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

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

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

Watashi no Theme (Piano ver.) – Tatami Galaxy

[Audio clip: view full post to listen]

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

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

[Audio clip: view full post to listen]

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

Sora no Theme (Piano ver.) – Kaleido Star

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

Livremente ~ Chiisana Itazura – Kurenai

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

Introduction & Waltz – Ouran High School Host Club

[Audio clip: view full post to listen]

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

Bartender – Bartender

[Audio clip: view full post to listen]

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

Soshite Fune wa Iku – Aria the Animation

[Audio clip: view full post to listen]

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

Ameoto – Binchou Tan

[Audio clip: view full post to listen]

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

Deai – Romeo x Juliet

[Audio clip: view full post to listen]

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

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

[Audio clip: view full post to listen]

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

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.

Tracklist

[[Visit blog to check out this spoiler]]

Review: Makoto Shinkai’s works may derive much of their power by stirring the emotions that many can identify with, but the power of his works gets an additional boost from Tenmon’s score, which plays a crucial role in driving home the impact of Shinkai’s scenes. For me, tracks like “Memories from days far away” come to mind just as readily as the beautiful scene that unfolds when Takaki meets with Akari when someone mentions 5 Centimeters Per Second. It’s fitting then that a celebration of ten years of Shinkai include not only a re-viewing of his works but also a chance to listen to some of Tenmon’s impactful compositions. To that end, the Eminence Symphony Orchestra, along with arrangers Shiro Hamaguchi, Akifumi Tada, and Yasunori Iwasaki have gifted us with a solid orchestral compilation of Tenmon’s collaborations with Shinkai through Promise.

And what better way than to look at the recent past than by starting with the moving insert song “One more time, one more chance” from 5 Centimeters. The original’s power comes from the way it conveys the protagonist’s bittersweet feelings and Eminence’s ensemble faithfully captures that pain most poignantly. Its warm introduction makes way for an airy flute solo that expresses a sort of impermanance, like a precious, yet ephemeral fragment of one’s memory that is always close to disappearing, triggering the yearning and the heartaches. The latter factors in heavily, especially during the introspective cello solo, and continues up to the end until the piece fades out gently. What this track does well is express the regrets and heartaches beautifully and sets things rolling, priming us for what’s to come.

One more time, one more chance

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The procession of 5 Centimeter’s tracks continues with “Memories from days far away.” This piece grasps our attention through the melancholy piano melody that conveys the scope of the anguish that befalls the protagonist. The distress and worries, which materialize in the continual delays that plague his visit during the movie’s first segment, are captured through the halting, measured phrases. Yet, hope still shines through when the lighter tones weave in and out of the heavier fare, creating a mix of joy and sadness that “Kanae’s feelings” follows up upon. “Kanae’s feelings’” initially upbeat guitar segues into a melancholy sound that expresses the yearning feelings scattered throughout the movie, and in so doing, encapsulates the movie’s tragic sentiments perfectly.

Memories from days far away

[Audio clip: view full post to listen]
The next section begins with the “Main Theme” from The Place Promised in Our Early Days, and opens with a mystical aura brought about by the guitar before launching into the slow, graceful melody that uplifts one’s soul. Its airy flute solo does well in evoking images of the early dawn, and with the arrival of the rest of the orchestra, the rich timbre that follows has an upwelling effect that isn’t unlike watching a slow, radiant sunrise. The optimism and excitement it conjures is almost idealistic, especially as it culminates in a wonderful section where ideas and dreams seemingly take flight.

Main Theme from “Beyond the Clouds, the Promised Place”

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Those sentiments toward the end of the “Main Theme” give birth to “Plans by the two, Hope and love” which combines two different tracks seamlessly. The first, “Plans by the two,” is driven by the oboe’s sense of optimism layered atop the string section’s purposeful rhythm that gives it the energy of a grand undertaking. The transition into “Hope and Love’s” theme seizes that energy and melts it away slowly to bring in a burgeoning gladness into my heart. When listening to the graceful air that the strings express, I just can’t help but feel that bubbling sense of joy that is reinforced many times later on in tracks such as “Sayuri” and “Your voice.”

