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

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:
An aspiring composer since high school, Iwasaki attended the Tokyo University of Fine Arts and Music. There, his talents already distinguished him from the rest, winning him the Newcomer Prize from the Japan Society for Contemporary Music. After his graduation in 1992, he worked as an arranger like most other budding composers, but not before scoring the relatively unknown video game Mercury – The Prime Master. A few other jobs came and went, including the theme songs to Romeo and the Black Brothers and the notorious/infamous Cho-Aniki series of games. Despite this experience, Iwasaki still hadn’t made a name for himself in the music scene. However, when he did appear on the radar, he hit the ground running. 1999 saw him suddenly join a group named “Smart Drug” as the group’s keyboardist and arranger. In the very same year, he announced his entrance into the anime music sphere with two highly regarded scores.

Iwasaki’s first true anime score was that of Rurouni Kenshin: Tsuiokuhen (Trust and Betrayal), the acclaimed OVA entry of a franchise he would soon revisit. Establishing him as a master at coaxing a wide spectrum of emotions from an ensemble, his contributions here succeeded in demonstrating for the first time the diversity and depth of passion with which he could infuse his melodies. In tracks like “Quiet Life,” a warm and touching atmosphere is created with a harmonized string ensemble that does well to capture the moments of peace between conflict. This is contrasted sharply by the requiem-like gravitas of “The Will,” and the militaristic drive in the memorable “Wars of the Last Wolves”. In any case, the sentiments that the Kenshin Tsuiokuhen score expressed were a more than solid beginning that predicted great things to come from the newcomer composer.

Rurouni Kenshin Tsuiokuhen – War of the Last Wolves

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His score for Now and Then, Here and There, which aired in the latter half of 1999, is comparable to Rurouni Kenshin: Tsuiokuhen in that the atmospheres are fairly similar. NTHT’s music, filled to the brim with melancholia and despair borne from tragedy, is, not surprisingly, fairly heavy, making it a perfect fit with the themes that the film delves into. But that’s where the similarities end. NTHT’s music definitely has a more modern edge to it, with more dabs of synth to be had. Strings still dominate much of the soundtrack, but it does foreshadow the kind of music that Iwasaki will be producing a few years down the line, especially since many of the themes will find a spiritual successor in his soundtracks to the R.O.D. franchise.

Now and Then, Here and There – Run Up

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The soundtrack of Witch Hunter Robin was a drastic stylistic departure for Iwasaki, who added hard rock into the mix. The combination of rock with other stylistic elements, such as mysterious chanting, does well to express the atmospheres of an anime filled with intrigue, mystery, and action. Yet, while this soundtrack utilizes stylistic elements that may be considered overused today, it can safely be said that Iwasaki’s music is anything but generic and redundant. The protagonist’s theme, titled “Robin,” immediately demonstrates that WHR is no ordinary soundtrack, embodying the opaque enigmas that surround the main character while capturing the angst that would eventually engulf her. However, the main highlights of the album are the action tracks , which are represented most beautifully by “Flame.” The piece brings forth an intensity which starts with a grim but determined air, proceeding to unleash a torrent of pure conflagration. “Badass” barely does this unholy matrimony of heavy guitar and turbulent strings justice.

Witch Hunter Robin – Flame

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After that successful (to say the least) enterprise, Iwasaki went on to work on the music for Sadamitsu the Destroyer, an anime set in intergalactic space. A testament to his fondness for experimentation, the music he wrote to accompany this space action series is reminiscent of old wild west films, complete with cheesy whipcracks and all. While we can’t comment on how well the music meshed with the animation, we can say that Iwasaki’s bold experiment with this score is certainly not a failure. The rustic Old West bent of tracks like the main theme, “Hakaima Joujou no Tema,” does well to conjure up the image of adventure in new and lawless frontiers. The more melancholy aspect of life for a loner in the unruly hinterland is also portrayed, such as in “Joukou no Shousin,” where a doleful electric guitar solo wails along to reserved strumming. These tracks are an unusual and enjoyable listen compared to the average anime soundtrack, proving the success of Iwasaki’s unconventional approach.

Sadamitsu the Destroyer – Hakaima joukou no Tema

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As if 2001 were not already a busy enough year for Iwasaki, he returned to write music for another OVA from the Rurouni Kenshin series. His score for Rurouni Kenshin: Seisōhen was in many respects even better than that of the previous Kenshin OVA, showcasing Iwasaki’s improvement as a composer in the span of just two years. In Seisouhen, an improvement in orchestration is apparent, with the melodies sustained by fuller accompaniments and harmonies. This is clear in tracks like “Pie Jesu,” whose tender oboe melody serenades to stirring crests of sound. Of course, one can’t forget “Eclipse,” where a melancholy, brooding horn solo escalates into a powerful string rendition of the main theme. All in all, Seisouhen contained some of Iwasaki’s most poignant melodies of all time, even to this day.

Rurouni Kenshin Seisouhen – Eclipse

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At some point between 2001 with Go! Go! Itsutsugo Land and the Read or Die OVA, Iwasaki showed signs of deviating from his usual repertoire. There must have been some motivating force from within that pushed him to experiment even further. GetBackers provided a good canvas for this surge in creativity, given the anime’s swings in tone that ranged from crazy and eclectic to deadly serious. To match this overall mood, Iwasaki would dip into jazzy tones, which is most apparent in the eponymous “Get Backers,” which carried with it a style fitting with the wacky situations in which the anime’s two protagonists would often find themselves. But there are serious moments too, which usually come about when the characters explore the mazy urban dungeon. Tracks like “Bloom” and “Awakening and Rage” depict the suspense to be found deep within that labyrinth. Although these two tracks are more traditional Iwasaki fare, what they do do is demonstrate Iwasaki’s skill at cultivating the atmosphere of the anime through his music, making him second perhaps only to Yuki Kajiura.

Getbackers – Getbackers

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Later in 2002, Iwasaki would have the opportunity to work on a 2-shot OVA series that is arguably the pinnacle of the iyashikei (healing) genre. That work would be Yokohama Kaidashi Kikō OVA ~Quiet Country Cafe~. Though much of the compositional legwork for this easygoing series was done by the Choro Club, Iwasaki still played a vital role in orchestrating many of the OVA’s memorable themes. Here, the Choro Club exercises their brand of relaxing choro melodies, exemplified most wonderfully in the main theme for Cafe Alpha. With Iwasaki at the orchestral helm, the meandering qualities really come out in the piece; as he adds a whimsical, wandering clarinet and serene strings to the mix, he captures the protagonist’s inquisitive nature.

Yokohama Kaidashi Kikou Quiet Country Cafe – Cafe Alpha – Main Theme Orchestration

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In 2003, Iwasaki would reprise the compositional role that he played with the R.O.D. OVA (which preceded the TV series by about 2 years) by composing the music to the new TV series. The OVA was an enthralling experience, with its crisp visuals and a nice even blend of jazzy tones, orchestral delights, and some solemn synth-based atmospheric tracks. Of those, the jazz tracks stood out the most and none moreso than the main theme, which delivers a James Bond-esque vibe to the OVA as a whole. The TV series would follow suit in reprising many of those themes. For fans who were looking for something a bit different, this was a disappointment, but the new tracks that did appear brought unto the TV series a grim atmosphere. Iwasaki excelled in adding dark, ominous tracks such as “A Body Without a Soul (God Save the Queen)” which, if you took a clue from the parenthetical, is a very grim arrangement of our favorite British national anthem.

Read or Die – Read or Die no Teema ~Long Version~

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But starting with Yakitate!! Japan in 2004, Iwasaki began to stumble just a bit as the awe-inspiring melodies that marked his previous works never materialized here. The problem with this soundtrack isn’t really anything overt and it’s actually still decent compared to everything else that’s out there. But within Iwasaki’s discography, it’s a noticeable drop. When you watched the anime, the atmosphere that Taku Iwasaki weaved was one that ushered a sense of free-flowing creativity as new baked delights are born from endless amounts of experimentation. While that sense of fun was packed through the very enjoyable “Yakitate!! Japan,” the later tracks never stand out quite as well on a standalone basis. Tracks like “Daybreak Symphony” seem bereft of the energy and came across as being overly repetitive and uninspiring, lacking the audacity that featured so prominently in the anime.

Yakitate!! Japan – Yakitate!! Japan

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But if you really wanted Iwasaki’s lowest point you needn’t look far to stumble upon Iwasaki’s totally uninspired effort in Black Cat. The music initially sounded promising, with the main theme in “Konoyo no Uta” which just drips of sentimentality, but as you explore the disc, the music is compounded by a dullness that descends into lethargy. “ACCETAMI” does bring out a bit of operatic flair (something that’ll be a major factor in a late soundtrack of his. You know which one it is, right?) and it does an excellent job in bringing out the antagonist’s villainy, but that’s about as best as Black Cat is capable of delivering. Beyond that, it’s a dog of a soundtrack, something that’s best forgotten because it doesn’t do much to stand out aside curing you of insomnia.

