

[[Visit blog to check out this spoiler]]

Shion no Ou
And if you’re for something completely different, Kousuke Yamashita’s compositions for Shion no Ou should be fairly satisfying. The show’s mood is dark and serious; there is a murderer afoot who is paying particular attention to the eponymous shougi player and at times, you feel that it’s a race against time to expose him before it’s too late. In combining the suspense inherent in the murder mystery with the tension of the shougi matches, Yamashita’s compositions yield a darker, despairing flavor along with the dramatic music that comes in as the shougi players meticulously plan out their moves. It’s a very underrated effort all around, but I really enjoy it, especially for stuff like “Akai Kioku,” which reeks of horror and despair, and “Niten Santen,” where you can feel the intensity hit its stride as the shougi match winds its course to end it all on a note of finality.

Akai Kioku

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Niten Santen

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Oh! Edo Rocket
Whether my perceptions are absolutely warped or I have this overwhelming love for the underdog, Baccano’s jazz doesn’t get me as excited as Oh! Edo Rocket. Don’t get me wrong, I absolutely adore “Gun’s and Roses” as much as the next person since the music sets up the show’s tone perfectly, but lately, it’s moved into overplayed fare, which really isn’t its fault. So when people bring up that song, I give it the recognition it deserves, but beyond that, I’m content to let others do the praising.

So when people say they’re looking for a jazz soundtrack, I’ll bypass the low-hanging fruit and toss up Oh! Edo Rocket as a strong recommendation. Even though I’ve no context of the show since I haven’t seen it, the sort of feeling I get from the music is that it’s a brash and bold show. That is, the characters are aiming for some lofty ambitious goal that they’ve come up with out of the blue, and damn it all, they’re going to try it, no matter what anyone else says. There will be hi-jinks to be had as they pursue this dream and the swagger that pieces like “Rocket” and “Swing” bring to the table indicate that there will be no giving up in this neck of the woods. It’s do or die, and the audacity is what I love so much.

Rocket

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Swing

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ef – a tale of memories
Rather than mention Tenmon’s score for 5 Centimeters Per Second, which is solid overall, I’ll instead talk about the ef – a tale of memories soundtrack, which still contains his characteristic style that’s packed to the brim with drama borne about through the piano, strings, and synth. The soundtrack is a treasure to pick through, especially through the tracks that depict the meetings and the moments of tension, but nothing seems to be able to eclipse the sheer beauty exhibited by “A Moon Filled Sky’s” violin. It might exhibit a lot of melancholia, but it’s hard to turn away from the yearning emotions it wears on its sleeve.

A Moon Filled Sky

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Tengen Toppa Gurren Lagann
Did someone call for Taku Iwasaki’s rise back to prominence? After a few years of mediocre output, but a slow resurrection in Giniro no Kami no Agito and Kekkaishi (so I’ve been told for the latter), Iwasaki goes back into full form with the epic TTGL soundtrack. I’m not going to claim to know much about the show beyond the memetry that’s come forth from people who have seen it, but when I listen to the soundtrack, everything just feels BIG, and I do mean BIG. How it could it not? When you have perennial favorites like “Libera Me From Hell” and “Pierce the Heavens With Your XXX,” the former with its blend of rap and opera, and the latter, with its opening fanfare that calls in a new chapter in mankind’s destiny. Or something like that. Together, you’ve got music that fits a modern epic. Not that Gurren Lagann needs any help in that department.

Libera Me From Hell

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Pierce the Heavens With Your XXX

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Gigantic Formula
Despite never having seen this show, I’m still very much in awe of Hiroyuki Sawano’s score, which instill images of heroism as people rise to the occasion to deliver an effort that will be talked about for years to come. Though if given half a chance, I could babble on and on about the main theme, it wouldn’t be fair to neglect some of the more introspective stuff, like “Ring” which always stood out to me. The interplay between the piano, violin, and the rest of the strings really hit the feeling of nostalgia really well. All in all, I really can’t praise this score enough and even with other works like Gundam Unicorn’s soundtrack to consider, I don’t think any of his other works quite surpass this one.

