And so they did. The “Overture” ushered me into an eerie, mysterious world through its familiar synth-driven dissonance which bore a hint of sadness once the trio’s voices entered, sounding out an air filled with longing and letting the notes linger on to drive that emotion home. Then, the instrumentals, which had proceeded gently to accommodate Kalafina’s entry, turned grim, making it an excellent way to transition into the emphatic display of anguish exhibited in “Lacrimosa.”

The dark atmosphere seemed to grow thicker as “Lacrimosa’s” introduction wound its way through the audience with its hints of tragedy fully materializing in Keiko and Wakana’s Gothic-inspired vocals. I was particularly struck by how forceful their delivery was and how well the two harmonized from the stanzas all the way to the chorus, captivating the audience in the process. Wakana and Keiko continued their splendid vocal rapport in “Kagayaku Sora No Shijima Wa” as their voices drifted in somberly to draw out the loneliness and the heartache found in that song.

But nothing on the setlist quite compared to the rendition of “Fairytale.” The delivery gave me goosebumps as the music flowed out, first with its ethereal, but serene introduction, and then with Wakana’s and Keiko’s melancholy delivery which reached deep into my soul to tap into that feeling of sorrow borne from a fleeting memory. “Oblivious” would also have a similarly strong impact through its hauntingly beautiful melody that spoke volumes with regard to the emotional burdens which prevent the song’s subjects from moving onwards freely. The concert also featured Eve no Jikan’s “I Have a Dream,” which saw Wakana reach into her wellspring of emotive vocals to draw forth a feeling of hope and optimism that left me uplifted through the warmth the performance radiated.

Although most of the songs featured Wakana and Keiko, Hikaru would get a chance to shine once “Magia” popped up. This song, as expected, was hard-hitting in its audacity and I really loved that assertive, dominant intonation that passed through Hikaru’s lips.

Right as soon as “Magia” finished however, something must have happened because “Sprinter” gave Hikaru a hard time as she proceeded to sing the entire song out of tune. While she did exhibit difficulties earlier during her small parts in “Fairytale,” “Sprinter” really showed the extent to which she needs to work on her live vocals. Whether this was because of her relative inexperience (compared to Keiko and Wakana, who have worked with Kajiura through FictionJunction) or nervousness, it’s hard to say, but “Sprinter” was easily the concert’s lowest point. That said, she did redeem herself during “Hikari no Senritsu,” which closed out the concert well with its folksy rhythm and instrumentation.

Hikaru’s relative newness wasn’t the only thing to give rise to consternation. During the course of the concert, I also found the performance aspects lacking. Musically, the concert was fine, but the onstage choreography, like the singers’ movement or ability to excite the audience, didn’t work nearly as well. While Hikaru compensated for her off-key singing through some smooth, delicate hand-motions and Keiko remained vivacious throughout (of the three, she was the most pleasing to look at since her face was animated and lively), a lot of the eyesore came through Wakana, who moved with the grace of someone with an icepack on her back. Her arm’s gesticulating was very stiff; a shame because of the three singers, she stood out as being near-flawless in the way she delivered her vocals.

I do think that part of the blame for the performance issues lies in the fact that the Club Nokia was a poor choice of venue. Kalafina’s music isn’t exactly the kind that people are going to move to, unlike say, Nirgilis’s energetic electronica, which works wonderfully in a club setting. Holding this concert in the Nokia Theater (a completely different venue) would have been far preferable because it would have allowed the audience to sit down and really soak in the music better.

It also didn’t help that the Club Nokia’s lighting effects were flat-out stupid at times, especially during “Kyrie,” where the strobes were on at full blast. Anyone who is seizure-prone probably couldn’t have been too happy at that display. Lastly, the Club Nokia stage itself was hardly a pleasure to look at since it lay completely bare aside from the trio; I was puzzled why they didn’t bring in a fog machine or something because that alone would have done wonders to help amplify the mystical aura, making for a better presentation overall.

Granted, none of these issues should detract from the fact that, musically, the Kalafina concert was a success and that comparatively, this was my second favorite musical performance at Anime Expo. Even if the choreography was a bit of an eyesore, I can still close my eyes and allow their vocals to sweep me off my feet, allowing me to feel not only the painful and the sorrowful emotions that ripple forth in most of their music, but also the boundless hope for that brighter future.

[[Visit blog to check out this spoiler]]

For further impressions, feel free to hit up Jason Napolitano’s concert report over on Original Sound Version.

[Photo Credit: Kaori Suzuki at Sony Music Entertainment Japan]

As they say, meeting up with people you’ve corresponded with over the internet is the most fun part of an anime convention. Not only do you get the joy of putting a name to a face, the social barriers are greatly reduced, and so, things never really feel that awkward when they otherwise might be. The turnout was pretty huge too. In addition to the regulars like Mike, Rome, Jeremy, and Dan of Anime Diet, Kylaran, Shinmaru, Yumeka, Jan Suzukawa, Mystlord, Benu, and Canon2D, we were joined by the likes of eternal, kevo’, the duo from Borderline Hikkikomori, Toastcrust, Fangzhao, and calaggie and we were even able to re-enact the Madoka fanboy wars which got amusingly heated at times. Also managed to catch omo a few times too! And, of course, I was able to meet up with Jayson Napolitano over at Original Sound Version. Jeez, that’s a ludicrously long list of names and it sure made it difficult to go anywhere without bumping into someone I know.

The hectic whirlwind that was Anime Expo means a lot of material that I’ll be churning out over the next few days, but for those who want a quick rundown, here’s a few brief shots/reactions I had on a day-to-day basis after the jump:

Day 0:

• Maon Kurosaki seems really new to this whole press interview thing, which might not be a surprise given that she’s only transitioned into releasing music recently (September 2010). Until then, she had been a singer/live performer at the Akihabara club Dear Stage.
• During the Nirgilis interview, I was caught with my pants down when it turned out that their producer was Hirofumi Iwanaga, the same guy who worked with Rasmus Faber on his Platina Jazz stuff. Needless to say, I wasn’t prepared for that encounter and he came across as being a nice, but busy guy. Still thrilling all the same and I expressed how much I/we enjoyed those jazz arrangements and the only thought I have now is how I’d like to be able to sit down with him longer for a chat.
• I’ve discovered I probably prefer interviewing producers than artists themselves. They’re the ones that drive much of the process and we don’t really get to see that side nearly enough. They also probably have more interesting things to say (more relevant to my interests at least).

Day 1:

• Kalafina panel was the first order of the day and that was a bit of a letdown (for reasons that I shall reveal in a later post!). Part of it does involve the level of control the management puts on them though. “A bit” is also a key phrase since I did learn quite a few other things.
• Nirgilis concert was a half and half sort of deal.
• Arrived late for the Name That Anime Tune contest. I think that had Shinmaru and I arrived on time, we could have been able to do well for ourselves. Alas, we were forced to play as armchair contestants. Still fun though (especially when the contestants couldn’t identify the Gao Gai Gar theme! I mean, they practically say the name of the show in the lyrics! Hilarity ensues).