Black Cat – ACCETTAMI

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His score for Angel Heart succeeded in being a bit more engaging, taking a more jazzy approach with noticeable success. The tell-tale signs of jazz are apparent from the beginning; the opening theme “Utsuru na Kokoro” is led by a saxaphone that embellishes the melody with the off-the-cuff flourishes characteristic of the musical genre. Iwasaki even graces us with a soppy love theme dripping with forlorn sentimentality as jazz love themes are wont to do. Unfortunately, while most if not all of the jazz tracks are catchy, the rest of the soundtrack falls prey to such common flaws as ambience and repetition. Consequently, the soundtrack never transcends being more than an average Iwasaki work, with enough sub-par tracks to cloud its overall impression.

Angel Heart – Utsuro na Kokoro

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If any remnants of his past stagnation still lingered considering the recent streak of mediocre scores, the music for Origin – Spirits of the Past dissolved them with aplomb. Perhaps it also helped that the movie gave him a larger budget to work with, allowing him to compose music with an entire orchestral ensemble in mind. Whatever the case, the end result was a wonderful score that truly captured the scope of the epic tale it accompanied. Iwasaki covers all the bases, effectively setting the scene with a selection of tracks that proffer an exotic world different from ours. As this world is increasingly drawn into conflict, the music becomes more agitated to match the battles that the characters find themselves embroiled in. However, nothing quite compares to the piece that ends the soundtrack with triumphant confidence. The trumpets in “Bokutachi no Mirai no Tame ni” resound with a grand and soaring melody borne aloft by precipitous runs of strings, climaxing in a monumental ending that fittingly ends the album. With this score, Iwasaki proved himself without a doubt one of the best orchestrators of anime music.

Origin Spirits of the Past – Bokutachi no Mirai no Tame ni

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Binchō-tan was a far cry from Iwasaki’s work with Origin. Unlike any other anime that Iwasaki had scored previously, Binchō-tan is a slice-of-life series and the music captured the slow and easygoing atmosphere of the show without sacrificing any of his signature styles. This time around, his experimentation manifests in the use of a saw (of the instrumental kind) in several of the tracks, including “Sora no Ue”. The warbling, otherworldly sound of the saw is nothing short of daydreamy and fantastical, lending a hazy sort of atmosphere to the piece and the soundtrack. On the other hand, a more lively side of life is explored in tracks a little less out to lunch – the woodwinds in “Oshigoto” create a brisk and perky atmosphere that aptly describe the work that the title takes its name after.

Bincho-tan – Sora no Ue

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He hasn’t scored another slice-of-life since. Instead, he made Oban Star Racers his triumphant return to action music. Oban Star Racers doesn’t disappoint, most notably offering some intense tracks that accompany the adrenaline-filled races of the anime. Rhythm plays an important role in maintaining this atmosphere, imparting into the music a lively sense of velocity and drive. “Molly’s Theme – Action” is a prime example. The airy strings rollick on a spirited beat while a joyous melody soars above it, creating a piece of music that rejoices in its own movement. Similarly engrossing, “Aikka’s Theme” adopts a more ethnic sound with an obvious Eastern influence. The drums push the melody onwards relentlessly, resulting in a track that could pass off just as much as a song for battle as a race. To be sure, Oban Star Racers succeeded in capturing every bit of velocity a space marathon could possibly offer.

Oban Star Racers – Aikka’s Theme

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In Kekkaishi however, Iwasaki’s experimentation is actually fairly minimal. If anything, this soundtrack tends more towards the style used in Iwasaki’s earlier works, with a melancholy pall dominating much of the music. And of the experimentation that does surface, most of those tracks portend at the Iwasaki fare that is to come rather than making their stamp upon this particular soundtrack. For example, “Magic Mushrooms” offers the sort of dissonance more commonly associated with Soul Eater. And then there’s Iwasaki’s partnership with the rapper Tarantula, who makes an unforgettable impression on anime fans through Gurren Lagaan, though the impact he has here is more along the lines of silly than inspirational. But then again, it is kind of hard to surpass ROW ROW FIGHT THE POWER, so maybe he can be forgiven somewhat.

Kekkaishi – Take over destiny

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009-1 is another of Iwasaki’s scores that delves into the genre of jazz in addition to his typical strings and beatwork. The tracks characteristic of his usual fare are rather run-of-the-mill and are not very notable, neither presenting a memorable theme nor offering anything novel. The real attractions in this soundtrack are the pieces in which Iwasaki goes for the all-out jazz sound. “Theme of 009-1″ starts off the soundtrack with a beat that’s hard not to move to. It’s soon covered by some laid-back strings and suave brass that make for an easygoing theme that’s rather addicting. The more dreamy and nostalgic kind of jazz usually associated with bars on a late night can be found in the lulling wandering in “Suddenly, Last Night”, a soothing track if there ever was one. Although not one of his most stellar works, these tracks and others are a nice sampling of Iwasaki’s talent when it comes to playing around with jazz.

009-1 – Theme of 009-1

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Anime fans who’ve been obsessive enough about anime BGM to have scouted out and enjoyed Iwasaki’s numerous past works were probably eager to listen to this next soundtrack. For everyone else, his score to Tengen Toppa Gurren Lagann would be his magnum opus as he placed his stamp upon the series. To call Gurren Lagaan big is to make the biggest understatement of 2007. In its execution, the anime pierced barriers and appealed through its sheer scope, a scope that Iwasaki was more than capable of delivering upon through an audacious effort that has yet to be duplicated since. The sheer epic magnitude brought about through tracks as “‘Libera Me’ from Hell,” which would be remembered for years to come as a sterling example of how to combine rap and opera. To imagine Gurren Lagaan without Iwasaki’s epic score borders upon unthinkable since the grand scale of the anime’s narrative is captured so fluidly through this Iwasaki effort.

Tengen Toppa Gurren Lagann – Libera Me From Hell

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Persona -trinity soul- would prove to be a much less groundbreaking score than TTGL. The majority of the soundtrack is made up of ominous ambience – a flaw that a soundtrack enthusiast comes to know well and fear. Tracks like “Old Wise Man” simply continue on without direction as it offers little beyond a dull mixture of synthetic noises and strange voices heavily smudged with an echo effect. Nevertheless, there are gems to be found scattered throughout the monotonous atmosphere. Iwasaki makes another foray into opera in “Der Mond Zeigt mir meine Eigne Gestalt” with the well known Kasahara Yuri as vocalist. The result could very well pass off as a piece from an actual opera, though Iwasaki’s character is never lost from the music. The soundtrack is also graced with a beautiful main theme, “Trinity Soul”. There is a wistful feeling in its melody, but the notes also glow with a warmth and bucolic hope that makes it a pleasure to listen to. This theme is performed with Natalie Gudziy’s pure voice in “SOMEWHERE,” which leaves listeners in awe through its captivating rendition.

Persona Trinity Soul – SOMEWHERE

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Iwasaki’s successful efforts did not mean that he was done experimenting. Soul Eater, released in 2008, would see him try blending together such diverse genres as electronica, rock, R&B, and, of course, his standard bits of piano and symphonic music. The big takeaway from this melting pot is how well it brings out the ominous setting of the anime and the characters’ disposition. The former is characterized by a lot of dissonant tones; nothing quite matches the chaotic, surreal world quite like “DEATHCITY.” As for the characters, while Black Star’s prima donna tendencies gets played through a heavy rock track and Death the Kid’s R&B brings out a calm and cool demeanor, it’s Soul’s theme in “Soul-Eater (so scandalous)” that’ll tend to come out on top with smirking attitude also set to R&B.

Soul Eater – DEATHCITY

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Iwasaki follows this up with a slightly more orthodox effort in Kuroshitsuji’s soundtrack. Though the music doesn’t quite hit as high a standard as some of his previous works have reached, his skill in nailing the atmosphere does shine through with a competent effort. The first disc is effectively all setting, with a few ominous waltzes, a few Baroque-styled tracks that depict the aristocracy, and a grandiose operatic delivery that reeks only slightly of pomposity. These themes all work together to convey all of Kuroshitsuji’s facets, from its supernatural, Gothic bent to its high and mighty air of snobbery. As enjoyable as the first disc is, much of Iwasaki’s excellence comes in through the second disc, which is far more diverse, especially through the inclusion of the Indian-themed tracks to cover Kuroshitsuji’s curry-related story arc and add a bit of spice to the listening experience as a whole.

Kuroshitsuji – Si deus me relinquit

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But if there’s anything that can be considered a bounceback into fine form (the finest since Gurren Lagaan at any rate), Katanagatari would be it. The anime’s main theme, heard in the epic “Bahasa Palus,” literally screams epic as vocalist Yutaka Fukuoka gives it an air of badassery through his intense delivery. But that’s not all it holds, because after Lotus Juice’s rapping subsides, the piece goes through a period of melancholy as Fukuoka’s voice grows soft, bringing a somber mood to it all. This track, and others, reflect Katanagatari’s ups and downs, from the bombastic battles, to the more tender, emotional moments seeped in doubt and uncertainty. But there’s no doubt in grading the quality of Iwasaki’s music as he fires off his best work in the last 3 years.