MAIN THEME (ver. 0)

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Ring

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Seirei no Moribito
Remember when I said something in the post for 2006 about Kenji Kawai redeeming himself? Well, his work for Seirei no Moribito would cover that quite well. When I listen to this soundtrack, a lot of my thoughts wander back on the feudal setting and the mystical events that occur during the course of the series and for good reason: aside from maybe 4-5 tracks, that Kawai’s melodies can stand well on their own since a lot of it focuses on capturing the atmosphere rather than give us something beautiful to listen to. So if you can immerse yourself into the setting (and it’s a beautiful setting to be sure), you should be able to enjoy what he has to offer. Otherwise, just home in on stuff like the stately “Omoi Haruka,” which moves at a steady rhythm that conveys the epic scope of the anime series or, if you’re looking more for the fast-paced action, then “Karu!” does a good job of that too.

Omoi Haruka

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Karu!

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Strike Witches
Finally, we come to the humble Strike Witches to round out the list. Opinions on that show just might be mixed because of how the fanservice-y elements distract from what is a heartwarming series about friendship and camaraderie, but if there’s one thing I’ve gotten from it (despite not having seen it), it’s Seikou Nagaoka’s music, which delivers on character themes (“Perrine’s” daintiness, for one) and of course, fantastic military fanfares in “Striker no Hishou” which are absolutely grand.

Perrine

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Striker no Hishou

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10 soundtracks in all! I did warn you before though, so if you’ve made it this far, congratulations. On to page 2, if you’re not asleep yet!

Setlist:

[[Visit blog to check out this spoiler]]

Frankly, I did not have very high hopes for the Fantasy Comes Alive concert. I remember the disastrous experience of the Video Games Live performance where I heard more of fans cheering than proper music. A flip through the programme booklet revealed that it was not even a whole orchestra playing the pieces. As an orchestra freak, I was honestly very disappointed.

However, this was one of the times when I couldn’t be happier that I was wrong. With a repertoire from some of the most well-known games and anime (Final Fantasy, Neon Genesis Evangelion, My Neighbour Totoro and Fullmetal Alchemist, just to name a few), and a surprisingly excellent group of musicians from the local university, the performance was one that I will never forget.

The concert started with ‘Break the Sword of Justice’ from Tsubasa Chronicles, which was not all that well-articulated, but still had the impact that an opening piece should possess. As the concert moved on, the pieces just got better and better, from the upbeat ‘Granado Espada Medley’, to the deeply moving ‘Kyoudai’ from Fullmetal Alchemist before letting one’s imagination take flight with ‘Touch’ from Romeo x Juliet.

There were a few other slightly weaker pieces, such as ‘Hikari no Senritsu’ from Sora no Woto, which had its flute solo replaced with the electric guitar, to disastrous results, and ‘Vamo’alla Flamenco,’ where the acoustic guitar failed to stand out. However, other than these two pieces and a slightly lackluster ‘Break the Sword of Justice,’ the other pieces generally ranged from very good to extraordinary. The weaker tracks did little, if anything at all, to unseat the excellent performance as a whole.

The upper hand that live concerts have over recordings is that you actually see the music being weaved together. And for this particular one, showmanship was absolutely at its max. It also helps that the musicians are younger and as a result, more carefree in their expressiveness, which makes for a pleasant departure from the staid atmosphere of more professional performances.

The fact that the repertoire was a compilation from many different anime and games also lets one experience the different styles and moods of so many composers and separate works. One piece which really left an impression on me was ‘Cruel Angel Thesis’ from Neon Genesis Evangelion. Being a very fast paced rock-styled rendition of the original, it was excellently put forth by the musicians, delivering something which can only be described as phenomenal.

The occasion was also graced by composers Haketa Sakamoto and Hitoshi Sakimoto. Hitoshi Sakimoto was actually one of the selling points of the concert, as he has been among my favourite composers ever since I heard his works for Romeo x Juliet. Though it was definitely an experience to see the two of them in person, I do wish they can give us more details regarding their work, instead of just telling us how glad they are to be in Singapore and such.

Other minor complaints I have include things like the emcee not being familiar with how to pronounce Japanese names properly, some technical glitches and such. But these are flaws which can be ironed out with experience. And with the (near) full house audience it enjoyed, I think it is not unreasonable for me to believe that it may be held annually from now on.

In closing, I’d just like to say that Fantasy Comes Alive really does live up to its name. Though it’s currently a local production, one day if it ever goes out of Singapore, please go experience it. It’s well worth it!