Day 2:

• Miku conference was very informative and I took a healthy set of notes. I really disagree with their execution and marketing plan, but I’ll save that for another post (probably will collaborate with Kylaran on this one).
• Maon panel was pretty decent and I learned a bit more about her. Some of those PVs they showed offered a nice amount of fanservice in the form of Maon cosplaying various characters.
• Kalafina concert, like Nirgilis, was a bit of half and half. It also made me wonder about the inverse relationship between the quality of choreography/audience interaction and the quality of the vocals.
• There was also that Mikunopolis concert that mostly left me baffled/befuddled. Mostly because I’m not quite sure how this concert report will shape up. It doesn’t help that I don’t know most of the songs that played either, so I’ll be hunting online for a setlist over the next few days.

Day 3:

• My panel was good-not-great. The presentation was marred by video issues and some hefty foot-in-mouth disease when my mouth started going on autopilot during “Mezame” (I do know the difference between a violin and a guitar! Honest!). But the feedback I got back was generally positive and it gives me something to build on for next year (Doing presentations is a skill I really need to polish).
• Nirgilis panel was pretty solid and the qualities they showed on stage transferred to the panel room. They’re nice, funny, and laid-back and seem to be more open than any of the other musical artists who came to AX this year. You can totally tell since their producer wasn’t sitting next to them, casting a steely eye over would-be question askers.
• The Maon concert might have been the best concert of Anime Expo if you looked at it from a holistic view. The quality was fairly even on the musical and performance aspects and that made it a great experience. Also, it might have been the only show where I was happy with the footage I took (a Flip is fine for some occasions, but don’t rely on it for zooming too far).

Miscellany:

• I bumped into Nirgilis at pretty much all the Club Nokia concerts I went to. Should have used their panel as an opportunity to ask them what they thought of Kalafina, but it didn’t occur to me until after that panel had ended.
• The only concert that I have the setlist to is Kalafina (of the artists who came, I’m most familiar with their works). I’m flying blind for Mikunopolis, Nirgilis, and Maon Kurosaki though, so hopefully someone will post those up soon.
• I really need to practice my verbal communication skills a lot more.

That’s about the scope of it. Met old friends, made contact with new folks, had a great (if tiring) time. I’m also wondering what sort of economic impact has befallen Kinokuniya since they didn’t have their usual bargain bin for soundtracks/other CDs this year, which means I can’t share what sorts of filthy lucre I was able to purchase because I didn’t buy anything. Them’s the breaks I guess.

So without further ado, for those of you who are going to Anime Expo and are very much interested in anime music, I’ll be doing a presentation that focuses entirely on Yuki Kajiura’s music. Details for the event are as follows:

Date: July 03, 2011
Time: 10:30 AM
Location: LACC 515A (shown as LP 3)

That Kalafina ended up coming to this year’s rendition of Anime Expo and will be performing a live concert the day before was a stroke of good fortune (I submitted the idea for this panel long before I knew they’d show up as guests!), so with luck, those who are interested in Kalafina and attended the sold-out (!!!) concert will show up for this panel.

As you can probably guess from the post title, this is going to be more of a broad overview than anything else, but I’m really excited to see how this one will go and hoping that all attendees (oldies and newbies) will get something out of it. In a sense, this Kajiura presentation is a bit of a litmus test to see how well-received a discussion/presentation of anime music beyond the OP/ED themes will fly towards a more general audience and if it turns out well, you can definitely expect more from me in the future.

Wish me luck, and I hope to see all of you there!

Tracklist:

[[Visit blog to check out this spoiler]]

Review: At first glance, Madoka Magica seemed like an odd anime for Kajiura to be scoring. Her past works are marked by music that invoke the arcane and foreboding, making Madoka, with its typical magical girl premise involving the usual teenagers, magical powers, cute costumes, saving the world, and happily-ever-afters, a total mismatch. In hindsight, the choice of Kajiura as composer was, in all likelihood, a pronounced hint of the dark events that would unfold during the next few months. The hint proves to be true; Kajiura reaches into her magic hat with a flourish, pulling out another of her trademark soundtracks with aplomb. The trick remains immersive and enjoyable, but some of the novelty is lost in the repetition nonetheless.

The plot commences in a fairly orthodox manner. Madoka and Sayaka become entrapped in the demented twists of a witch’s alternate dimension and are overcome with horror as the once-familiar surroundings mutate into a terrifying amalgamation of bizarre images. Fleeing the inexorable clutches of appallingly macabre mustached cotton-balls, their salvation comes in a form they least anticipated. Mami, a veteran magic wielder, descends upon the scene to annihilate the hate-filled witch. Her unexpected but graceful entry fills them with wonder, and her noble bearing presents her as a miraculous agent of light and accomplished antithesis of evil. This imagery is captured perfectly in the joyous chorus heard in “Credens Justitiam”, or in English, “Trusting Justice”. The voices are exultant, as if the gods of victory are proclaiming triumph for the virtuous, reveling in the banishment of the foul demons endangering the innocent. It’s a rather standard Kajiura vocal work that wouldn’t be out of place alongside previous pieces like “Elenore” and “Mezame”, but its uplifting verses and animated tempo allow the similarities of tone and melody to be forgotten, forming the perfect representation of the awe induced by the seemingly pure and incorruptible power that mamifests in Mami.

Credens Justitiam

[Audio clip: view full post to listen]

Through this, the protagonists begin to realize the myriad possibilities that magic offers them. The choice isn’t an easy one; “Desiderium” presents an apt portrait of the girls’ contemplative states as they inwardly reflect over whether the benefits of becoming a magical girl are worth the duty of battling evil for eternity. The delicate notes borne by the piano flit around, meandering like the deliberations of an introspective mind. Quickening in pace and fading in unconfident conclusions, they swell again in intensity as new paths are pursued. To the listener, it feels as if the smallest disturbance would shatter the fragile phrases, scattering ephemeral notions in all directions. Unusual in its restrained delivery, “Desiderium” loses nothing in its subtle performance, proving itself to be one of the more unique tracks in the album.

Desiderium

[Audio clip: view full post to listen]

It isn’t long before Madoka and Company are drawn into the conflict between magical girls and witches as they are forced to confront more of the multi-themed malevolent beings. “Pugna cum Maga”, appropriately meaning “Fight with a Witch”, is one of several combat themes present. The violins play heavily into their strings, eliciting wails that border upon shrillness, akin to the unearthly wails the witches shriek in their merciless and mindless rampages. Meanwhile, the chant that’s nearly omnipresent throughout the album takes on a more sinister quality, recalling the unearthly realms in which the witches are deeply ensconced. While the track is prone to being a bit static, it adeptly captures the thick despair that permeates the atmosphere surrounding the insidious witches.