Katanagatari – Bahasa Palus

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His latest work is none other than the soundtrack to the currently-airing [C]: The Money of Soul and Possibility Control. So far, the music has made a return to the sort of dissonance that most people will associate with Soul Eater and much of the music playing during the battles are fairly standard as far as Iwasaki’s music goes. That said, there’s some caution to be had. Prior to the anime series airing, Iwasaki was complaining a lot on his personal blog about scoring this project and so, seemed pretty unhappy at the deadlines that were looming. Whether this will translate to a lackluster effort has yet to be determined, but it’s something to be wary of in any case.

Page 2 offers our staff’s impressions of Iwasaki’s music and career progression to date in the anime industry.

This winter, for better or for worse seemed to just fly by. It feels like yesterday that many of us dipped our toes into Madoka, Hourou Musuko, and Yumekui Merry, but many of those shows are coming to an end and many new ones take their place. Like before, we’ll be doing a preview with more of a focus on the musical side of things; people looking for plot summaries can look elsewhere since we choose our shows based on the composers than things like plot and seiyuu (OK, not really). So check out the composer rolls after the jump!

A Channel
Composer: Satoru Kousaki
Synopsis: Focuses on the lives of some high school girls, specifically, Tooru, her childhood friend Run, Yuuko, and Nagi. The anime is adapted from a 4-koma and will most likely fall into the four girls, one school mold.
Zzero’s Thoughts: It’s hard to shake the generic tag from this series and the only saving grace is whether the comedy works or not. Everything seems so predictable, right down to their choice of Satoru Kousaki as this show’s music composer. What that means is that A Channel’s soundtrack may try some interesting musical things, be it a novel adaptation of an old theme or fusing genres where one might not have thought it to be possible, or it’ll just be his usual brand of minimalistic fare. Whatever he puts forward, it’ll somehow only work within the context of the anime and so, will not be a great standalone listen. That’s been Kousaki’s track record since time immemorial, from Haruhi to the more recent Ore no Imouto’s soundtrack. Star Driver might bucked this trend, but the jury’s still out.

Ano Hana
Composer: REMEDIOS
Synopsis: Six childhood friends, one of whom is a hikkikomori, will reunite to grant one of their friends one last wish.
Yu’s Thoughts: REMEDIOS seems to be best known for composing the soundtracks for several films and j-dramas. Given the nature of Ano Hana and REMEDIOS’s background, we may actually end up with a good score that supports the guaranteed emotional angst which will surface in this show.

C: The Money of Soul and Possibility Control
Composer: Taku Iwasaki
Synopsis: Things weren’t looking good for the Japanese government, until it was saved from the edge of financial meltdown by a mysterious group called the Sovereign Wealth Fund. The Japanese people weren’t as fortunate, and still have to cope with rampant unemployment and crime. The story centers on a boy named Kimimaro, whose no-nonsense life is interrupted when he’s offered a large sum of money, one that must be paid back.
Aftershok’s Thoughts: Given Taku Iwasaki’s track record and the show’s intriguing premise, this has potential to be very interesting. His work on shows like Gurren Lagann and Black Butler’s soundtrack was impressive and effective, even if it was not what stood out the most about the shows. His score on Persona has received praise even when the show hasn’t. This, combined with the show’s schedule set to be on the Noitamina timeslot, sets the expectations high. If all goes according to Iwasaki’s modus operandi, expect a mix of rock and orchestral with some soft ballads for the more sensitive bits.

Blue Exorcist
Composer: Hiroyuki Sawano
Synopsis: Though the two dimensions are meant to remain separate, there are demons that leave Gehenna, the world of demons, and enter the human realm Assiah to cause trouble. There exist humans known as exorcists who battle the demons and restore order to Assiah. The protagonist, Rin Okumura, who bears the burden of being the illegitimate son of Satan, decides to become an exorcist to avenge of the death of his foster father, who gave his life to protect Rin from demons.
Zzero’s Thoughts: Hell YES! I don’t know how well this series is going to do, but Hiroyuki Sawano’s position as soundtrack composer brings with it a lot of high hopes. We all know how much I loved his music ever since the first notes from Gigantic Formula reached my ears. He’s gone on to do highly acclaimed work for Sengoku Basara as well as the awe-inspiring Gundam Unicorn soundtrack. If nothing else, I’ll be checking this show just to listen to his music since I love the dazzling epic orchestrals he seems to conjure up (overwrought though it may be at times).

Deadman Wonderland
Composer: NARASAKI
Synopsis: A lone survivor of a massacre is falsely accused of the crime and gets thrown into prison where he must entertain audiences.
Zzero’s Thoughts: Usually a composer with all caps suggests that he’s a rock musician. And surprise surprise, he did do some theme songs for the likes of Sayonara Zetsubou Sensei, but not a complete score though. Still, I wanna rocks mune ni rocks.
Yu’s Thoughts: The manga centered around a combination of action and dark/twisted atmosphere. If the anime stays true to the manga, the music will probably be some kind of heavy rock mixed with a good deal of uninteresting atmospheric suspense. Hopefully the show will prove my pessimistic predictions wrong.

Dog Days
Composer: The crew at I’ve Sound
Synopsis: A boy is transported to Biscotti, a kingdom in a fantasy world, in order to help the princess save the country from invasion.
Zzero’s Thoughts: To be frank, I am not a heavy fan of I’ve Sound. In fact, aside from a few of their singers, their work is usually far from where my tastes usually land since I’m not too fond of heavy synth and electronica. The first time I’ve heard a soundtrack composed by one of their members (Malko Iuchi) for To Aru Majutsu no Index, I wasn’t really too enthralled by what I heard. One can make a safe assumption that Dog Days’ music will offer more of the same, so I’ll avoid this altogether. Oh well, at least the OP is done by Nana Mizuki, so maybe I’ll just watch the OP sequence just for that.
Yu’s Thoughts: I’ve only ever enjoyed the vocal trance stuff from I’ve Sound (more specifically Kotoko). It goes without saying then that asking a primarily electronica group to score a shounen show with a likely harem thrown in isn’t going to turn out well. The most memorable part of this show will probably be how the kingdom is named after twice-baked cake.

Nichijou
Composer: Yuuji Nomi
Synopsis: More high school life anime, except the things that go on feel a wee bit more surreal, ranging from a principal who wrestles deer, a character with a windup device on her back, and a loli who’s addressed as “Professor.”
Zzero’s Thoughts: Assuming that the OVA/Episode 0/whatever that was released earlier is representative of the series, I might actually be looking forward to this one. Though the music so far doesn’t feel cohesive since they’re little more than a collection of musical cues, I do hope to see something come out of this, especially when the composer has worked on Ghibli fare like Whisper of the Heart.
Yu Thoughts: I was especially impressed with Nomi’s work with The Cat Returns – and it seems he might deliver something similar again if the first episode is anything to go by. The music I heard was definitely not what I expected from a KyoAni slice of life show, but that’s a good thing.

Hanasaku Iroha
Composer: Shiro Hamaguchi
Synopsis: A hot spring inn and the lives of the people working in it.
Thoughts: Whoaaaaa, Shiro Hamaguchi is back to do a soundtrack for an anime? Talk about good tidings! VGM enthusiasts will know him as a master arranger for such fine works as the orchestrated album for Final Fantasy VIII (titled Fithos Lusec Wecos Vinosec). His arranger profile doesn’t stop there either as he has gone on to do the Haruhi orchestral arrangements that we’ve come to know and love. Anime fans who might not have ever touched a game soundtrack may be familiar with his work on notable anime titles such as Kiddy Grade, the baseball classic Oofuri, and of course, the almighty One Piece. In short, he knows his orchestral stuff and even though the show’s premise sounds pedestrian, the music alone might propel me to give the anime a three-episode test.

Hen Zemi
Composer: Kei Haneoka
Synopsis: Nanako Matsutaka somehow finds herself roped into a study group that focuses on strange sexual perversions and tries her best to retain some semblance of sanity.
Zzero’s Thoughts: Kei Haneoka’s strength in the past has always been in composing music for comedy anime. The first time I’ve been exposed to this composer’s works was through the slapstick near-insane Pani Poni Dash. He’s also shown his strength composing for shows such as Negima!? and Today in Class 5-2, all of which are comedies. Given that Hen Zemi’s bent is along the same lines, Haneoka’s compositions should mesh fairly well with whatever’s going on onscreen.