Voting Thread

One of the best things about the MAL Keionbu (as Smankh so affectionately nicknamed it) is the voyage of discovery that one gets by listening to a plethora of anime music that revolves around a common theme and delving, even if it’s just a little bit, into what we all love so much about the medium and the music that powers the emotions on screen. We’re no strangers to this week’s theme and from my standpoint, there’s no end to the number of stellar pieces that describe love, whether it’s the one shared between individuals, places, or ideals. So with lelangir leading the way on the blog front (and many others leading the way on the thread post front), here are my thoughts on the ten tracks nominated this week:

5 Centimeters Per Second – Sora to Umi no Shi
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The piece starts out timidly and the soft piano melody gives me an image of someone acknowledging their feelings and in that moment, contemplating how to reveal them. As the piece continues, one can hear a certain amount of confidence settling in, indicating that they have an idea as to how to proceed and by the time you reach the climax at 1:01, the piece blooms wonderfully as it kicks into high gear with its expressiveness. The sort of emotional journey that this piece conveys along with “One More Time, One More Chance’s” heartbreaking poignancy, are what made 5 Centimeters Per Second such an unforgettable experience and it definitely makes for a strong track overall.

Gakuen Utopia Manabi Straight – Seioh Gakuen Kouka
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The imagery revolving around Manabi’s performance in the face of apathy is what makes this song particularly powerful and that pretty much lies in the presentation. It’s difficult to forget that moment as Manabi stood there like a beacon of light that pierced the cloak of apathy as she brought her emotions to bear and professed her love for Seioh. The way Yui Horie is able to impart Manabi’s feelings through the song is just spectacular. Everything about it flows naturally and convincingly, especially during the “ah ahhh seioh wo” moment that is nothing short of inspiring.

End of Evangelion – THANATOS ~if I can’t be yours~
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I do like the blues lounge singing atmosphere but wow, the part around 1:57 really threw me for a loop and the only thought I was left with after that moment was how inconsistent this track is. I’ll pass on the weird chantings because they feel a bit too out of place and this track would have done better to remove them outright.

Rurouni Kenshin – Tsuiokuhen – In Memories “KO・TO・WA・RI”
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This piece works wonders at complementing Rurouni Kenshin Tsuiokuhen’s grim atmosphere by mixing melancholy and tragedy together really well. The lonely vibe brings forth an image of the solitary swordsmen taking determined steps to overcome the obstacles in his path while reflecting upon his life choices. While my hazy memories do not allow me to recall whether he was reeling from his tragic relationship with Tomoe when this piece plays (it is pretty damn melancholic after all), this piece stands as a testament to Taku Iwasaki’s ability to bring out the strong emotions within that OVA. The amount of emotion it packs marks this one as my favorite piece this week, both in terms of its nostalgic value as well as its tragic beauty.

Bokura ga Ita – Fuan
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Bokura ga Ita is subtle in its use of music and the pieces that I’ve listened to focus on creating that romantic atmosphere as well as the accompanying feelings like anxiety and comfort that arise from such a situation. Still, this piece is just a bit too subtle and while it does get better after each listen, in the field of strong picks that are available this week, this one just falls a bit outside the range of receiving any points.

ARIA the NATURAL – Itsuka Kita Michi
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The Choro Club’s work on the Aria trilogy just manages to amaze me because I’ve yet to find any mediocre tracks in any of the three soundtracks. This piece in particular really fits the series’ serene mood and TheBigN’s writeup for this song in the nomination thread is spot-on when he says:

Though it can get schmaltzy at times, whenever I hear it, I think of Neo Venezia and Aqua in general. As the home planet is as much a character as the inhabitants that live on it (at least for the first two seasons), I’d to think that this is the “theme song” for the area. And I’d also like to think that this music goes though Akari’s head as she explores and enjoys her training to be an undine.

Beauty? Check. Serenity? Check. Love? Definitely! Hazukashii serifu kinshi!

Love Hina – Yakusoku
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The nostalgia value that I derive from this track is really high since this was my introduction to the romance harem genre way back in the day and even after all this time, this song still has not lost its touch. Yui Horie delivers yet another strong, heartfelt performance that becomes even more poignant within the context of the anime. While it’s been a long time since I’ve seen that series, I can never forget this melancholy piece because its emotional impact is so strong. In light of some comments I’ve made about a recent single, this piece would be a wonderful example of a piece that can and has withstood the test of time.