Pugna cum Maga

[Audio clip: view full post to listen]

It’s soon apparent that taking on the mantle of a destroyer of evil is more than it is at first glance. The shroud of mystery that obscures the mechanisms behind puellae drives most of the sentiments behind the soundtrack. This aura materializes in “Sis Puella Magica!,” the album’s mascot track – a song that expresses the unanswered questions the girls have about their existence while simultaneously lamenting the burden they bear. The ethnic influences that can be heard also lend the music a feeling of age, as if the protagonists are only the latest to encounter these cloaked secrets. The various nuances of the occult and the unknown that this piece exhibits make it a lovely listen, recalling all of the key aspects of the anime in its melody.

Sis Puella Magica!

[Audio clip: view full post to listen]
The whole anime might have revolved around how being Meguca is suffering, but it did have the decency to give the characters a bittersweet ending. “Clementia” captures the sentiments felt after all has been said and done. Neither euphoric nor despondent, the piece is characterized by a peace and reserved affection that echoes with hints of heartache. The sweet notes of the oboe as it sings in a duet with a harp are a poignant musical manifestation of the acts of compassion that end the harrowing struggles the protagonists endured.

Clementia

[Audio clip: view full post to listen]
While the Madoka OST is a decent soundtrack that meshes nigh perfectly with the animation, it is weighted with the flaws that most Kajiura soundtracks suffer from when subject to a stand-alone listen. Foremost amongst those flaws is – well – that it’s yet another Kajiura soundtrack. If the Madoka BGM were swapped with the music from some other anime scored by her, things would fit together just as well. Other issues present in the soundtrack include that directionless ambience, one of my biggest pet peeves. Selections like “Umbra Nigra” and “Puella in Somnio” have either generous helpings of echoes applied to ominous noises or repetitive patterns that remain tediously unchanging. These problems don’t present themselves nearly as obviously as in some of Kajiura’s other work, but it’s noticeable enough to knock the rating down a few notches.

As a whole, the Madoka OST isn’t Kajiura’s best or worst, but it is certainly an enjoyable album that’s enhanced by the experience of watching the fantastic anime (which practically everyone has at this point).

Rating: Very Good

A month ago, I had talked about the degree to which Madoka’s background music resonated with the anime community. All of a sudden, people were talking about how epic Yuki Kajiura’s music sounded and the fan response got to the point where we saw people trying to recreate all those memorable pieces as a stopgap while waiting for the soundtrack’s release. As a BGM fan, I felt like I was witnessing something special.

So as we look around today, the music scene surrounding Madoka is still alive and well and there have been a few arrangements that have caught my attention since the last post. My musical tastes, being what they are, tend to gravitate towards certain types of arrangements moreso than others, so that’s what you’ll be getting here. Anyhow, if you’re curious, check them out after the jump!

I’m usually not one for OP/ED arrangements because they tend to be a bit overdone. However, there’s just no way I can turn away from this, so here’s the first one. It happens to be my favorite of the lot, and so, I do hope you enjoy this jazz arrangement of the ending theme, “Magia:”

Talk about not being able to have seen such an arrangement coming. A pure piano arrangement? Sure! Get someone to play a mournful violin solo of the song? Yeah, I can see that. But smooth jazz? The cognitive clash that comes out of this is part of what makes it enjoyable because the original stood out for being a really heavy, intense piece, filled with a discordant atmosphere throughout. Here, the keyboard work is so mellow that you can relax to it, perhaps in a jazz lounge with a pint in hand. It also makes a departure away from the source material through an enjoyable bit of improvisation in the middle to spice it up a bit with variety. I don’t often see jazz arrangements outside of the Platina Jazz series, so this was a very welcome change.

The next piece features my favorite instrument: the piano. Now, piano arrangements are a bit more common, but once again, most tend to cluster around OP/ED themes. This one takes things a bit further through a 7-minute piano medley of the BGM. It’s something I’d like to see more of at any rate:

It starts off with that melancholy piece that feels emotionally heavy, as if it’s weighted down by the tragic burdens the show’s characters must carry. As the piece begins to shift, it slows down just enough to reinforce the burdening image before picking up the tempo to transition into Mami’s battle theme. The piano work here feels really intricate, and the way it’s performed brings a grandiose aura to the piece as a whole. The sense of motion associated with all the action going on makes it feel like this piece flies at a rapid pace while showing off Mami’s dignified, cool demeanor, brimming with confidence.

Those who’ve seen the anime know this flash and dazzle doesn’t last, and the piece moves into the minor key where things turn dark and grim, with dissonant tones coming to the fore before ending almost abruptly (guess what happens here!), replaced by an ominous, chaotic atmosphere. Here, the lower registers give off a groaning sound that, when combined with the rest of the piece, feels grotesque, befitting a fall from grace. The ugly, monstrous feeling dominates this section, depicted through the piano’s grinding melody. Soon after, tragedy sets in and with it, the short motif from Fur Elise which serves as a transition to Kyoko’s prayer.

I really like Kyoko’s prayer. There’s a melancholy gentleness of spirit flows about it as though to say that she knows what must be done and what must be done is so very heartbreaking. Unfortunately, there’s no hope in sight as the piece winds down with “Magia,” leaving you hanging without a faint glimmer of hope to really cling to. It’s depressing all the way to the end.

Is this next piece hopeful? I’d hope so since it’s very much emblematic of the anime’s end. Here’s yet another piano arrangement courtesy of the talented Animenz:

While Kajiura is best known for her brilliance with EPIC violins and choruses, it’s very easy to overlook some of her more tender themes. I really like how this theme channels that bittersweet emotion just right. Here’s what Animenz says about the piece in general:

I also noticed that this is one of the few soundtracks of Madoka which is actually in a major key. And damn, I really love this track, it’s gives you a good feeling and at the same time it’s incredibly sad. As if the music wants to tell you: “Don’t worry, everything will be fine“. Once again, many thanks to Yuki Kajiura for composing this epic piece of music!

Well, I couldn’t think of how I should name the sheet (I actually thought about naming it Untitled soundtrack 2 but it sounded just silly) and so I decided for “last theme – miracle” because it’s the last heard soundtrack of Madoka. And a miracle truly happened.

Some Miscellaneous Notes:

There’s more than just these arrangements floating out there. For one, Zakufan showed me an arrangement of the brooding, melancholy theme played by a music box. There’s also an ocarina arrangement tucked in his set of links!