Pretty Rhythm Aurora Dream
Composer: Seikou Nagaoka
Synopsis: Rizumu Amamiya competes in a sport that blends skating and dancing, aiming for the top of what must be a dangerously sparkly event.
Thoughts: At first, I wasn’t planning to check this show out, but when I noticed Nagaoka’s name gracing the composer credits, I almost had a change of heart. Almost. The synopsis looks just a wee bit cheesy for my tastes, but the only Nagaoka work I’ve ever heard, Strike Witches, was actually really good and impressed me enough to heap praise upon it. While I’m not sold on Pretty Rhythm’s premise, I will keep an eye out for the soundtrack since I expect that to be one of the show’s few bright spots.

Tea for Universe, Tea for Life
Composer: Kou Otani
Synopsis: Sasuke Furuta is obsessed with the intricacies of the tea ceremony, having learned it from his lord, Oda Nobunaga and the tea master Sen no Soeki and has resolved to walk this tea path to ultimate fulfillment.
Zzero’s Thoughts: Bee Train is one of those studios that I’ve given up on since nothing they’ve produced has really interested me very much. However, if there’s one point of consistency that they bring to their anime (beyond plots that ooze along like molasses), it’s awesome music. Now, they weren’t fortunate enough to get Yuki Kajiura, but they were able to secure Kou Otani’s services. You guys should like his stuff since he’s done excellent work on the Haibane Renmei soundtrack and the music he did for Shakugan no Shana was good. Video gamers might know him for the immersiveness that the music to Shadows of the Colossus had upon gamers (an atmosphere that one can find in his score for Shana as well). So high hopes are on a good soundtrack. Just don’t expect the anime to follow suit.

Tiger & Bunny
Composer: Yoshihiro Ike
Synopsis: People known as “Next” act as superheroes. Veteran hero Wild Tiger is forced together with rookie Barnaby Brooks. Conflicts in their views about the role of a hero ensue.
Zzero’s Thoughts: Yoshihiro Ike’s got that interesting history. And by interesting, I mean that I’ve watched a few of the shows he’s composed for (Kamichu, Mokke, Ergo Proxy) but came out of all of those shows without a lasting impression of the BGM. Now, maybe it’s my fault for missing something really special, but that’s just how it is. Though I probably won’t be watching Tiger & Bunny, it’ll be good to hear from those who are watching this anime and are well-versed with Ike’s work so they can let me know how this one will fare.
Yu’s Thoughts: Yoshihiro is a bit of a wildcard. After hearing the dark but not very memorable music for Ergo Proxy, Kamichu was the last thing I ever expected him to score. Nevertheless, he did and did it well. Anyway, Tiger & Bunny’s premises isn’t very similar to Ergo Proxy’s or Kamichu’s, so how this soundtrack will turn out is very up in the air.

Final thoughts:
We’ve always been wary about putting up profiles for shows whose composers we know next to nothing about. Such is the case with Jun Sato, the composer for the MBA-tastic Moshidora (with a baseball bent), Shuhei Naruse’s music for Sket Dance (for crying out loud, the only work this guy’s done has been for various incarnations of Rockman), the duo that’s doing the work for Steins;Gate, et al. Also, we’ve had a longstanding policy of not covering anime second seasons unless their composers have changed at some point. So that means Kaiji 2, The World God Only Knows 2, and Maria+Holic 2 (among others) aren’t mentioned here (but a few of us are looking forwards to them regardless. Do feel free to comment about those that we’ve skipped over or anything else we’ve happened to miss.

The responses I got were pretty overwhelming and encompassed over 90 (!!!!!!!) composers (if you can believe that). Speaking as someone who can name maybe half that number, this was a pretty staggering amount and suggests that there may be more anime music fans amongst the fanbase than I’ve seen so far and that most are just kind of dormant. Anyhow, you’ll want to know how things will look over the next 15 months (yes, we do intend to cover 15 anime composers), so check out the list after the jump!

I also plan to run through the methodology and maybe do some comparisons between the sites where I put up the request. That boring quantitative stuff I’ve thrown on page 2, so if you’re really interested how things unfolded, you can look there. As for the general list and the number of points they received from voters in parenthesis:

1. Yuki Kajiura (547 points)
2. Yoko Kanno (499 points)
3. Joe Hisaishi (383 points)
4. Taku Iwasaki (295 points)
5. Kenji Kawai (233 points)
6. Jun Maeda (214 points)
7. Susumu Hirasawa (127 points)
8. Shiro Sagisu (124 points)
9. Tenmon (120 points)
10. Kou Otani (118 points)
11. Toshihiko Sahashi (114 points)
12. Yoshihisa Hirano (111 points)
13. Yasuharu Takanashi (103 points)
14. Michiru Ooshima (101 points)
15. Kotaro Nakagawa (83 points)

Names that barely missed the cut include: Naoki Sato, Kouhei Tanaka, Masumi Itou (Hikaru Nanase), and Mina Kubota.

How This Will Work
Each month, we’ll be highlighting a composer and place a bit more emphasis on reviewing their albums. In fact, we’ll try to toss out somewhere around 3-4 reviews specific to that composer each month. Before we even do that though, we’ll start off with a general profile where we highlight any important biographical tidbits, the sort of stuff you’d find on Wikipedia for instance, but that will make up a small portion of the profile. The bigger portion is in analyzing just how far we feel they’ve progressed as an artist and analyzing the consistency of their works.

So while last year’s big post series revolved around looking at anime soundtracks from 2000-2009, this year’s series looks to be just as ambitious. Maybe even more so. Do look forwards to it and hopefully you can gain some newfound appreciation for the composers you’re familiar with or find a new composer to check out.

For those with a lot of time on their hands, check out page 2 if you want a peek at the methodology as well as a site-by-site breakdown.

A few ground rules: when I say anime composers, any composer who’s written any music for anime (including OPs/EDs/insert songs) qualifies. That was easy, wasn’t it? Basically, the only vocalists that are permissible for this are those who actually compose music. Obviously the extent to which you enjoy their music is important and will probably be the primary criterion by which you assemble your list. You can also consider other things like their quantity of work they’ve done. But when you put together your list, do rank order them from most favorite to tenth favorite. Nothing more needs to be done, but you are welcome to add comments about why you chose X person.

Lastly, do try to come up with ten. I specifically stress the word try, because it’s perfectly OK if you aren’t able to come up with that many. If you’re stuck, it does help to look through some of your favorite shows and see who composed their music, but if all else fails, just list one, or two, or five. That’s totally fine. This is mostly to satisfy my brimming curiosity anyhow. Yes, I will use the results for an upcoming article series that focuses upon composers and not to attempt at an objective measurement of who exactly are the ten best anime composers out there. Do fill this out by December 31, 2010. I’ll be scattering reminders every so often!

For what it’s worth, it’d be terrible of me if I didn’t include my own Top 10 list, so here goes:

1. Joe Hisaishi
2. Yoko Kanno
3. Michiru Ooshima
4. Shiro Sagisu
5. Akira Senju
6. Yasuharu Takanashi
7. Yuki Kajiura
8. Taku Iwasaki
9. Toshihiko Sahashi
10. Masumi Itou (also goes by Hikaru Nanase)

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”

[Audio clip: view full post to listen]
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

[Audio clip: view full post to listen]
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

[Audio clip: view full post to listen]
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

[Audio clip: view full post to listen]
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

2002 brings in more shows that I’m now more familiar with, though the one thing to keep in mind is that I didn’t watch these shows in 2002. It was a time where I was transitioning into a new environment and all of the excitement and anxieties that come with doing such a thing. So I ended up putting off anime for a whole year until 2003 rekindled my interest in the medium once more with a spate of shows that proved to be pretty damn awesome. Well, you weren’t really here to read my life story, so I’ll spare you the details for another day when it might actually be relevant.

Note: Youtube videos are spoilered, clips contain the entire track, and with that, let’s go! God help us all if your connection can’t get these clips fast enough or this site experiences slowdowns. Be patient!

You could probably guess that my fanaticism for Taku Iwasaki was fervently in full swing as it carried over from 2002 and even further back since he has not yet disappointed in the slightest. After all, we’re still three years away from the atrocity that was Black Cat. So needless to say, his work on Getbackers and Witch Hunter Robin, was a continuation of his great run in form.

Of the two albums, Witch Hunter Robin is by far the more consistent as it juggles between the soft, mysterious-sounding stuff and action-y tracks. The main draw of WHR was, as you might expect the action when you have Robin, Amon and the rest of the crew at STN-J rushing in and engaging in combat. Of those, “Flame” gives me goosebumps every time I listen to it as I anticipate the battle that is to come. Though there’s not whole lot in the way of development, I’m willing to give it a pass because of how much I’ve come to associate it with the fight scenes in this series. I suspect that for me, part of the attraction is the way in which each stage of the fight feels deliberate as the melody and rhythm shifts around a bit at certain points.

Flame
[Audio clip: view full post to listen]
Of course, the other part of what made the soundtrack enjoyable is the theme of the eponymous character, “Robin.” In listening to it, you get a taste for both her earnest and gentle nature. There is a hint of mystery surrounding her, which I think this track captures well and it does make for one of the better character themes out there. Maybe it’s because of the nostalgia factor.