Plans by the two, Hope and love

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Going further, we come to Voices of a Distant Star’s “Through the Years & Far Away.” True to its title, its pensive oboe melody conveys the scope of the distance that separates the lovers that are central to the OVA’s plot. Once the piano part takes over, its calmer air induces contemplation as it draws forth the myriad memories through its nostalgic expression. Though an undercurrent of hope can still be heard as the piece progresses, the wistful, somewhat melancholy air dominates much of the track, holding the listener back by stirring the forlorn feelings that Shinkai wants you to experience in this particular work. These longing feelings that linger is erased somewhat by the warm tones flowing out of “Letter from Mikako” to close out Voices’ segment on this disc. Short, sweet, and dainty, this track wins me over through its loving sentiments that work in bridging the vast distance.

Through the Years & Far Away

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Last but not least, She and Her Cat gets a chance to shine. Though there are only three minutes of music that ever got played during the course of the anime, the arrangers were able to squeeze out the blossoming tones while mixing in the anxiety that crops up in the second half of the short film. The piano version works to end it all since the melody lends itself well to a regal air that lets you empathize with the cat’s owner’s sorrows, yet instilling the hope that things will turn out well for her by the end.

Main Theme from “She and her cat” (String Ensemble)

[Audio clip: view full post to listen]
The arranging team of Hamaguchi, Iwasaki, and Tada has done an excellent job in capturing the spirit if Tenmon’s compositions. As I sit and listen, the images of Shinkai’s works enter my thoughts with ease, and with it, the pains, sorrows, but also the triumphs that the characters experience. The sheer emotional power of Tenmon’s tracks cannot be denied. Let’s hope that the music from Tenmon’s and Shinkai’s collaborations will continue to be as sublime as they have been over this past decade as we move deeper into the 2010s.

Rating: Very Good

In looking at a list of shows and movies released in 2004, the one thing that I notice is the huge gulf in the quantity of shows released during 2004 versus 2003. When I look at such lists, it becomes a constant reminder of what great shows I’ve missed out on. For instance, 2004 was a year that saw the airing of titles like BECK: Mongolian Chop Squad, Elfen Lied, and Paranoia Agent and I have yet to see any of those. Perhaps time will be kind enough for me to go back to give these shows a fair shot, but at this stage in my life, that’s not exactly an option.

So what of the shows that I did see? It’s so huge a list that to cover them all requires me to spend days happily rolling a soundtrack and taking in every note and chord that comes my way and describe it in elaborate detail. In short, it’s not practical, so I’ll keep it as short as I can and leave it to you readers to reminisce and explore these soundtracks on your own.

Note: Once again, youtube videos are spoilered, clips contain the entire track, and with that, let’s go!

It’s really hard for me to believe that Mai-HiME came out in 2004 since it’s always seemed like only yesterday that I watched the action and drama unfold. Maybe a part of that is because how often I give Yuki Kajiura’s score a listen and how tracks like “Ensei ~Omou Kokoro~” are always going to impress me in the way it weaves a mix of mystery and beauty while tracks like “Gakuten-Ou Kenzan!” never skimps out on the action. The soundtrack covers its bases pretty well, and it’s not a surprise that of Kajiura’s soundtracks, this gets the most listens from me.

Ensei ~Omou Kokoro~
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In contrast to Mai-HiME, Fafner in the Azure might have had action, but it left me utterly bored. The effect that this had was that I ended up paying a whole lot of attention to the soundtrack because it was that good. I really marveled at Tsuneyoshi Saito’s compositions because his orchestral melodies that bordered on the epic while retaining a sense of the melancholy. While the orchestral bit is usually enough to win me over, he also puts in a piano concerto in “-SHOKO-,” which elevates the soundtrack further. I just love the way “-SHOKO-” brings out the depths of despair as we are constantly reminded of the tragedy. Also, you won’t find any atmospheric pieces as this soundtrack brings a really strong focus on the melody which is something I can definitely appreciate.