I’m extremely curious to see what kind of Madoka arrangements come out of this summer’s Comiket. Sure, we’ve had a ton of electronica and trance versions of anime music, TAMusic is probably going to put out more garbage, but wouldn’t it be great if there were some symphonic, piano, or jazz albums of anime BGM mixed up in there somewhere? I’ve raised the possibility of someone going all out and setting Madoka to a symphonic poem. I’d do it if I knew enough about music composition to do it.

Tracklist

[[Visit blog to check out this spoiler]]

Review: It isn’t often that I can name a series in which the anime’s content and its soundtrack are joined together so seamlessly that both entities are rendered inseparable, but Kara no Kyoukai is one of the few that qualifies. As I watched the movies, the animation and atmosphere bring out a dark and mysterious world filled with danger and despair, qualities heightened further by Yuki Kajiura’s evocative compositions. In just the very first track, “in the garden of sinners,” Kajiura’s music impresses. The piece starts out filled with dull-grays through the soloist’s muffled, distant delivery, but once the rest of Kalafina joins in, the sheer beauty carried through their voices provides a splash of radiant coloration onto the canvas. Yet, the tone is overwhelmingly lonely and tragic. These emotions mirror the atmosphere that blankets much of the setting and the characters and lay the groundwork for what’s to come.

in the garden of sinners

[Audio clip: view full post to listen]
So with that, the journey begins. “Thanatos,” which covers the first Kara no Kyoukai movie, Overlooking View, starts off with a heavy, dissonant atmosphere, but quickly discards that chaotic air in favor of a melancholy one. Echoes of the loneliness that pervade the first track are present here, brought out compellingly through the flute melody that is as beautiful as it is sorrowful. The general mood is further augmented by Kalafina’s harmonizations which, like elsewhere in the album, yield a pensive, ethereal quality, along with a hint of mystery and a knowing nod towards the tragic threads interwoven in Kara no Kyoukai’s narrative fabric.

Thanatos (Melancholia)

[Audio clip: view full post to listen]
As you approach “Thanatos’s” halfway point, flashes of redemption are heard through the strings, but just when you think that the piece is setting itself to wind down on a comforting note, the synth makes a return, and with it, the ominous aura borne by a dissonant tone that sits in the background. The suspense is heightened, and I like how its accented through the solitary xylophone which conjures up in my mind a disconcerting feeling in the way it tiptoes around almost deliberately, as though some supernatural power is toying around with the protagonist like a cat playing around with its prey. A heavy rhythm goes in to reinforce this mood, setting up a strong foundation for the action-filled moment where the furious guitar shredding summons a hauntingly beautiful, graceful action theme. Before the piece closes out completely, the flute comes in and later, a cello, which, together, bestow a sense of finality. Through death, the pain and suffering are over.

Thanatos (Suspense)

[Audio clip: view full post to listen]
“Thanatos” serves as an excellent example of the myriad of emotions that arise from the lengthy tracks on this album. And I do mean lengthy. Though the pieces tend to be long, the people who put this soundtrack collection together did their best to take the more prominent themes from each of the Kara no Kyoukai movies and join them in such a way that each track tells a complete story. There are moments, like one in “something and nothing” and “kara-no-kyoukai” where the transition from one musical segment to the next is either noticeably clumsy or the themes lack coherence, but for the most part, the melodies are stitched together seamlessly into an enjoyable package that’s high on the nostalgia factor for those who’ve seen the movies.

In short, unless I really missed out on something, all of the standout melodic segments and main themes are there. For example, one of the pieces that I had been looking forward to was the waltzing theme from A Study in Murder (Part 1). As I watched the movie, I found myself captivated by its melody; not only was it catchy, it encompassed a wide emotional spectrum. Materializing in “something and nothing” and “quiet romance,” between the two, I like the latter a bit more because of the variety of instruments that contribute to the heartrending feelings. The piano is more sobering, setting the melancholy tone which the flute draws upon to elicit those yearning emotions, while the strings carry a more dignified aura that has the feel of an emotional odyssey as it expresses the determination to find and unite with loved ones once again.

quiet romance

[Audio clip: view full post to listen]
As you move further along, there’s a lot of variety to enjoy, from the ominous aura of “paradox” to “magician’s” grotesque dance. The heavier atmosphere dominates much of this soundtrack, but there are lighter moments too. Of those, I’m most fond of Azaka Kokutou’s appropriately spunky theme, which can be heard in the beginning of “when the fairy tale ends.” The piano’s light steps bring a smile to my face with its bright and cheery tones, a feeling further enhanced through the ensemble’s pomp and splendor. But that’s not all it has to offer because “when a fairy tale ends” continues to engross, particularly when Kajiura calls in the introduction to Kalafina’s “Fairytale,” which soothes me with its tranquil delivery, and when the oft-played action theme comes in to keep me engaged through its twists and turns that help propel the action along and make the battle more exciting.

magician

[Audio clip: view full post to listen]

when the fairy tale ends (Azaka’s Theme)

[Audio clip: view full post to listen]

when the fairy tale ends (Fairytale)

[Audio clip: view full post to listen]

when the fairy tale ends (Action Theme)

[Audio clip: view full post to listen]
But all things must come to an end, and in Kara no Kyoukai’s soundtrack, that end is in “snow is falling.” The track initially features Kalafina’s soothing, hopeful vocals which shine in their own right, but what I really like is how this piece functions as the bookend as it reprises the main theme from “in the garden of sinners,” except this time, it’s played by a full string ensemble. The calming aura that issues forth through the combination of the strings and chorus provides closure as the horrors of the past become naught but a distant memory. Life can go on as normal, and the optimistic mood offers the assurance that all is at peace and shall remain so.

snow is falling

[Audio clip: view full post to listen]
When I first saw the tracklist, I was a bit torn in the way they decided to condense Kajiura’s score for all of the Kara no Kyoukai movies into such lengthy tracks, but looking back, this was the right decision that, more importantly, benefited from stellar execution. As I listen to this album, my memories of the movies are rekindled. Yuki Kajiura once again shows her deft handling of the action and atmosphere, and through her music, I once again find myself immersed in the world sculpted by Kinoko Nasu, with its dark, mysterious overtones scarred by tragedy and sadness but buoyed by the promise of hope and salvation.

Rating: Excellent

Normally, when you encounter anime music arrangements, you’ll tend to come across instrumental arrangements of opening and ending themes, and for good reason: those themes tend to be the most memorable musical aspects of an anime series. Rare are albums in the mold of Rozen Maiden’s Strings and Piano albums, which make such efforts feel all the more precious. So with that in mind, hearing arrangements of Connect and Magia are all within the realm of expectations. But a massive fan arrangement compilation of Madoka’s background music? Now that’s cause for excitement! Check out the embedded Youtube video after the jump:

So here we have it! The video segment opens up with the ED theme, Magia, and the instrumentals do an excellent job of channeling the intensity of the grief and pains the characters experience in Madoka. At about the 3:02 mark, the melody does a clever transition over to the OP, Connect, for a short while before going back to Magia. Keep your ears open for that as you go through it because it can be easy to miss.