Robin
[Audio clip: view full post to listen]
The OP and ED also deserve mention because “Half Pain” and “Shell” are pretty damn awesome, and though I don’t listen to rock all that much, these two tracks see quite a bit of playtime still even after all these years. OK, well, only one is actually rock. The ED is more piano plus an aura of loneliness or something with a bit of longing thrown in for good measure. I like it.

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Getbackers is not as good as Witch Hunter Robin because it’s not as consistent, but it’s pretty hard not to like the damn thing. Here, Iwasaki employs a healthy dose of jazz to mix things up a bit, and the result is a soundtrack that’s really fun to listen to. The sheer amount of style it oozes out of every pore cannot be praised enough, especially in the main theme, which demands your attention right off the bat with its badass action that is all too fitting with the pulpiness that this series is just filled with. The show itself is decent up to a certain point since the writing quality does drop quite a bit, but the soundtrack, especially the first disc, is one that I’d highly recommend giving a shot.

Getbackers
[Audio clip: view full post to listen]
Full Metal Panic offers a different sort of action from what Getbackers provides, and its serious tones are fitting with Toshihiko Sahashi’s compositions. I don’t think I’ve ever heard Sahashi compose a bad soundtrack, and maybe that’s because I haven’t been looking hard enough. Either way what’s always impressed me is how well he handles the orchestra bits, and his work on FMP is certainly no exception to that. His militaristic themes are always consistent; they won’t necessarily wow you per se, but they are a notch above some of the action tracks that I’ve heard. “Plan 1056″ shines particularly brightly because of the urgency that you get through the drum section.

Plan 1056
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The slice of life moments are also enjoyable with its mix of easy listening tracks, which goes to show how versatile of a composer Sahashi is (and it’ll be something that’s in full display in 2003, mark my words). And if you want an awesome homage, look no further. The infectious A-Team Theme can be found here, and its inclusion earns my unconditional praise.

Tokkou Yarou
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Ootani Kou’s name should be familiar to many a VGM fan since he was responsible for the epic tracks in Shadows of the Colossus, but the intensity of the giant battles are almost nowhere to be found on his score for Haibane Renmei. Haibane’s peaceful, soothing score delivers upon so well is the way it conveys the feeling of rusticana through tracks like “A New Plate’s Rondo” and the upbeat “Starting of the World.” The former’s harpsichord and flute work together really well to immerse you into the setting as you alight upon a world that is far simpler and more relaxed, though I imagine people looking for an energetic start to the day will strongly favor the latter since it has the rhythm and tempo to create a hustle-bustle atmosphere. If that was all there is to it, this album wouldn’t be so highly regarded. The emotional piano tracks that pop up on occasion draw out the feelings of pain and regret, delivering it poignantly so that you, too, empathize with the characters’ struggles.

A New Plate’s Rondo
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Starting of the World
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So yes, Haibane might not be a show that I can say anything intelligible about, but thankfully, I can describe my feelings about the soundtrack. Its blend of calm, serene fare and the sadness that it imbues is really wonderful. And lest I forget, the OP, “Free Bird,” deserves a mention for its ability to distill the setting in a nutshell.

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Finally, we come to Yokohama Kaidashi Kikou. Back when I watched the original OVA, I wasn’t quite able to come to grips with it, but in Quiet Country Cafe, I was slowly drawn into its fading world. The soundtrack, played by the Choro Club (and Taku Iwasaki might have a composer’s role here, I’m not sure), is beautifully serene. Yes, I’m quite the sucker for soft, pretty music like this and Choro Club has never failed to impress. As good as their work is here, I really like their work on a certain franchise a whole lot more. Look forward to it!

Cafe Alpha – Main Theme Orchestration
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Yuunagi no Jidai
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Hall of (My) Shame:

There’s a lot of patching up that needs to be done here, unfortunately, and I guess if there’s a year that can be called the “Lost Year” in the realm of anime music for me, it’d have to be 2002 since I’m missing quite a few gems (that people should comment about if they like this stuff!). Twelve Kingdoms is bound to get a listen one of these days once I find the time to actually watch the series. Ryo Kunihiko’s work on this anime, of the little I’ve heard, is positively epic. In listening to the opening sequence, it’s easy to get one’s breath taken away by the scope of what the series seemingly offers. And seeing how much praise it gets from people’s Decades lists, this show is a matter of “when I’ll get to it” rather than “if I’ll get to it.”

Twelve Kingdoms – Junigenmukyou (full version)
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.hack//SIGN also came out that year, and its snail-like pacing undermined its interesting premise. Through this show, I was convinced that Yuki Kajiura would only stick to mediocre anime (this prediction would be proven resoundingly wrong, by the way) but the little music that I’ve heard from this series does garner a favorable impression. Rahxephon’s absence is another headscratcher since its OP, “Hemisphere,” has been so widely praised. I hear the score is pretty good too.

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2002 also saw the release of Chobits, and aside from a very catchy OP, in “Let Me Be With You,” I haven’t watched it and cannot comment further beyond “what’s with Clamp adaptations and their catchy openings?”. Even more damning is the lack of Yoko Kanno’s soundtrack for Ghost in the Shell: Stand-Alone Complex. This was the series that brought Origa to my attention through her excellent performance of “Inner Universe” that leaves me feeling floaty because of her ethereal voice. Given Kanno’s stellar reputation, this soundtrack definitely demands a listen, but like all that’s been afflicting me as of late, the lack of time means that it’s sitting on the backburner. Along with about 3 dozen other things vying for my attention simultaneously.

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Hmm… now that I look back upon this lengthy entry, 2002 was an impressive year music-wise, wasn’t it?

Why yes, I have been quite busy as of late.

Anyhow, it was nice getting that chance to look really deep into the shows that aired in 2000 since delving to those lengths is a luxury from here on out, mostly because of how my interest in the medium grew somewhat around this time period. I say somewhat because there was a bit of a lull from 2001 and 2002, but that is a story for another day.

But with the focus on 2001, I can say that I saw a lot of enjoyable shows surface and some not-so enjoyable shows that nevertheless had some pretty awesome music.

Disclaimer: I unfortunately have not been able to solve the problem on how to turn myself into a being who no longer requires sustenance or sleep, both of which cut into my being able to watch copious amounts of anime and listen to all of their soundtracks. As such, it will be a given that I will not be able to touch upon all of them in this series. If a particular show that came out during the year highlighted did not receive a mention and you believe that it merits one because of its soundtrack, feel free to note that in the comments section. Being the soundtrack freak I am, I will add it to the list of stuff I should listen to. After all, if I can sit through Lingerie Soldier Papillon Rose’s soundtrack, I figure I can stomach anything you can throw my way.

Youtube videos are spoilered, clips contain the entire track, and with that, let’s go!

The Read or Die OVA gave me a lot of things that I found to be awesome. The production values were superb, the animation was crisp, the plot wasn’t something I had seen before, and, of course, the music was fantastic. The soundtrack oozed that cool vibe with its blend of jazz, electronica, and orchestral music into one enjoyable package that has had a remarkable amount of staying power. Even now, when I need a bit of energy and inspiration, I’ll turn to tracks like the glorious-sounding “Bring all the wisdom to Great Britain!” and the “Read or Die Theme” with its groovy, jazzy flavor that reminds me of those 1970s spy flicks.

Bring all the wisdom to Great Britain!
[Audio clip: view full post to listen]

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So yes, the R.O.D. OVA OST cements Taku Iwasaki as one of the most consistent anime composers in my book (at that point). And as if his reputation needed any further bolstering, he also goes on to compose music for the Kenshin Seisouhen OVA which is utterly fantastic.

Anyone who has listened to his work on the Kenshin Tsuiokuhen knows that it’s a dark, brooding soundtrack that is wonderful to behold and I’d go as far as to say that it is probably his best work of all time! ALL TIME!!! Nevertheless, this followup manages to meet the expectations that the Tsuiokuhen OVA sets in terms of musical quality. To say that I love the orchestral pieces in Seisouhen is an understatement. Even though the Seisouhen OVA is a bit underwhelming at times, the music helps save it with awesome warrior-esque themes like “Heart of Sunrise” (now on a MALKeionbu Companion CD near you!) and the badass “The Duel in the Name of Love” which depicts the ebb and flow of a fight perfectly in the way it handles the intensity.

The Duel in the Name of Love
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It’s not hard to see why an orchestral fiend like myself enjoys this sort of stuff so much.

Moving on, we come no Noir. Though it’s not quite as badass as Iwasaki’s work on Kenshin Seisouhen, Kajiura’s first notable soundtrack managed to grab anime viewers’ attention with its use of vocals, fast-paced action tracks, and the slower, more introspective works. The amazing thing about all this is that Kajiura’s only improved with time and I’ve been very impressed by her advancement. It shows that when I give Noir a listen, I find it a bit lackluster compared to the music she’s putting out nowadays.