-SHOKO-
[Audio clip: view full post to listen]
We depart from the action-oriented shows and get into the taboo love that characterizes Koi Kaze. Not only were they able to bring out a really mature story given the setup they had, the soundtrack was also a blast with Takumi Masanori and Makoto Yoshimori at the helm. I’m particularly won over by the former’s piano tracks through with stuff like the “Main Theme” catching my attention really well. Maybe that’s just because I’ve really enjoyed it after listening to it on loop in the DVD’s menu. The general atmosphere is emotionally rich, yet restrained which reflects the taboo-laden nature of the relationship between the two siblings.

Main Theme
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Since we’re pretty heavy on the themes of love, Tenmon’s soundtrack for Beyond the Clouds: The Place Promised in our Early Days is always worth a listen. There might be quite a few similarities across Tenmon’s works, but this consistency allows us to compare how he depicts his love themes. “Beyond the Clouds” might start a bit heavily, but as the piece progresses, it sure does an excellent job of bringing those heartfelt loving feelings to the surface.

Beyond the Clouds – The Promised Place
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Finally, we come to Rozen Maiden, which features a good mix of violin, piano, harpsichord, and other instruments scattered about the album which works together to match the show’s setup. In a way, this show requires the mix that you get from a show like Mai-HiME; that is, you need many different kinds of themes to capture both the serious and the whimsical moments that the show serves up. For the most part, Shinkichi Mitsumune succeeds in delivering them unto us.

Bright Red
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It ain’t over yet though. This list is already getting too long and is sorely in need of a page 2 where I’ve cobbled a list of OPs (and an ED) that I found to be worth my while. They might be worth yours too.

On to Page 2

UPDATE: We finally have a review up of the Makoto Shinkai Promise album.

For people who have not read this post, the Eminence Symphony Orchestra, based out in Sydney, Australia, will be releasing a 13-track disc this December containing arrangements of Tenmon’s musical compositions in honor of Makoto Shinkai and his 10 years of work as an anime director, animator, and scriptwriter. Until recently, we’ve only had a glimpse of what this disc was capable of delivering through the tracklist; what we didn’t have was a solid idea of what what to should expect out of these arrangements. But now that my Eminence contact has disclosed the names of the arrangers, fans of Tenmon and Makoto Shinkai can rejoice! With people like Shiro Hamaguchi, Akifumi Tada, and Yasunori Iwasaki at the helm, the arrangements should turn out to be awesome!

First off, we have none other than Shiro Hamaguchi. The fact that his name came up isn’t a huge surprise since he’s done a lot of orchestral arrangements for such franchises like the Final Fantasy series as well as the spectacular String Concert of Haruhi Suzumiya along with anime works like One Piece and Rosario to Vampire (both of which were done with Kouhei Tanaka). Furthermore he has worked alongside Eminence for many of their concerts including the Night in Fantasia Concert just last month and because of his experience, he was probably a natural choice to have in this group of arrangers. His presence alone is a strong indication that this CD will be definitely worth listening to because of the creative spin that Hamaguchi puts into his music. That is, he does a really good job with taking the original piece and seamlessly working it so that while one can still recognize the original melody, it’s different enough such that it can stand really well on its own. After all, if he can improve something like “Koi no Mikuru Dentetsu,” there’s no piece that’s beyond his ability to arrange into an excellent orchestral or piano track.

Koi no Mikuru Densetsu
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Though I’m very much familiar with Hamaguchi, the other two aren’t exactly household names (at least, they didn’t ring a bell to me when I saw their names). As you might have been able to guess from the picture, Akifumi Tada will also be a part of the circle of arrangers and while I recognize the titles that he’s worked on, I’ve never actually watched any of them, so I wouldn’t be able to tell you how skillful he is with composing and arranging music. I suppose the least I can do is listen to Ah! My Goddess’s ED theme to at least get some idea for how it’ll go.