5:00 mark: A pulsating rhythm leads us into “Mami’s Theme.” I’m fairly sure that years from now, when people discuss Madoka’s soundtrack, this piece is going to be favorably compared to Kajiura’s other famous choral tracks like “Salva Nos” and “Himeboshi.” Part of the reason lies in its implementation within the anime. During this segment, the titular character is engaged in a wonderfully captivating choreographic delight. The music and chorus that sounds out as she whirls around, firing off her large collection of guns, lends the scene an aura of elegance and grace, effectively ingraining it in our heads for a long time to come.

7:57 mark: For some reason, my brain is telling me this is the preview music. I don’t recall it being used in the anime proper, but that could just be my memory being off. Anyhow, I’ve always loved this melody for bringing with it an aura of mystery and, in fitting with Madoka’s overall atmosphere, a cloud of melancholia, as it makes us wonder what tragedies are in store for the characters.

9:52 mark: Tragedy seems to be the big theme in this segment. The vibraphones move slowly and deliberately in the introduction, giving way to a mournful flute melody that expresses the overwhelming sense of hopelessness that drapes over the entire setting. This track is one of Kajiura’s better melancholy tracks as it tugs upon your heartstrings as you look for that ray of hope to burst forth and relieve the suffering the characters are experiencing.

13:29 mark: Someone remind me, is this part pretty much Sayaka’s descent into tragedy? I don’t remember exactly when this gets played, but the Spanish guitar that comes in later at 14:22 somehow reminds me of the series of unfortunate decisions where Sayaka’s idealism falls to the brink of despair and… ahh but I shall keep silent here. Suffice to say, this track feels emotionally heavy. Others have called it a swan song. I’m going to say that description sounds about right.

16:00 mark: The ominous, heavy steps, emphasized through the cymbal crashes and the foreboding strings convey the monstrosity that Kyouko has to fight. So while there’s a menacing aura that’s highlighted in the continuous motive (the motive you hear in “Magia’s” introduction), there’s also a torrid downpour of tragedy, as a character who doesn’t want to kill must do so so that others may live.

19:00 mark: A variation of the theme you hear in 9:52. As I listen through this segment, I can’t help but feel an overwhelming resolve that refuses to back down, no matter how many dead-ends are encountered. The crescendo that comes in around 21:00 serves to drive that persistence home, one that continually struggles against the imminent tragedies until the person in question is all but dead from the endeavor. It’s almost heartbreaking to think of all the tragedies Homura’s had to endure as she tries to create that happy ending.

24:00 mark: A really upbeat, flowing arrangement of “Connect.” In this version, one can’t help but taste the sweet victory that the characters have achieved. The buoyant tones wouldn’t be out of place in the ending theme of an RPG. So in that vein, the energy that this arrangement exudes is appropriate. We want the characters to find their happy ending, don’t we?

Final Notes: No standalone soundtrack in sight, but I do hope that Madoka gets one since I’d hate to have to actually buy the bundled CD/DVD/Blu-ray box set just to get my Kajiura fix, especially when the music is as good as it is. Anyhow, shoutout goes to Ottocycle once more, who somehow keeps me abreast of these sorts of things.

Tracklist

[[Visit blog to check out this spoiler]]

Review: Yuki Kajiura, judging by her top position on the recent composer’s poll, commands a style that’s universally appealing. So appealing in fact, she can afford to allow diversity to remain the exception and not the standard in her music. Fortunately or unfortunately (depending on your point of view) the Madlax soundtrack is not an exception.

With the usual medley of beat-driven action, mysterious choruses, and ethnic atmosphere, the soundtrack possesses little to no unique traits that set it apart from Kajiura’s usual fare. As expected, several of her signature vocal tracks are scattered through the disc; “Nowhere” is the highlight, with a background chant that maintains an atmosphere of mysticism. The singer’s voice has a marked sense of liveliness and urgency that does a good job of immersing the listener in the intensity of the song. Through its energy, it becomes easy to visualize a close encounter with some immense arcane power or a breathless escape from thick volleys of enemy fire.

Nowhere

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The other vocal pieces are pleasant but for the most part fail to distinguish themselves. “Cradle” is a simple but soothing lullaby which isn’t memorable aside from an interesting pronunciation of the title. “Elenore” manages to be better. It pulls off a simultaneously moving and calming atmosphere that for some reason reminds me of music by the artist Enya. However, it’s precisely this vague similarity that makes it difficult for me to recall the track, as my memories end up being repeatedly obstructed by choruses of “sail away, sail away, sail away.”

Elenore

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The instrumental part of the album is just as much of a mixed bag. On the positive side, I found myself greatly enjoying “Galza” and its distinctly medieval character. Beginning with some compelling percussion, the track evokes the image of an unfaltering wanderer possessed by a single-minded purpose. “Battlefield” also succeeds at creating a vivid depiction of the scenery suggested in its title by presenting the desolation of war with a slow theme depressed by the weight of reality.

Galza

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Nonetheless, what sets the Madlax soundtrack below Kajiura’s better stuff is the number of tracks that border on ambience. “In a Foreign Town” sets up an engaging atmosphere with a Middle Eastern flavor but disappoints by remaining largely static throughout. “Quanzitta” and “Midnight” go down the same route with repetitive, ethnic themes that are rehashed a few times too many. Similarly, “Calm Violence” doesn’t do much. The rhythms take the forefront of the scene, yet after two minutes and a half minutes without significant development it becomes difficult to stay focused on the music.

In a Foreign Town

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Calm Violence

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The trend only continues in “Calm Days”. Here the melody is held by disproportionately soft synthetic strings that compete with a keyboard layered with audio effects. It’s very likely that Kajiura attempted to mask the flat synth with the decidedly less artificial-sounding piano, but the melody becomes too overpowered as a result. Then there’s the disappointment that is “Vanessa”. After hearing actual strings at the beginning, I let my hopes rise, expecting Kajiura to show off what she’s capable of wringing out of physical instruments. Instead, the track decides to blather off into a section reminiscent of infomercials and elevators. Whoever Vanessa is, I hope she isn’t as bland as the infomercials I’ve seen in my lifetime.

Vanessa

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This album’s general weakness lies in its tendency to repeat some motif ad infinitum without much development. Even the tracks which I found myself initially enjoying began to bore me as they wore out their welcome. Part of the problem stems from how Kajiura comes to rely too much on the rhythm to carry the music. While she may be very adept at creating an engrossing pulse (perhaps part of the reason she’s so popular), it’s not enough to prevent the tracks from becoming stale and faceless after repeated playthroughs.