Still, you’ll have pieces that will remain classics no matter what. The action-oriented tracks are what really rule the day here, especially with the awe-inspiring “Salva Nos” which sounds like some divine entity delivering that bolt of judgement on all the sinners out there through the soaring vocals. It’s an amazing piece no doubt, one that’s practically unforgettable, especially if you’ve seen the show itself.

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Angelic Layer also has some action-oriented moments given its plot revolving around a girl who competes in a doll battle arena tournament, but I don’t find the battle themes to be quite as riveting as the slice of life/character theme components. Kouhei Tanaka sculpts a very pleasing soundtrack overall though, and while some of the tension-filled themes can get a bit repetitive with its ominous rhythms (sort of like how Saki’s can get a bit wearisome), the light-hearted moments and the graceful melodies are the tracks that make this album a good choice for those pick-me-up moments.

Misaki’s Theme
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Speaking of light-hearted feel-good anime, Fruits Basket also came out in 2001. The soundtrack never struck me as being a memorable affair, but this anime does give us the poignant “For Fruits Basket” theme song which, for many anisong fans, carries a special weight because it’s hard not to think of Ritsuko Okazaki when one listens to it. Rest in peace, wherever you may be.

[[Visit blog to check out this spoiler]]

Finally, we also got two movies that are worth mentioning. Spirited Away is the better-known of the two and here, Joe Hisaishi once again leaves us in awe with his ability to compose a soundtrack that draws us into the movie’s setting. The music is light for the most part and there’s a dab of melancholy that permeates many of the pieces depicting Chihiro’s journey and growth as she goes from place to place, seeking out her parents while coming to terms with the changes in her life. Although tracks like “One Summer Day” is memorable, as it turns out, a lot of people like “The Sixth Station” much more (myself included).

One Summer Day
[Audio clip: view full post to listen]

The Sixth Station
[Audio clip: view full post to listen]
Princess Arete would be the other movie, and the only reason why I even watched this movie at all was due to Akira Senju’s compositions. While the movie left me wanting at times because it falls short of its potential, there’s no denying that the music leaves a very strong impression. The pieces in this movie are comparable to the music in Spice and Wolf in its incorporation of medieval/Renaissance themes. However, the piece that stands out the most here is the piece that introduces the anime, “Kiniro no Tsubasa.” Sung by Taeko Onuki, its melody caused me to melt in my seat, leaving me in a state of bliss the first time I heard it, reinforcing Akira Senju’s position as one of my favorite anime music composers.

Kiniro no Tsubasa
[Audio clip: view full post to listen]
Despite all that, there are a few notables that I left out that’s worth chastising me for. I have seen Millennium Actress and I’m sure it certainly deserves a mention if I ever get around to giving that album a go. Earth Maiden Arjuna also has some good music, but again, I haven’t seen the series or listened to the music enough to give an informed judgment. Finally, for all that one Kokoro Library track did to leave me impressed, I still haven’t gotten around to giving that soundtrack its time to shine even though it’s packed with piano melodies which is normally a sure winner with me.

Anyhow, as I mentioned, I’ve been busy as of late, but I’ll hopefully have a few news tidbits to toss around in the next few days.

Disc 1

[[Visit blog to check out this spoiler]]

Disc 2

[[Visit blog to check out this spoiler]]

Disc 3

[[Visit blog to check out this spoiler]]

Tracklist provided by Ayumikat at the Brownie Post.

Review: Taku Iwasaki, while still a strong composer, hasn’t delivered as consistent an effort as he had in the past. Whereas before, he had composed the excellent Rurouni Kenshin OVAs, Read or Die, and Witch Hunter Robin soundtracks, nowadays, the quality of his work has varied, from the highly-acclaimed Tengen Toppa Gurren Lagann to the completely lackluster Black Cat. Kuroshitsuji’s soundtrack falls in the upper-middle part of the quality spectrum. The first disc on the soundtrack manages to depict the elegant, yet ominous aura of the anime’s setting, though it doesn’t strive to do much more than that, saving the best parts for the second disc which mixes some of the better orchestral tracks along with some Indian-themed music. The variety to be had in the second disc makes it engaging and through that, the soundtrack as a whole feels fresh and enjoyable as a result.

So while the first disc doesn’t include the best that Iwasaki has to offer, it is nevertheless a competent effort, especially in sculpting the tone for the anime’s setting. “Nigram Clavem” sets up that dark, ominous aura through a Gregorian chant to make one feel a sense of unease through the female vocalist’s stuttering, halting delivery and tracks such as “The butler” reinforce the unease through a melody that that cloaks the subject of the piece in a shroud of enigma. “A diabolic waltz” furthers the enigma through a smooth dance that combines an upper-class feeling of elegance and grace that carries a foreboding tone and in doing so, manages to capture both the aristocratic aspect and the supernatural elements of the anime series.

Nigram Clavem
[Audio clip: view full post to listen]

A diabolic waltz
[Audio clip: view full post to listen]
As you might expect, the lofty, aristocratic auras are given their chance to shine. “Master of Tea and Scones” works through a Baroque melody that brings to mind a scene in which a group of aristocrats are mingling about and talking about the issues of the day. What I find interesting about this piece’s execution is its use of the saxophone which, though it’s not commonly looked upon as an instrument one would use to depict the aristocracy, draws out an aura of sophistication and snobbery. “La Gardenia” aims more for majesty than sophistication, but its stirring, operatic delivery projects an aura of grandiosity so well that it’s one of the more enjoyable tracks if you like the pompous operatic songs. And if “La Gardenia” is your type of piece, you’ll also appreciate “Wie schon!” where the singer’s sense of urgency meshes well with the foreboding violin section in the background.

La Gardenia
[Audio clip: view full post to listen]
Most of the other tracks on that disc are enjoyable enough and if you happen to enjoy ambient tracks, the first disc should suit you just fine. Nevertheless, there are a few that you should watch out for and maybe skip altogether because they are downright terrible. The biggest offender is “Die Hasen!” which I’d charitably describe as a banshee wailing because the singer’s execution is so discordant and out of tune that I suspect that it was deliberate and done for a comical purpose. That, unfortunately, is of no comfort to those of us who have to actually sit through the whole thing and it’s better to pass over altogether. Thankfully, “Die Hasen!” is about as bad as it gets; the others are lackluster at worst. For example, “Shitsuji taru mono” feels as though it should be a comical piece, except that it doesn’t capture the goofy atmosphere all too well because its jazzy saxophone melody sounds kitschy, like the music you’d hear in a room full of video poker machines. “The Dark Crow Smiles” also isn’t too compelling, mostly because it fritters away its opportunity to nail the dark atmosphere through a campy-sounding narration.

Die Hasen!
[Audio clip: view full post to listen]

The Dark Crow Smiles
[Audio clip: view full post to listen]
The second disc is where most of the better tracks lie and the disc wastes no time in getting you into the mix of things with “Si deus me relinquit’s” mournful melody that creates a God-forsaken feeling. Once the track reaches the 1:35 mark, the piece really opens up with a majestic melody that hides within it a tone of loneliness and despair that can be overwhelming at times. “Si deus me relinquit” goes through a few transitional interludes which help to keep the listener engaged through its intensity and dramatic flair, leaving the listener in awe by the time it ends. Although some pieces like “Never More,” which uses a flute to create a despondent, unnerving feeling, and “Call thy name, ‘Stella Mystica,’” whose menacing tone done through a singer and a piano in the background captures the feel of a forbidden dark ritual, none of them are as enjoyable as “Si deus me relinquit” which grabs you through the raw power of its emotions.

Si deus me relinquit
[Audio clip: view full post to listen]

Call thy name, “Stella Mystica”
[Audio clip: view full post to listen]
The Indian tracks also bring a bit of character to the soundtrack. Though the music doesn’t strive for something beyond stereotypical traditional Indian music, its strength lies in the novelty factor. It’s not often that one gets an opportunity to listen to Indian music, and being able to do so makes for a nice change from all the ominous orchestral tracks. For that, these tracks are worth checking out, especially if one is fond of ethnic tracks that cover the gamut of soothing sitar melodies to energetic Indian chants that convey an exotic aura.

rudra
[Audio clip: view full post to listen]
Although the third disc includes an excellent set of tracks ranging from SID’s “Kiss of Monochrome” to Kalafina’s “Lacrimosa,” Kuroshitsuji’s soundtrack’s strengths still lie in the BGM on the first two discs. Iwasaki has done an excellent job of bringing together the aristocratic tones and the ominous, foreboding auras that makes up a large part of the show’s supernatural side while also mixing in Indian rhythms, chants, and melodies. The effort is solid all around and though there are a few earaches, those comprise a few tracks which are easily compensated for by tracks like “La gardenia” and “Si deus me relinquit.” So whether you’re a big fan of the series or of Iwasaki, you should find this album to be an enjoyable listen since Kuroshitsuji is one of his better works as of late.

