Tracklist:

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Review: Bigger isn’t necessarily better. In the midst of a month dedicated to a composer who takes everything to the extreme, this review focuses on an entirely different approach. Ken Muramatsu does not sit down and write the music for Sketchbook ~full color’S~ inspired by the movements of the planets, the human condition, or god knows what else. That’s just not the way he swings.

He does, however, infuse Sketchbook’s tracks with a laid back and jazzy style that’s just as enjoyable in its own right. “Hitomishiri Na Mama de” is an iconic example of his music. Instead of more ostensible trumpets and saxophones, Muramatsu favors quieter instruments, most notably the piano. The melody, while slow, isn’t boring or bland. What we get is a nonchalant and catchy piece that doesn’t demand recognition and yet isn’t difficult to pay attention to – perhaps an apt summary of almost any Muramatsu work. His style slowly and smoothly draws one into the mood, a quality which makes it so appropriate for a slice-of-life series.

Hitomishiri Na Mama de

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True to his aforementioned style, even the more upbeat tracks in Sketchbook don’t digress from the leisurely pace set in “Hitomishiri Na Mama de.” “Speed 2,” despite its name, isn’t rushed in the slightest. After the catchy opening rhythm, it’s reminiscent of the times spent unhurriedly hanging around and chatting with friends with nowhere specific to go and nothing pressing to do. “Kibou no Hesaki” also has a lively theme that induces a cheerful attitude. The characters in Sketchbook could be eating lunch, painting, or attending school, but they’re guaranteed to be doing it in a good mood.

Speed 2

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Kibou no Hesaki

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But a slice of life about a group of girls only sketching giddily 24/7 would make for a boring show and repetitive music. Fortunately, Sketchbook delves more into the friendships and interactions between the eccentric cast, and Muramatsu gives us a smattering of tracks appropriately nuanced to reflect that. There is a feeling of hesitancy in the light and staccato notes in “Maigo Koneko.” The almost bashful atmosphere the piece creates recalls the painfully shy main character, Sora, and her timid communications (if they can even be called that) with her peers. “Ochoushimono no Uta” and its energetic recorder in draws the focus away from Sora’s retiring nature and concentrates on the animated antics of the enthusiastic members of the art club while they enjoy their afternoons together.

Maigo Koneko

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Nevertheless, as with all slice-of-life shows, there’s some bittersweet feeling as the good times come to an end. “Bokura no Bouken~ Kaermichi” is one of several piano solo renditions of themes presented in the album. In its melancholy melody, one hears the wistful feelings of nostalgia and the wishes to relive fond memories once again. Unfortunately, time can’t be rewound, but the bonds forged and the lessons learned remain, regardless.

Bokura no Bouken~ Kaermichi

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As I’ve said before, the relaxing vibes of this soundtrack don’t evoke images or feelings of epic proportions, but that’s exactly what makes it so pleasant and fitting for a slice of life show. Sketchbook ~full color’S~ isn’t my favorite Muramatsu score, but that doesn’t make it any less enjoyable.

Rating: Very Good

Disc 1

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Disc 2

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Disc 3

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Review: If the ARIA franchise started airing 5 years ago, you wouldn’t know it based on the snippets of conversation that you pick out from the air from people gushing over their favorite moments as though they watched and savored it just yesterday. The way in which the series showers the viewer with warmth and uplifts the soul leaves that indelible mark that will stay in one’s consciousness for years to come.

But none of this would have been possible without ARIA’s masterful score. The Choro Club and Takeshi Senoo have crafted a soundtrack that takes you far away from the hubbub of modern life, far away from the stresses of school and work, and deposits you gently into a wonderful, idyllic world that washes away your burdens and sorrows and rejuvenates your spirit. Every note that comes forth from the background music ripples serenely and nudges you along provided that you’re willing to allow the its beautiful music to envelop and propel you forward.

Natsu Tayori
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As you look around, the city transforms before your eyes revealing its quirks like the seasonal Aqua Alta, where the floodwaters bring a halt to most day-to-day activities. This slow, lackadaisical feeling is reflected in the cello part that sets the rhythm before the bandolim takes over. I find myself absorbed into the piece, especially with the staccato section that imitates the sound of someone splashing through the floodwaters and is a testament to the composers’ ability to use music to illustrate the scenery effectively. It’s not long before the soundtrack shines its spotlight on the show’s main focus, which begins with the beautiful grace notes in “Shourou no Patri -Neo Venezia-” and conveys unto you the gondoliers’ quiet grace and dignity through a simple but sublime piano melody.