I wouldn’t call this album bad, but it frequently skirts the line bordering ambience albeit of the high-quality kind. Unless you’re an ardent Kajiura fan, I would pass up the Madlax OST up for something she’s put more effort into.

Rating: Good

Review: Those who found “Kagayaku Sora no Shijima ni wa” too bland, too lackluster, or simply too Kajiura for their tastes can rejoice in Kalafina’s comeback in “Magia.” While the Arabic style is far from masking the overwhelming scent of Kajiura, it is nonetheless in a class of its own, set apart from all the singles released by Kalafina thus far. (Though it may feel right at home in the album Red Moon)

The most commendable aspect is the fusion of folk and rock, which I confess is my favourite genre, and with that, the likelihood for a biased review. Still, who can argue that the A-side is unbelievably refreshing, with an uncharacteristically energetic and almost aggressive performance from the girls? Though Hikaru’s performance is still a little rough around the edges, the mood she puts forward fits in perfectly with the instrumentals. Keiko’s entrance also provides an excellent contrast to the intense delivery earlier, and is probably one of the few times where her stanza actually adds to the overall enjoyment rather than providing mindless fanservice for her large fanbase.

The B-side, unfortunately, does not deserve much praise. The last few B-sides have generally been sorely lacking, either due to the failure in delivery (“Adore” comes to mind) or a half-hearted effort from Kajiura’s compositions (“Sapphire” and “Utsukushisa” anyone?). “Snow Falling” encompasses both faults; it’s a victim of both poor composition and an even worse delivery which actually gives the composition something to be proud of.

I can think of only a small handful of artists who can bring across the theme of winter properly, given that it requires great gentleness of expression. Here, Wakana’s delivery is too overpowering, Keiko’s is far too harsh, and Hikaru’s is overtly cute. The only one who seemed to capture the feeling of snow is, oddly enough, the accompanying vocalist. The great differences with the way the song is performed further add to the overall messiness, making “Snow Falling” a poor complement to the marvel of “Magia.”

But for “Magia’s” sheer audacity, this single is worth it. Though by all means, skip the B-side. There is nothing there which captures the usual goodness of Kalafina.

Rating: Good

Mahou Shoujo Madoka Magica ED – Magia

Tracklist

[[Visit blog to check out this spoiler]]

Review: If there is one question that always sits in the back of my mind whenever I approach a Kajiura soundtrack, it’s how diverse a tracklist she brings to the album. Kajiura’s consistency is a selling point to her many fans, but as I’ve remarked in Kajiura’s Profile, the stylistic uniformity of her non-choral music can make listening to her soundtracks straight through a tedious exercise. It’s no accident then that her best works exhibit a good amount of diversity within the album, combining many stylistic elements to make the listening experience an engaging one. And of Kajiura’s soundtracks, I’ve yet to find one more enjoyable than My-HiME’s.

It helps that My-HiME can be divided into two distinct entities, allowing Kajiura to bring in that much-needed variety. The anime’s school life section, where events unfold at a leisurely pace, is marked by easygoing and upbeat music. “Today’s Beginning” is an effective example as it sets the optimistic attitude that the protagonist, Mai Tokiha, carries into her new environs. Its bright, cheery piano introduction quickly makes way for a violin melody that paints a relaxing picture, one further reinforced by the flute as together, the instruments deliver the sense of wonder imparted through the magnificent school setting as well as the wonderful prospects for what this new life brings.

Today’s Beginning

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The enthusiasm doesn’t stop there either. The next track, “Summer, Sky, Sea Breeze” captures the essence of summer in an unorthodox manner by having a saxophone playing a smooth melodic line supported by the violins, electric guitar, and synth. Its arrangement exudes energy from every note, and its upbeat tones encourage all listening to seize the day and make the most of the summer fun. “Tumultuous School Life,” while also energetic, directs that energy towards a staccato presentation with the pace and discipline of a military march. It’s not until the xylophonic part comes in that hints of mischief materialize, completing the picture of the school experience that consists of not only the orderly classroom experience, but also the whimsical hijinks that occur as the students are at play. And speaking of the xylophonic sound’s more mischievous vibe, I really like how the cute ditty in “I’m Hungry!” pans out. This track fittingly depicts the aftermath of Makoto’s capriciousness as her shenanigans backfire, forcing her to flee the scene of the crime, pursued by the victims of her transgressions while her mouth is on fire.

Tumultuous School Life

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I’m Hungry!

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I could go on and on about other tracks like the serene, but enigmatic “Mysterious” and the relaxing, carefree piano melody in “A Small Happiness,” but as delightful as the school life pieces are, the inclusion of action-oriented fare keeps the soundtrack from becoming stale. The music hints at the imminent, destructive fallout in the album’s first track, “Himeboshi,” which features a lilting chorus that wouldn’t be out of place at a funeral. “Himeboshi” is draped by a curtain of sadness, and, through the vocals, foreshadows the long string of tragedies that unfold during the anime’s second half, which are filled to the brim with jaw-dropping plot twists.

The associations to the darker tale that My-HiME weaves come in early through “Looming Shadow’s” dissonant atmosphere cultivated by the strings, but become really apparent once “Prologue to the Darkness” makes its appearance. With a heavy dose of percussion resounding throughout, “Prologue’s” melody bodes ill, complete with a grimness heightened by the violin’s melancholy sound.

Prologue to the Darkness

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The anime’s darker moments also provides an opportunity for Kajiura to offer up some stylistically diverse tracks. One example of this is her use of Middle-Eastern tones to render a chaotic atmosphere through “Dance of Darkness.” She also puts in a Spanish flamenco in “Pale Pink Dance,” which not only possesses the energy associated with that lively dance form, but is also suspenseful, fitting that of a showdown between two implacable foes.

Pale Pink Dance

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No Kajiura soundtrack is complete without the epic choruses that ingrain themselves in one’s consciousness, and My-HiME is no exception. Though the “Summoning of Duran,” draws out the aura of mystery and suspense through the vocals, it’s really in “Mezame” that the chorus really thrives. The Spanish guitar from “Pale Pink Dance” leads us into the track and the singer follows shortly after with disconnected phrases that sound distant and mournful before the energy really pours in, first through the synth, then the chorus. “Mezame’s” execution of its chorus section is nigh-impeccable; the way it moves from the somber section to the lilting, anguish-filled arrangement of “Himeboshi” gives it an air of grandeur and encapsulates the epic magnitude of the conflict into a musical experience that’s absolutely unforgettable.

Mezame

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With all that “Mezame,” and indeed, this entire album, has going for it, it’s almost distressing to point out that one. Single. Track. The one that keeps this album from becoming a masterpiece, that is. I’m referring to none other than “It’s Only the Fairy Tale” which does the enjoyable instrumentation a disservice by spouting some of the most heavily-accented engrish I’ve ever had the misfortune of hearing. Yuko Miyamura’s stuffy-nosed delivery simply does not work here and this soundtrack would have been heaps better without it.