Cowboy Bebop – Call Me Call Me
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“Call Me Call Me” really does sound a bit too rough to fit in with my image of love and it’s also not quite as solid as some of the pieces we’ve heard so far, so I’ll be passing on this one.

Romeo X Juliet – Touch / Fureai
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OK, I admit it, I’m a sucker for Sakimoto and have been since I first heard his music from Final Fantasy Tactics. Because of that, it shouldn’t be a surprise that I love this soundtrack to bits, especially when Sakimoto brings out the sweeping, epic, orchestral melodies such as this. “Touch” starts out quietly, but it builds up oh so wonderfully, giving me goosebumps as it progresses by adding instruments to that motive until the song comes to life around 1:44. Here, the various parts of the orchestra work well together to create the graceful melodic fabric that would serve as a lead-in into the clarion trumpet call at 2:13 where it makes way for a dazzling melody that leaves me in awe. It’s definitely one of the stronger pieces on the soundtrack and one that definitely earns points for this week.

Giniro no Kami no Agito – Ai no Melody
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My experience with KOKIA isn’t as high as I’d like it to be, but between her performance in Gunslinger Girl -Il Teatrino-’s OP and Red Garden’s last few tracks, my opinion of her has been positive. The way KOKIA performs this song is closer to the intonation she uses in Gunslinger Girl -Il Teatrino-’s OP and it works pretty well in conveying her feelings towards the listener. For example, that wavering voice carries with it a sense of longing mixed in with serenity as she tries to reconcile her feelings in general. It should also be noted that there is a weird chanting bit that manages to succeed where “THANATOS’s” did not. Anyhow, this track has a certain sort lightness to it that carries strong, genuine emotions and makes it enjoyable through and through. The only regret I have is that I don’t have points to spare since this song is very deserving of a listen.

So there you have it! My point distribution can be found below. If I had a major gripe this week, it’s that the selections for the point distribution were really hard to make since many of the tracks were so enjoyable. Fortunately, that’s a good problem to have on one’s hands and I definitely look forwards to listening to people’s nominations for Week 3 where we’ll look into the theme of being “lost.”

(+2) Rurouni Kenshin – Tsuiokuhen – In Memories “KO・TO・WA・RI”
(+1) 5 Centimeters Per Second – Sora to Umi no Shi
(+1) Gakuen Utopia Manabi Straight – Seioh Gakuen Kouka
(+1) ARIA the NATURAL – Itsuka Kita Michi
(+1) Romeo X Juliet – Touch

As a followup to the list of my 5 Favorite OP/EDs for Fall 2008, here’s my list of the favorite soundtracks that I’ve had an opportunity to listen to last year. Granted, all of the albums listed are based on when the soundtrack was released, which is why a certain album makes the cut this year despite the fact that the series ended last year. Naturally, this also means that there are some series that have been released this year, but because we’ve yet to see a soundtrack release, I won’t be including it (I’m looking at you, Xam’d).

Before we begin, the commentaries over at the Nihon Review’s 2008: A Year in Review article indicated that 2008 wasn’t a stellar year as far as anime goes and I agree with this sentiment. Furthermore, the number of enjoyable soundtracks weren’t exactly that high either, which essentially leaves us with the list below along with the few honorable mentions that I was able to scrounge up. Like with the OP/ED article, this list doesn’t take into consideration every soundtrack released in 2008 because of my tendency to only listen to soundtracks from series that I’ve seen. So despite all the good things I’ve heard about the Code Geass R2 OST, it’s not on this list. Furthermore, this list it doesn’t completely cover every single series I’ve seen either. For example, I haven’t listened to the Hidamari Sketch x365 OST which means I’m not yet able to judge whether it’s any good or not though I’ve heard a favorable opinion of it. Now that the usual disclaimers are now out of the way, the ranking is as follows:

#1. Romeo x Juliet Original Soundtrack
This soundtrack is the very first soundtrack review that I’ve written on this blog and it also happens to be my favorite one from 2008. Its composer, Hitoshi Sakimoto, demonstrates his brilliance in bringing forth the medieval setting of the anime series through his music in such a way as to make the world feel vibrant. I especially enjoyed the way he captures the many facets of Neo Verona through “Red Storm” as well as the eponymous track “Neo Verona” in addition to bringing the intensity of the action scenes to life through tracks like “Recovery.” Overall, this soundtrack is filled to the brim with breathtakingly beautiful pieces and even when you consider his body of work in the world of video game music, Romeo x Juliet stands out as one of his best works to date.