Rating: Very Good

Voting Thread

As of this blog post for this week’s anime music selections, there are less than 4 hours left before I close things up and prepare for week 5′s stuff.

Anyhow, this week’s theme focuses on legendary anime pieces and we’ve got a pretty decent set with plenty of variety ranging from the expected militaristic fanfares and majestic tracks to ROCKIN’ songs as well as songs infused with a Spanish/Latin flavor. The quality of the selections made it difficult to assign the points, but in the end, four tracks managed to get my favorable nod while the rest fell into the Honorable Mentions category. And with that, here are the tracks from this most legendary week:

Twelve Kingdoms – Junigenmukyou (full version)
[Audio clip: view full post to listen]
From the beginning, this track has an aura of mystery about it, as though it were depicting a world nestled away from the ravages of time. That atmosphere describes what I know of Twelve Kingdom’s setting really well, and it’s beautiful in that regard. Once the drumming section begins in 1:06, you begin to get a feel for the scope of this war-torn story, with its heroics and tragedies, bringing forth a sense of danger before leveling off into a sort of eerie tranquility which projects an image of the battlefield after a battle. The track’s depiction of the dichotomy between court life and the soldier’s life gives a complete picture of the political dealings of the bygone era, but it’s not over yet since the piece has one final surprise with the segue from the calm, courtly scene into a heroic, rallying battle-cry as you can feel the kingdom mobilize in an inspiring energy-filled melody. (+1)

Code Geass – Black Knights
[Audio clip: view full post to listen]
The Spanish/Latin rhythm makes for a wonderful effect, especially when combined with the male choral part to yield a piece that’s filled with a certain grimness and works to bring out the seriousness of the overarching plot as well as the intensity of the action-y moments. While this track doesn’t get points this week, it does serve as an enjoyable change of pace amongst the tracks nominated this week as a result of this unique mixture.

Gigantic Formula – Main theme v.0
[Audio clip: view full post to listen]
The fanfare in the beginning feels like a sunrise as it bursts forth in a showy display of brilliance. It’s not often that the hairs on the back of my neck raise up, but the introduction manages to achieve that like none other. The melody and the harmony complement each other so well in this majestic piece and I love the way the piece moves between the loud/majestic sections and the softer interludes that it’s difficult for me to feel bored listening to this. Awesome from start to finish and the images it instilled in my mind moved me to tears. OK, so I’m a sucker for this kind of stuff, but it’s definitely worth a listen. (+2)

Tengen Toppa Gurren Lagann – “Libera me” From Hell
[Audio clip: view full post to listen]
The opera part kinda fools you in the beginning into expecting some sort of brilliance like the Queen of the Night’s song in Mozart’s The Magic Flute, but that expectation is dashed once the rap part makes its entry. From what I’ve heard about TTGL (yes, I have not seen this series. BLASPHEMY!!!), I can see how it meshes really well with the themes it espouses. As for the music though, I have difficulty enjoying the opera singer’s performance since the part starting around 1:23 feels cacophonous and directionless even though (oddly enough) I found the rap part to mesh well with the instrumentals. At least it does its job in bringing out the epic side of things and had I seen the series, I think I’d be able to appreciate this track a lot more. As it stands though, the track is decent even if I wouldn’t elevate it to “amazing” status.

Heroic Age – Heroic Age
[Audio clip: view full post to listen]
Even though this stands out as yet another majestic track, I can’t seem to be able to get enough of them. This piece’s puts in my mind an aerial view of a nice, quiet, beautiful valley just before dawn as the glider you’re riding upon flies into the heart of this amazing view, instilling you with a sense of serenity, as though to show the vastness and beauty that the world offers. The mood then changes and the sheer regality comes fully into being with the crescendo around 1:30 followed by a fanfare around the 2:00. There, the totality of its majesty comes into being, and one cannot help but look at in awe as it brings out that sense of sanctity, duty, and destiny. Naoki Sato deserves props for conveying that epic journey/view/whatever it’s describing. (+2)

Berserk – BEHILIT
[Audio clip: view full post to listen]
Yes, this one is different and I wouldn’t call this legendary as much as lost… or maybe that’s because the track gives me the feeling I might get if I were in an untamed jungle where danger might lurk around any corner. You can sort of hear this from the harmony, which has an affect of creating tension through its tempo and repetitive nature. It’s a nice change of pace though, but not point-worthy in light of some of the better selections.

FLCL – I Think I Can
[Audio clip: view full post to listen]
This particular piece actually sounds pretty good with all the awesome guitar work going in the background to provide an interesting backdrop to the vocals with all its grooviness while going through the verses. However, my rating on this piece plummets around 0:41 when the words “I think I can” are being sung in the chorus section. Those lyrics are just too cheesy for my tastes because it puts the image of The Little Engine That Could into my mind and I can’t divorce those intertwining thoughts from each other, turning a ROCKIN’ song into one that’s silly. If you wanted an example of a piece that could be ruined by just one section, “I think I can’s” chorus section would be a great example of that.

Read or Die OVA – Bring all the wisdom to Great Britain!
[Audio clip: view full post to listen]
And yet… this piece also brings forth a bit of cheese, but it’s an enjoyable sort of cheese if you keep the backdrop of the series in mind since the concept of the British Library being in control of Britain’s super secret spy squad makes for an entertaining plot. The militaristic music is over-the-top, but I wouldn’t have it any other way and it makes for an enjoyable listen as you imagine the troops assembling to perform the task hinted at in the piece’s title through their objective of preventing powerful books from falling into the wrong hands.

Princess Mononoke – Legend of Ashitaka
[Audio clip: view full post to listen]
I really love this piece and it’s probably one of the first soundtracks that caught my attention way back in the infancy of my anime experience. It captures the essence of the movie really well, starting off with the grim opening that paints Ashitaka as a man on a mission to cure his disease and in doing so, setting the epic journey into its proper perspective. It’s subtle, but emotionally stirring and it will always stand out as one of Hisaishi’s better pieces.

Mobile Suit Gundam: Char’s Counterattack – Segment III: Sally
[Audio clip: view full post to listen]
“Sally” feels grim and brooding with a hint of impatience, conveying the atmosphere and emotions that people feel right before a battle is about to commence. The air is thick with anticipation and both sides seem to be eager to rush forth and engage the opposition and with that crescendo, the piece moves into a rallying cry of sorts. At this point, you can feel the intensity of the battle as both sides send their troops forth (or “sallying,” if you will ) with cries for heroism and valor. Another strong piece that edges out the preceding one based on the novelty factor. (+1)

So there you have it! My point distribution can be found below. Week 5′s theme will be based on pop vocals, so if you want to get a head start, feel free to start digging into that week’s selections. A voting thread will be created once I compile all the music together, but I look forwards to giving them a listen! And I also hope to see some new faces turn up!

(+2) Gigantic Formula – Main theme v.0
(+2) Heroic Age – Heroic Age
(+1) Twelve Kingdoms – Junigenmukyou (full version)
(+1) Mobile Suit Gundam: Char’s Counterattack – Segment III: Sally

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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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~
[Audio clip: view full post to listen]
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”
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
“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
[Audio clip: view full post to listen]
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
[Audio clip: view full post to listen]
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

The inaugural week for the MAL Anime Piece of the Week Club went pretty smoothly and I have to say, the selections were really solid all in all. The feedback also indicated that people enjoyed this immensely and needless to say, I look forwards to being able to listen to what people have to nominate for weeks to come.

Anyhow for those who have yet to take a peek, this week’s theme focused on action tracks, and not surprisingly, people selected heart-pounding tracks that conveyed the intensity of battle. So with that, let’s take a look at this week’s selections. Most of the participants have already made their comments in the respective voting thread and lelangir’s given his input on his blog so feel free to take a look as to what they have to say. As for what I have to say, find out after the jump.

G Gundam – King of Hearts:
[Audio clip: view full post to listen]
The introduction sets the stage for the duel and I’m definitely impressed with the way the violins gave off that classic, old-school mecha vibe that conveys that small undercurrent of tension throughout the piece’s duration. But what really got me to perk up was the addition of the saxophone because of how it painted the image of two awesome characters going at it as they put all their skills up against one another in a very elegant display. Lelangir noted that the impact of this piece is probably greater with the context of the scene in mind, but for me, it stands well on its own and is definitely worth a listen.

Turn A Gundam – Final shore ~ Oo, Sairin Ariyato:
[Audio clip: view full post to listen]
The opening choral part grabs at you rather quickly and quickly shifts a chant that, combined with the heavy percussion, gives off that rush of intensity before things begin to calm before doing another repetition of that first section. Just based on the first two minutes of this track, Smankh’s comparisons to this track and “O Fortuna” from Orff’s Carmina Burana are definitely apt because of the sheer intensity that it carries. The shift around the 2 minute mark eases off just a bit on the bombast, though the tension still remains through that chorus part that slowly adds on the layers gradually until it culminates in the crescendo around 2:53 that engulfs the listener with its sheer beauty. Afterward “Final Shore” begins winding down slowly as though to signal this conflict’s end, at least until the next encounter begins. Either way, this piece is probably my favorite track out of the ones nominated this week.