It’s Only the Fairy Tale

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It doesn’t change the fact that My-HiME is still my favorite Kajiura soundtrack to date. In taking us through the tumultuous events that transpire during the anime, Kajiura is able to weave a diverse mix of tracks that capture the carefree moods and the moments of sheer tragedy once events are set into motion. Through it all, the listening experience stays engaging and compelling, making this one a rare soundtrack for the ages and one that Kajiura fans should not skip out on.

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:
Yuki Kajiura’s first step into music composition was a farewell song she wrote for her grandmother, but from this point all the way up to her late teens, it didn’t seem like music was something she was planning on making a career out of since she composed very little music. Her college studies also bore few hints of this; though her compositions grew, upon graduation, her first job was as a systems engineering programmer. It wasn’t until 1992 that she began to pursue music seriously after quitting her job. Her first successful attempt was the formation of See-Saw which included names like Chiaki Ishikawa and Yukiko Nishioka and saw the release of six singles and two albums by 1995. This progress would garner her enough attention to give her a shot at scoring live action films such as Jun Ishikawa’s Tokyo Siblings. Work slowly piled on, and, through a few connections, an anime producer she knew introduced her to the people in charge of the Kimagure Orange Road movie, which would be her first anime soundtrack.

The music to Shin Kimagure Orange Road is enjoyable, if a bit simplistic. When you listen to the first few tracks, you’ll notice slow piano melodies in the mold of a drama and an upbeat love theme that bears a semblance to one of her later works. Stylistically, her score feels much simpler. The music fits within the mold of a love story; slow melodies abound. With her next anime soundtrack, Eat-Man, the action it carried matched more of Kajiura’s style that most of us are used to and contained snippets of the Wild West-flavored pieces that she’d put to use later on in El Cazador de la Bruja. Eat-Man wasn’t particularly memorable either, but its importance lay in the start of her partnership with Koichi Mashimo, which would result in her music really taking off, especially once he founded Bee Train and commissioned her to compose music to their anime.

Shin Kimagure Orange Road – Love I

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Eat-Man – Bolt’s Theme

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With Noir came Bee Train’s launching point as well as Kajiura’s entrance into the Western anime fan’s consciousness. Aided to some extent by the growing awareness of anime in the West during that time, Noir rapidly made an imprint on people’s radars with its well-animated action as well as the music that accompanied it. It’s probably not an understatement to say that Kajiura’s score was held in higher regard than the anime series. The mix of quiet, introspective tracks like “Solitude by the Window,” tension-filled fare like “Silent Pain,” and the aloof vibes given off from “Chloe” are all enjoyable, but what ultimately cemented her reputation were the glorious choruses in “Canta Per Me” and “Salva Nos.” The way both tracks conveyed the intensity of the action scenes made for an unforgettable experience, one that got anime music aficionados to cry out for more from Kajiura!

Noir – Salva Nos

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Kajiura wouldn’t disappoint. From Noir, she moved on to Aquarian Age which featured a very haunting opener in “Awake” and also incorporated a lot more synth paired alongside the violin and piano melodies, at least in the first half of the album. While enjoyable, it (along with Elemental Gelade and Hokuto no Ken) wouldn’t be talked about all too much, especially when compared to another 2002 offering. That, of course, would be .hack//SIGN. With an OP done by her See-Saw cohort, Chiaki Ishikawa and a boatload of tracks performed by Emily Bindiger, Kajiura’s music instantly complemented .hack//SIGN’s setting by using the ethereal tones to heighten the mystery and drama. As notable as these works are, it’s not until the mid-2000s where she’d release some of her best anime soundtracks.

Aquarian Age – Awake

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.hack//SIGN – In the Land of Twilight Under the Moon

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A side trip into the realm of psychological drama in 2004 would bear fruit, resulting in Le Portrait de Petit Cossette where she’d partner up with director Akiyuki Shinbo (and not for the last time!). Her 2004 releases wouldn’t stop there either with Madlax’s score coming out, and with it, FictionJunction’s ear-catching “Nowhere” even if the rest of the album was average by Kajiura standards. Still, nothing made a bigger splash that year than her score for My-HiME, which brought with it a great amount of diversity, from the haunting, tragic “Himeboshi” to the intense “Dance of Darkness,” to the action-packed themes, exemplified by “Summoning of Duran” and “Here Comes Gakutenou!” What My-HiME brought forth was arguably Kajiura at her best, but it wouldn’t be long before another of Kajiura’s scores rose to the challenge.

Madlax – Nowhere

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My-HiME – Himeboshi

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Though Tsubasa Reservoir Chronicle is nowhere close to being as highly regarded as an anime, its soundtrack offers My-HiME some stiff competition. With Tsubasa Reservoir Chronicle’s theme of parallel worlds in mind, Kajiura deftly handled the task for composing its music which was distinct through all 4 discs of the soundtrack. She showed off her versatility and competence with styles like techno, rock, folk, jazz, and some eccentric mixes between those styles, conjuring forth such pieces as “Guess How Much I Love You” and the glorious “A Song of Storm and Fire.” But while her soundtrack to Tsubasa really shined, Kajiura was drawn into scoring the Elemental Gelade soundtrack, which was, by her standards, fairly nondescript. Well, except for the main theme, heard in “Tenshou” which radiates a sense of freedom, but beyond that, there wasn’t much about it that was too remarkable.

Tsubasa – A Song of Storm and Fire

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Elemental Gelade – Tenshou

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It took awhile, but she did redeem herself with her next collaboration with Mashimo in El Cazador de la Bruja, where the music remained uniquely her own, but in listening to it stylistically, she was able to blend in a few Wild West tropes in there to fit in with the anime’s theme. That effort was followed by a lackluster showing in Pandora Heart’s soundtrack, which, aside from the most excellent “Preparation” was otherwise bland compared to her usual. But 2009 also saw the release of the last Kara no Kyoukai movie, and looking at it as a complete whole (with an album release come March!) its dark, tragic tones captured the atmosphere of the anime series most poignantly.

El Cazador de la Bruja – The Ballad of a Bounty Hunter

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Pandora Hearts – Preparation

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But even more important was the rise of Kalafina in Kara no Kyoukai’s shadow. Originally formed to provide the theme songs for Kara no Kyoukai, Kalafina enjoyed much success which led to them breaking into the anime scene, performing songs for Kuroshitsuji, Sora no Woto and Puella Magi Modoka Magica. The differentiating factor between Kalafina and Kajiura’s previous collaboration is the diversity, one that is reminiscent of her works from Tsubasa Reservoir Chronicle. Each of Kalafina’s albums feels like a concept album, with the first containing many tracks set to a somewhat European theme while the second is largely Arabic.