Aqua Alta Hiyori
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Shourou no Patri -Neo Venezia-
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This focus upon the gondoliers (aka “undines”) is where ARIA really shines and the way it forges a bond between us and the characters is masterfully executed. The music reinforces these connections as we see the world through their eyes, are privy to their innermost thoughts and feelings, and learn what drives them to work as hard as they do. We share in their delights, their sorrows, and their quiet triumphs, feelings that drift around in our subconscious long after the show has ended. After all, who could forget Alice’s heartfelt delivery in “Lumis Eterne,” a song so bubbling with joy that we too cheered her on? Or how about Aika’s awkwardness in “Kami To Hairpin To Watashi” which voices her sorrows, but ultimately imparts her willingness to move on as she looks forwards to tomorrow? The characters all get their time to share their innermost thoughts, but the overriding theme I get out of it is that their eyes are on the future, a feeling reinforced through Takeshi Senoo’s “Mirai He no Kouseki,” a poignant piano and bandolim piece that lifts our spirits and assures us that all is well and it’s only a matter of time before they find the happiness they seek.

Lumis Eterne
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Kami To Hairpin To Watashi
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Mirai He no Kouseki
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And lest we forget, the voices of Yui Makino and Round Table feat. Nino are almost constantly there to take us in and out of each episode with the former exhibiting her usual flowing voice that allows us to soak in the show’s gentle aura and the latter delivering upbeat vocals backed by the acoustic guitars to make us look forward to the next episode. Special mention goes to Eri Kawai, whose stirring vocals, like the one she does for “Barcarole,” lightens our load long enough for us to gaze out around Neo-Venezia and realize that though these sights may be familiar, they are nonetheless beautiful as people’s hearts mold the city into an entity that warmly embraces all who come to visit, live, or work there.

Barcarole
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I love this soundtrack collection. Though it’s by no means a replacement for getting all of the soundtracks from the three seasons, it’s a good sample of ARIA music that makes for a good start to the journey to Neo-Venezia. The aura of gentleness dissolves any lingering feeling of anger or ill will while also unearthing the snapshots of all those wonderful moments that I have tucked away. I find myself entranced by its exquisite piano and choro-styled melodies which convey the show’s charming atmosphere while winning me over with its sincere sentiments. In the face of all the challenges and difficulties, ARIA’s music is a balm; the message that it and the series seems to stress is that we all can find our own little corner of happiness through the relationships that we build with others and by taking a step back and finding pleasure in even the most unlikely of places. It’s a magical world after all.

Second Season -Deai-
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Rating: Masterpiece

Review: Call it a heavy ARIA bias if you will, but that’s really the only excuse I can come up with for enjoying “Spirale,” the opening to ARIA the ORIGINATION. From my experience, Yui Makino’s songs tend to be fairly one-dimensional because every Yui Makino song that I’ve heard has this tendency to sound the same with very minor differences to set them apart. While this lack of diversity is problematic if you evaluate Yui Makino’s musical career, if you look at this album entirely within the context of ARIA the ORIGINATION, “Spirale’s” soothing quality fits the thematic elements of the series perfectly. Without the context of the series in mind, this album might have been forgettable, but through Makino’s performance, “Spirale” is absolutely spot-on when it comes to representing the mood and spirit of ARIA the ORIGINATION.

“Spirale’s” opening has a serene, almost ethereal quality to it from its opening notes which evoke a laid-back scene that feels almost directionless through the melody. The image that the listener gets as the song progresses is of the listener drifting along with the river’s current without a specific destination in mind, an effect that is enhanced further through the background instruments that flows beautifully like water. 0:58 is where the song actually begins to acquaint the listener with a direction as it builds up the refrain before starting the second verse. Though there are a few moments that feel as though the singer is nostalgic, the overall feel of it seems forward-looking. Throughout it all, Yui Makino’s voice continues to be soothing and expressive as it conveys a sense that the future will turn out well and that one shouldn’t worry excessively.

“Yokogao –acoustic version-” is a bit more somber from the start with the melancholy violin melody. The piano in the background sets a subdued mood as Yui Makino vacillates between lamenting and trying to move on in life. In spite of the subdued setting, Yui Makino still manages to be expressive with her singing which works to hold the listener’s attention. For a B-side track, this song fares rather well in that it offers a different enough mood and tone compared to the first track while still maintaining a consistent level of quality.

Taken as a whole, the difference between the two tracks isn’t that stylistically different which does little in the way of persuading me that Yui Makino is capable of performing a diverse set of music. Then again, seeing how some artists have experimented with different styles of singing and have had rather mixed results (see: Nana Mizuki), maybe Makino’s decision to stick to one consistent style isn’t such a bad idea. It certainly shows here since both tracks on this album succeed at being fairly enjoyable and more so if you’re familiar with ARIA the ORIGINATION.

Rating: Good

Opening – Spirale