Finally, Yasunori Iwasaki rounds out the list of arrangers. Like Tada, the anime series that he has worked on are recognizable, and unlike Tada, I have watched one of the shows that Iwasaki has worked on. Unfortunately, that doesn’t mean I actually remember much about its music. The show in question was Grenadier, and given that show’s fanservicey tendencies, I don’t really remember all too much about the music, effectively putting me at square zero in terms of knowing what to expect out of Iwasaki.

Upcoming Q&A
With that in mind, I’d like to turn it over to you, the reader. I have been granted an opportunity to send a list of questions to the people working on Project Promise and while I do have my list, it’s also likely that you’ll have some questions you’d like to have answered by the arrangers and even by Tenmon himself! If so, just type your questions into the comments and I’ll include it along with my list of questions to be submitted to the arrangers. Just let me know to whom the question is to be addressed (e.g. Hamaguchi, Tada, Iwasaki, or the group as a whole). Also feel free to ask general questions about Project Promise if you have them since Eminence’s founder, Hiroaki Yura, will be more than happy to take your questions. I’ll be sending the questions fairly quickly (in about 24 hours) so get them in while you can!

As a note, the Q&A will be submitted on the Eminence website. Hopefully a response will come by quickly so with no further ado, submit away!

UPDATE: We finally have a review up of the Makoto Shinkai Promise album. Do enjoy the thoughts and opinions in that review!

It’s kind of funny actually. I had already been aware that the Eminence Symphony Orchestra was working on something called Project Promise because I had seen the name come up on Hiroaki Yura’s signature on Eminence’s forums. What I didn’t know was whether it would focus on anime or game music, so when I saw nyoronyolo link to Xcomp Randomness’s post on this latest Eminence project which celebrates 10 years of Makoto Shinkai’s collaboration with Tenmon through an orchestral arrangement of some of the most memorable pieces from Shinkai’s works, I was pretty excited.

The tracklist is already posted on the Xcomp Randomness site and the music covers Tenmon’s stuff from Shinkai’s 5 Centimeters Per Second, Beyond the Clouds: The Place Promised in Our Early Days, and even the short She and Her Cat. Of those works, I’m probably most familiar with 5 Centimeters Per Second, so over the next few days, I’ll be making some time to reacquaint myself with some of those other works, mostly to ponder how exactly the tracks from those works will be arranged. It should be delightful though since Tenmon does have the ability to write simple, but wonderful tracks like in 5 Centimeter’s “Sora to Umi no Shi.”

Sora to Umi no Shi
[Audio clip: view full post to listen]

Anyhow, people will inevitably have questions about Project Promise and I’ll do my best to see if anyone over at Eminence will divulge more information about this. Omo has come up with a few good ones already and if anyone else has any questions they’d like me to ask, just put them here and I’ll forward the questions on. No guarantees on the replies, but it’s worth a shot anyhow.

Other News:

You may have noticed that as of yesterday, Anime Instrumentality has a new contributor in Jen, who has started things off with an excellent review of Pandora Hearts Original Soundtrack 1. She’s been very enthusiastic about anime music in general and I’m glad to have someone with her passion on board, so join me in giving her a warm welcome to the review staff!

Voting Thread

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

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

Gakuen Utopia Manabi Straight – Seioh Gakuen Kouka
[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~
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I do like the blues lounge singing atmosphere but wow, the part around 1:57 really threw me for a loop and the only thought I was left with after that moment was how inconsistent this track is. I’ll pass on the weird chantings because they feel a bit too out of place and this track would have done better to remove them outright.

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

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

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

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

Love Hina – Yakusoku
[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

Review: Beautiful artwork and animation aside, one of the defining features of Makoto Shinkai’s 5 Centimeters Per Second is its music, and within the soundtrack, “One More Time, One More Chance” stands out for being such a fitting song because it brings to light the sorrows, regrets, and frustrations that the main character, Takaki, experiences over the course of the movie.