#2. ARIA the ORIGINATION Original Soundtrack tre
You’d think that after two installments of ARIA, that the music for the third would be pretty boring because there is only so much you can do with ARIA’s music while preserving the series’s unique atmosphere. Thankfully, this album manages to dash those expectations by delivering a memorable listening experience. Somehow, the music manages to remain fresh with new piano and guitar pieces that complement the mellow mood of the series and the credit for that goes to the Choro Club and Takeshi Senoo for their compositions. And of course, a special mention goes to Alice’s song on the soundtrack which brings a sense of warmth and joy that completely matches the wonderfulness of the scene that I consider to be the most endearing moment in anime in 2008.

#3. Macross Frontier Original Soundtrack – Nyan Furo
Here’s the crowd favorite, and after listening to this soundtrack, it’s not particularly hard to see why. Yoko Kanno draws a lot of inspiration for her themes from Western film music and blends them into a masterful work that brings out the intensity of the combat scenes through tracks like “The Target” which has the feel of an epic space battle (probably because the music reminds me so much of John Williams’s Star Wars music). The instrumental pieces on here are really top notch and and give off a majestic feel that is fitting of Macross Frontier’s epic story. Unfortunately, the downside to this album is May’n, whose performances lack the emotional impact necessary to hold my interest and her inclusion brings down the quality of this album.

#4. Natsume Yuujinchou Original Soundtrack
Natsume Yuujinchou’s album is a strange one in that it’s got more in the realm of atmospheric tracks than tracks that can really stand up well in the absence of context. Furthermore, some of the tracks take the atmospheric vibes a bit far by using actual environmental sounds like animalistic moaning noises and even the sound of mosquitoes buzzing around. Nevertheless, the weirder tracks do pack a certain degree of charm and overall, this soundtrack succeeds in capturing the easygoing nature of the series as Natsume bounces from one supernatural encounter to another while meeting new friends in the process. It might not be the most conventional soundtrack out there, but it’s enjoyable all the same.

#5. Spice and Wolf Original Soundtrack – Ookami to Tabi no Ongaku
The music from Spice and Wolf didn’t exactly jump out as me as I watched the series, which is why when this album came out, I was expecting a lackluster album. Much to my delight, this soundtrack caught me off guard with a bevy of melodies that took me straight into Spice and Wolf’s medieval setting. The pieces use a variety of old-world instruments that, when put to music, brings the image of a medieval marketplace to mind. The melodies themselves are different from what I’m used to such that I can find something interesting to enjoy in each track. Spice and Wolf’s music might be subtle, but it’s hardly boring and its choice of genre fits the series perfectly while making it feel like a breath of fresh air and creating a novel listening experience.

Honorable Mentions:

Kurenai Original Soundtrack
This soundtrack suffered from being a tad bit on the repetitive side, especially on the lackluster ‘emotional side’ disc. But the ‘swingin’ side’ made up for that by delivering upbeat melodies that were enjoyable. Though I still don’t like this album as much as Muramatsu’s efforts on Sketchbook ~full color’S~, it’s still a competent one nonetheless.

Shion no Ou
If there’s one thing about this soundtrack that shines, it’s the sheer amount of variety that composer Kousuke Yamashita managed to put into the series, ranging from the softer, more reflective melodies to the fast-paced tracks that play during the intense shougi matches. Moreover, it’s consistent from beginning to end, which, when combined with all the variety, keeps it from being dull.

true tears TV anime Original Soundtrack
I have an affinity for piano pieces and Hajime Kikuchi manages to deliver some very beautiful ones in this soundtrack, especially with the arrangement of the already excellent OP song “Reflectier.” A lot of the tracks will tend towards the drama-y side, which makes sense given the way the show is, but there’s still plenty of variety (such as the festival music) to break things up and keep the soundtrack interesting.