Gunslinger Girl – TEMA IV:
[Audio clip: view full post to listen]
Short and sweet, and sometimes, that’s all you really need. The frantic violin part in the beginning and the choral section combine together really well to create the image of a chase scene along with the sense of urgency associated with trying to capture one’s quarry. But what really makes this track stand out, and humbug23 was quick to point this out, is the way it incorporates Gunslinger Girl’s more memorable melodies. Again, another solid track and one that’s aged really well. I only wish it were just a bit longer since the “ansia” theme is so poignant.

Appleseed EX MACHINA – SYNCHRONICITY:
[Audio clip: view full post to listen]
Tetsuya Takahashi seems to be doing a damned good job of trying to channel Harry Gregson-Williams, and most of the participants immediately made the comparison of this track to Gregson-Williams’s work on Metal Gear Solid. This track just exudes the concept of action, especially as it goes through different sections and all at a very hurried pace that gets your adrenaline flowing as it uses a variety of instruments ranging from orchestral to synth in some areas to the electric guitar in others. Overall, this track carries a grandiosity that leaves you feeling pretty pumped and because of that, I can overlook the fact that (as OneGreatTurtle noted) it might have been better off split into its component parts rather than be combined into one long track.

Soul Eater – harmoNIZE:
[Audio clip: view full post to listen]
This song really in your face with its heavy beat to bring about an adrenaline rush stemming from the rapid beat that makes your heart pump in overdrive, but at the end of the day, it’s a track that I can appreciate but not one that I’ll give repeat listens mostly because it’s not my kind of thing. The vocals are a big factor, mostly because I’m not all too fond of the way the singer delivers that fierce and overbearing flurry of anger and emotion (though you gotta admit, I’m sure that’s what he was aiming for and he does do a good job of channeling that rage). I made a comparison of his delivery to that of an artillery barrage, which makes the calm section all the more appropriate (calm before the storm) before the barrage of vocals returns. It’s a very intense track and does what it seeks out to do really well. It’s just not the kind of music I’d consider to be up my alley.

Kara no Kyoukai “Fukan Fuukei” – M12+13:
[Audio clip: view full post to listen]
Wow, that dissonance brings out a lot of that tension in the beginning and the piece certainly delivers on the chaotic aspects that one encounters during a combat scene. Smankh effectively describes the piece as follows:

Action : going from a thrilling and dangerous moment to a scene where the lead character has already retaken her composure and the lead in the fight. This piece expresses very well how she goes from defense to offense. A crescendo makes the transition between the thrilling music and the main theme and it’s accompanied by a chorus that gives a feeling of growing power in this particular scene. The end though is a little abrupt: the fight’s over in one move. Yuki Kajiura introduces here one of the main themes of Kara no Kyoukai with a subtle transition which emphasizes Shiki’s power and self-confidence. Not the best track in the various KnK OSTs but a wonderful action-packed piece of music.

I pretty much concur with this and the only thing I can say is that despite the fact that a lot of Kajiura action tracks are like this one, somehow, they never gets old. It does a really good job of bringing out Shiki’s confidence, making this a really beautiful, hauntingly elegant track.

Mobile Suit Gundam SEED Destiny – Kantai Shiki:
[Audio clip: view full post to listen]
Lelangir’s already got this track pegged down as being a waste of potential since it doesn’t build up to anything special. It’s certainly got Sahashi’s signature style written all over it and while the violins do set the mood rather nicely, it’s just a bit too repetitive for my tastes. At least the pacing was pretty solid all in all at delivering the tension and I did like the crescendo that comes in around 1:42.

So my votes are as follows:
(+3) Turn-A Gundam – Final shore
(+2) Appleseed EX MACHINA – SYNCHRONICITY
(+1) Kara no Kyoukai “Fukan Fuukei” – M12+13

For those of you with MAL accounts and want to participate in the voting process, feel free to visit this thread and put in your two cents after reading the voting guidelines on the front page and listening to the tracks themselves.

In any case, I’d like to thank the following people for their contributions in making this first week as awesome as it was: lelangir, OneGreatTurtle, jukebone, Omisyth, Smankh, and humbug23.

Review: Long are the days in which I could pick up a Taku Iwasaki soundtrack and be confident that I’ll derive a lot of enjoyment out of it because his experimentation with different musical genres has had mixed results. With Soul Eater’s soundtrack, Iwasaki’s attempt at fusing rock and R&B with his traditional orchestral pieces captures the show’s atmosphere, the coolness of the characters, and the intensity of the action, all within the context of the show. But without that context, the soundtrack isn’t quite up to par due to some repetitive tracks and some of his experiments that flop. As such, I can recommend listening to this album only if you have background knowledge of the series; as a standalone listen, you’ve better options elsewhere.

This soundtrack opens with “DEATHCITY,” which has an ominous aura about it from the dissonant jazz trumpet. As you listen further, more instruments are added to the mix to create a chaotic, edgy feeling. In spite of the chaos, there remains a semblance of structure while imparting upon the listener a hint of the foreboding atmosphere that always seems to be lurking around the corner by establishing a heavy, ambient track that fits the series like a glove.

A lot of the dissonant ambient tracks that follow utilize “DEATHCITY’s” overall feeling. After “4242564’s” flute introduction, the muted trumpets borrow “DEATHCITY’s” vibe and follow it up with an ethnic chant that is barely discernible in the background while “Krieg” makes use of the theme through an electric guitar. What these pieces emphasize is the unsettling atmosphere that Soul Eater generates, and by using dissonance, Iwasaki keeps the listener on edge and alert.

Next up is the first of the character themes, titled “Soul-Eater (so scandalous),” which conveys Soul’s cool, laid-back attitude through the rap lyrics which include the refrain:

(So cool) Can’t handle us, so cool it’s scandalous

Although the repetitive nature of the track isn’t the pinnacle of creativity, this track is spot-on when it comes to distilling the essence of its titular character and putting it to music.

The other two character tracks, “BLACK STAR (never lose myself)” and “Death the Kid (so crazy)” aren’t quite nearly as compelling. Black Star’s theme uses a serious rock track to depict his personality through a dominant electric guitar baseline which conveys his desire to stand out from the crowd. Though the guitar work is enjoyable, I wish the same can be said for the vocals which are a bit on the plain side. Death the Kid’s track uses an R&B rhythm sung by a female duet. Their performance brings to mind the two sisters who serve as Death the Kid’s weapons as they describe his personality and sense of style. Overall, the atmosphere in Death the Kid’s track cultivates a certain degree of coolness even if it’s a tad repetitive.

In addition to rock and R&B, Iwasaki experiments with other genres too. Electronica is represented in “PSYCHEDELIC SOULJAM” which has a futuristic vibe punctuated by a robotic-sounding voice. “Masamune” combines a woodsy atmosphere and an ethnic dance beat while “lycaon” uses a strange mix of dissonance and moaning sounds to create an unsettling effect akin to those from tortured souls before moving into a heavy techno beat that becomes obnoxious by employing the moaning noises.

All of this experimentation may be slightly off-putting to those who prefer more traditional styles of music. Thankfully, Iwasaki still retains enough of his older style to please those who prefer it. For example, “selenic soul” has the peaceful piano and orchestral atmosphere found in “Quiet Life” from the Rurouni Kenshin Tsuiokuhen OVA Soundtrack and “mifune” is a classic action-packed Iwasaki track that he’s used in shows like R.O.D. and Witch Hunter Robin. The latter starts out melancholically before the tempo speeds up to signify the start of the action through the rhythmic percussion beat and the intense violin melody. The piece continues to pour on the action until the melody eases off and the piece slowly closes off on a dirge-like mood. Based on the mood and intensity of the track, “mifune” is my favorite piece on this soundtrack.

Finally, the album closes with “Bang! Bang! Bang! Bang! Have a Nice Dream,” which ironically doesn’t feel like a conclusion as much as an intermission leading into the inevitable Soundtrack 2. The vibe it gives off has a feeling lawlessness about it as it combines a harmonica motive and a guitar playing a coarse western-sounding theme before the rap part comes in on top of the western theme. It’s not the kind of track that I’d seek out to listen to since the music isn’t up my alley, but given the nature of the soundtrack, it definitely fits the mood and serves as a good way to wrap up the many themes and the mood surrounding the series.

Soul Eater Original Soundtrack 1 does manage to juggle multiple genres though by virtue of it trying so many different genres, you’re not going to find much in the way of consistency. So while its many genres keep this soundtrack from being boring, it’s not exactly absorbing on its own either. The effect that context has on this soundtrack cannot be understated, which is why Soul Eater fans will get the most mileage; everyone else’s will vary quite a bit.

Rating: Decent

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