So within the context of the film, “One More Time, One More Chance” enhances the mood and atmosphere while giving us an insight into Takaki’s character. Its opening acoustic guitar chords followed by a short flute interlude drips with a sense of melancholy before it fades to make way for Masayoshi Yamazaki. Immediately, Yamazaki’s entrance creates an impact which fits in well with the movie’s themes because of the way his voice projects through the acoustic guitar accompaniment and conveys that sense of pain brought about by loneliness and regret. This feeling is made all the more apparent as Yamazaki goes into the chorus section where the appearance of more instrumental parts as well as a slight shift in the tempo of his singing suggests that not only has the singer become more willing to open up to the listener, he’s practically putting his emotions on his sleeve for all to examine as he continues lamenting over his lost love that he cannot completely get over. The realization of the ephemeral nature of him meeting his one true love and being unable to express his feelings to her culminates around 3:09-3:24 where he acknowledges its brief duration with a hint of nostalgia, a bit of frustration, but mostly regret. Once that moment passes, the song begins wrapping up with a few more verses of the chorus part before it ends the same way it began: through a melancholy acoustic guitar section. Where this song really shines is in Yamazaki’s ability to bring out the emotions found in this piece and he does it in such a way that language isn’t a barrier to understanding the gist of what the singer is feeling. The poignancy of the piece cannot be stated enough and when combined with the magnificent visuals in 5 Centimeters, “One More Time, One More Chance” makes for an excellent fit within the context of the segment and the movie itself.

And if you thought that Yamazaki’s performance cannot be matched, think again. The piano melody in “Yuki no Eki ~One more time, One more chance~” is a slightly different take upon the original in that it establishes a feeling of tenderness early on and you can feel the emotions bursting forth radiantly through a crescendo that conveys a sense of hope and optimism rather than frustration and regret, even if it’s just for a short while. Gradually, that section fades as the main theme to 5 Centimeters Per Second makes its entrance and here, you can hear the soul-searching feeling through the poignant piano melody backed up by the harp that blends nostalgia with a dash of wistfulness, both of which are executed to great effect by engaging the listener and holding their attention. While the way the piece ends isn’t conclusive, it’s hard to ignore the rawness of the many aforementioned emotions put into this piece because they are conveyed so beautifully, making this an excellent companion to go alongside “One More Time, One More Chance.” Together, these two tracks (along with an acoustic guitar version of “One More Time, One More Chance”) make for a wonderful listening experience that shouldn’t be missed, even if you have not seen 5 Centimeters Per Second.

Rating: Very Good

Single – One More Time, One More Chance

Review: Fermata is one of the more difficult albums to analyze because there are several factors within this album that force me to pause and think about it. On the one hand, “Egao no Chikara’s” melody is enjoyable but that comes in spite of Mai Goto, who isn’t exactly one of the more expressive singers out there. While a singer who doesn’t convey the wholeness of the emotions is problematic, somehow, her performance manages to fit the songs’ general atmosphere. So even though there are some issues with this album, it doesn’t change the fact that this album is worth checking out, especially if you’ve been following the series.

“Egao no Chikara’s” opening chords do a good job of grabbing at the listener’s attention and once it does that, the song takes a step back to bring in Goto’s soft and subdued introduction. The tone at this point is calm and mellow, and from the way she’s singing, it feels as though she’s drifting along in a dreamlike state as she’s searching for something precious. Maybe it’s companionship, because there is a feeling of loneliness that is pervasive throughout this song, though it does have a dash of optimism which becomes more apparent around 2:53 where the feeling generated is one of contentedness. Overall, this track is enjoyable, helped along by a catchy, if somewhat repetitive, melody and the manner in which the violins and guitars in the background augment the lonely mood. Mai Goto’s performance is adequate enough to get the general feeling across, and even if her delivery is a bit flat and unexpressive at times, it doesn’t adversely impact the song too much.