Conclusion:

Though 2008 was hardly a banner year in the realm of soundtracks, I am looking forwards to what 2009 will bring. We’ve yet to hear from Michiru Ooshima’s work on Xam’d: Lost Memories and it wouldn’t surprise me if she was going to be on board for Full Metal Alchemist 2. Tytania’s soundtrack, full of bombast and orchestral fare will definitely be something to look forwards to and some of the early pieces that have flowed in from Zoku Natsume Yuujinchou have been promising. Because of this, I have great hopes that more enjoyable soundtracks will be released in 2009. As for the anime soundtrack community, well, that’s another story, but the amount of discussion in that arena has given me hope, so I eagerly look forwards to see where that will go this year.

Tracklist:

[[Visit blog to check out this spoiler]]

Review: Ever since I have listened to the soundtracks to Final Fantasy Tactics and Vagrant Story, Hitoshi Sakimoto has become one of my favorite composers. So when I found out that his initial foray into the world of anime soundtracks would be in composing the music to Romeo x Juliet, I was excited in seeing what would become of it. After listening through the soundtrack, I was very impressed by the results.

One of Sakimoto’s biggest strengths is being able to capture the mood and essence of the world in which Romeo x Juliet takes place. The soundtrack starts out with “Tragedy in the House of Capulet,” a piece that’s fittingly heavy and somber as it lays about the overarching plot for the anime series and captures the fall of the House of Capulet perfectly in the anime’s opening scenes. This is quickly followed by a rearrangement of “You Raise Me Up,” performed by Lena Park who sings it beautifully.

Tracks 3 to 8 evoke the many different faces of Neo Verona. Starting with “Red Storm” through the eponymous “Neo Verona,” Sakimoto illustrates a picture of the vibrant, ever-changing city. In “Neo Verona,” you can practically hear the footsteps of the common folks as they move about their business. The four tracks that follow “Neo Verona” reveal a much softer side of the citizenry’s life through its slower, calmer melodies that are contemplative and excellently done.

Moving on, we head towards some of the darker tracks which are generally more discordant and full of tension. These pieces are generally played in scenes in which the unscrupulous Duke Montague is prominent. The melodies during these scenes are pretty heavy-handed and ominous. While the listener can definitely pick out moments in which there’s a ray of hope, most of these tracks are give off an aura of despair and oppression which suit Duke Montague’s character perfectly.

The next set of pieces are all scattered in the themes and scenes that they’re trying to evoke. “Promise” delivers a calmer, romantic vibe while “Recovery” is much more fast-paced as it brings forth the image of a combat scene with its urgent, militaristic tempo generated by the percussion. Towards the end, as the plot events begin to wrap up, you have quite a few victory-styled tracks that arise such as “Flight,” which sounds like a victory fanfare as the characters make their triumphant exit, and “The World in Which You are,” which is calm and denotes the arrival at a resolution through a reprise of the themes that you have heard in some of the earlier tracks.

Amidst the glorious fanfares that can be found towards the end of the soundtrack, Eri Kawai also gets a vocal track in “Prayer.” Although she does display a good amount of vocal talent as usual, the song just is not compelling compared to the rest of the tracks.

Finally, the soundtrack ends with the ending songs “Cyclone” and “Goodbye, Yesterday.” The former is a rock piece that’s out of place. The rhythm is just too fast and frenetic and the vocalist’s execution isn’t very appealing which together, makes it nearly impossible to see how this piece even belongs. “Goodbye, Yesterday” is a more mellow song sung by Mizrock that doesn’t raise itself above standard J-pop. While the song itself isn’t bad, it’s not very noticeable either, and in an album with such fabulous orchestration, is completely forgettable.

The Romeo x Juliet Original Soundtrack demonstrates how seamless Sakimoto’s transition was from writing video game soundtracks to anime soundtracks. Sakimoto succeeds in handling the mood and atmosphere of the anime series as well as making the music match what is taking place on screen through its memorable melodies. Although Eri Kawai’s performance on “Prayer” and the two songs during which the credits roll leave much to be desired, this soundtrack is solid all around, making it a must-have for those who enjoy an album packed to the brim with breathtakingly epic, sweeping, orchestral works.

Rating: Excellent

Music Sampler