Next up is Mai Goto’s rendition of “ebullient future” and right off the bat, her voice and the accompanying piano set a slightly different tone from Elisa’s performance. The slow pacing creates a rather deliberate feel and when you factor in Goto’s voice, this rendition lacks the forcefulness of the original because Goto isn’t nearly as expressive as Elisa. However, one should keep in mind that this is Goto’s rendition of “ebullient future” and to expect a carbon copy of the original is to rob this song of its unique take which remains enjoyable all the same. Goto’s voice becomes the dominant force throughout this piece and the way the accompaniment and the harmony subtly complements her helps create a sense of loneliness. The lack of forcefulness removes the traces of bitterness that the original had, making it feel as though the singer is resigned to her fate. I’ll admit that I may just be reading a bit too much into the way Goto’s tone and inflections contribute to this feeling, but it’s an interesting thought nonetheless. Regardless of what the canonical interpretation of this performance turns out to be, it’s always interesting to see how a rendition of a song sung in a different way can create a different mood altogether. Goto might not be the most expressive singer out there, but her performance here is worthy of praise because of her own spin that she puts into this song.

It’s a shame then that this album couldn’t have ended with “ebullient future” because what we end with is a terrible remix of “Egao no Chikara.” While there were ways in which this song could have been rearranged, starting the song off with an annoying upbeat effect paired with an echoing vocal part is not a good way to go about it. The remix feels like an excuse to put in as many effects as they could and seeing just how much the listener can really tolerate because the remixers certainly didn’t skimp on the obnoxious effects like the echoes and empty, bubbly flourishes. The piano accompaniment and the percussion are both overly loud, which, when combined with the layer of flourishes, creates a rather grating effect. In short, this remix wasn’t put too well together and you’d be better off skipping this track altogether.

Bad remixes aside, this album certainly won’t breach anyone’s top 10 list, but at least it delivers a competent listening experience. The melodies are catchy without being overly repetitive and Mai Goto’s performance of “ebullient future” is definitely worth taking a look at because of the way one can interpret her rendition of it. If nothing else, this album provides a good insight into Mizuki’s thoughts and feelings and complements the series rather well.

Rating: Decent

Ending – Egao no Chikara

Review: For those of you who’ve followed the U.S. elections and feel like you’re completely sick of the theme of change, this album should provide a welcome respite because stylistically, there is little to separate between “ebullient future” and ELISA’s work on ef – a tale of memories’s OP, “euphoric field.” And if you aren’t quite as fond of “euphoric field,” it’s probably best to skip this album altogether because it’s more of the same old ELISA on vocals with Tenmon doing the musical compositions.

Mind you, there’s nothing inherently wrong with the fact that “ebullient future” is a carbon copy of “euphoric field” because if you’re going to pick a song to emulate stylistically, you might as well pick one that’s actually good. From the start, “ebullient future” is strong and assertive in its opening notes, capturing the listener’s attention, before growing softer as ELISA seems to take an introspective, almost regretful tone before slowly building up towards the energy-filled section which makes a strong return around 0:49. For a song that’s about lovers who are far apart from each other, the melody at this point is energetic and assertive, even if it’s not clear to me as to whether ELISA is lamenting or angry with the fact that she separated from her lover. Regardless of whether this song conveys the feeling of regret or anger, one cannot deny that it has a certain presence to it that other songs lack. From ELISA’s emotional performance, to the instrumental backups, “ebullient future” may be an imitation of “euphoric field,” but it’s a solid track all the same.

“Pray’s” opening chords suggest a mellower, laid-back track that feels really generic. That’s to say, there’s nothing about this track that I can point to that is genuinely spectacular because it’s more or less your standard J-pop fare. The melody doesn’t really invite the listener to listen more closely to this track, making it rather forgettable. While there are a few moments where I did perk up, like when the jazzy, keyboard solo comes in around the 2:30 mark, there’s nothing else that’s really special about “pray.”

If you’ve listened to “euphoric field” and enjoyed it, this album will certainly be worth a look if you don’t mind the fact that the titular track on this album is basically a rehash of the aforementioned “euphoric field.” “Ebullient future” doesn’t bring anything new or substantial to the table, but it is a decent track in its own right and I’ve gotten some decent mileage out of listening to it. “Pray” is a bit more on the generic side and it succeeds at being very inoffensive, almost to the point of blandness. So while I did enjoy “ebullient field” to some degree, I’d suggest getting your fix of the track simply by watching ef – a tale of melodies. There’s no point in getting this album unless you really like ELISA that much.

Rating: Decent

Opening – ebullient future