Natsu no Ringo

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In the winter of 2011, we witnessed the reunion of Kajiura with SHAFT’s Akiyuki Shinbo in the hotly anticipated Puella Magi Modoka Magica. While it’s too early to jump to conclusions, the overall reaction to her work here at Anime Instrumentality is cautiously positive; though pleasantly competent and undoubtedly fitting, we are yet to be floored by Madoka’s music like we were with some of her earlier work. After all, Kajiura’s consistency is what makes her so appealing, but it’s also her undoing. Sometimes, we just wish she was a bit more adventurous with her music rather than stick to the same general sound she’s worked with for the past decade.

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

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.

Synopses will join the music commentary this time around for your pleasure. I’ll wind up paraphrasing from the Chart Driver’s hard work and if you want to eschew the music entirely and focus on some of the more traditional factors to choose your shows, you could just hit up the link above. For the rest of you who are curious about the music, see what I’ve got to say after the jump!

Mahou Shoujo Madoka Magica
Composer: Yuki Kajiura
Synopsis: Madoka is an ordinary middle school student who will presumably turn into a magical girl at some point. Who knows what’ll happen next because Akiyuki Shinbo is sitting in the director’s chair for this one and we all know how awesome Nanoha was once we got through the monster-of-the-week episodes.
Thoughts: Can I safely say this is the show that’s got one of the strongest director/composer combos out of all the shows airing this season? The last time Kajiura and Shinbo paired up, they worked on Le Portrait de Petite Cossette. Kajiura did a great job on that one in the way her music brought forth the show’s eerie vibe through a beautiful soundtrack. That said, I’m not expecting a rehash of Cossette’s score. If anything, it’ll be more like the work she did for Mai HiME.

Starry Sky
Composer: Tomoki Kikuya
Synopsis: Tsukiko, a girl, attends a formerly all-guy’s school and is the only girl there.
Thoughts: Tomoki Kikuya seems to be on a roll as of late. His work on last season’s Ika Musume probably didn’t catch anyone’s ear too heavily since his music tends to blend in the background rather nicely as it did in the work he’s done for Hidamari Sketch. As for his work on Starry Sky, I’m not quite sure how it’ll go. I’ve never listened to any of his romance works really closely before (Da Capo II for instance), so this may turn out to be a novel listen. This show’s not exactly high on my watch list though, and so, it’s not likely I’ll get a chance to find out how his work fares here. Kikuya will also be busy scoring Oniichan no Koto Nanka Zenzen Suki Janain Dakara ne—!!, a show that’s probably more to his style since it’s more of a slice of life, romantic… comedy?

Infinite Stratos
Composer: Hikaru Nanase (aka: Masumi Ito)
Synopsis: Females are the only gender capable of wielding the Infinite Stratos (IS), a weaponized exoskeleton system. So can Ichika Orimura, a boy, and he’s taken to a school to train alongside the girls on how to use the Infinite Stratos.
Thoughts: Well now, this actually sounds interesting. The potential for the music that is. Hikaru Nanase’s work on Bungaku Shoujo, a soundtrack I’ve been meaning to review but have completely stalled on, has yielded some really heartwarming, heartfelt tracks, something I’m sure will pop up here in her depiction of the developing romance between the male lead and his female classmates. The emphasis on weaponry and warfare should yield some good stuff too, given her past work on Chrono Crusade, which featured some really glorious, high-energy, orchestral tracks.

Gosick
Composer: Kotaro Nakagawa
Synopsis: In addition to being a poor attempt at spelling “Gothic,” Gosick takes place in the made-up European country of Sauville where Kazuya Kujo, a student at St. Marguerite Academy, meets Victorique, a mysterious yet beautiful and brilliant girl, and together, the two solve mysteries.
Thoughts: You’d almost think Shinkichi Mitsumune would be scoring this given this show’s title since he did do the gothic lolita score for Rozen Maiden. I’m not particularly too worried about how this will turn out since Nakagawa’s got a sterling track record when it comes to scoring anime. He’s done pretty much every genre under the sun, from my first introduction to his works through Planetes, to the whimsical BGMs found in Hayate the Combat Butler. Most people will know him for the work he did on Code Geass, which wowed us with its Spanish flair. I don’t think we’ll see that here though. Sauville sounds kinda French, so I would expect music more in line with classical European mixed in with intense action tracks when the scenes call for it.

Freezing
Composer: Masaru Yokoyama
Synopsis: Aliens have invaded Earth! To fight them off, Kazuya Aoi enrolls in a school to train to become a Limiter and partners up with Bridgette L. Satellizer, a Pandora, genetically modified girls who have great combat prowess.
Thoughts: It’s the Queen’s Blade composer! Or if that turns you off, it’s the Arakawa composer! Anything with Yokoyama in the composer’s chair has a lot of potential musically since he’s shown that, through the two works mentioned above, he can compose a score that fits nearly any show’s style. Almost like Nakagawa I suppose. Whether the show requires majesty, action, or drama, nothing’s really out of his reach, and so, I have high expectations that he’ll be able to come up with an excellent score once more.

Level E
Composer: Ryo Kunihiko
Synopsis: Boy who lives on his own for the first time stumbles upon a young man who claims to be an alien with a bad case of amnesia.
Thoughts: Ignore the flippant description since I’m pretty sure we’re looking at a real sci-fi anime. Make that a sci-fi anime scored by Ryo Kunihiko, who has no shortage of majestic scores through the years. The high sense of adventure that Kunihiko is capable of cultivating is illustrated wonderfully more recently in his work on Tegami Bachi’s soundtrack, but it’s always been there ever since he scored Twelve Kingdoms. You really can’t go wrong asking him to do adventuring music, and with the scope that Level E seems bent on, we’ve got a good fit here.

Wandering Son (Hourou Musuko)
Composers: Keiichi Okabe, Satoru Kousaki
Synopsis: Feminine boy meets tomboyish girl in what looks to be a warm, romantic anime with dramatic overtones as the two struggle to understanding themselves and each other.
Thoughts: This is a strange combination indeed since the last things I recall out of these two were the ska-frenzy of both Working!!’s soundtrack and Ore no Imouto’s. That’s probably not going to happen this time though, since the dramatic quotient, I’d like to think, will beckon more towards the soft melodies that something like Aoi Hana’s soundtrack would possess. With this MoNACA duo though, anything is possible and Hourou Musuko is capable of surprising us all, especially if they don’t default to minimalist fare that’s been Kousaki’s trademark thus far.

Fractale
Composer: Souhei Kano
Synopsis: The “Fractale System” is beginning to collapse and Kurane’s chance encounter with a disappearing girl leads him to embark upon a journey to look for the girl. In doing so, he learns more and more about the secrets behind the “Fractale System.”
Thoughts: A show I’ll be picking up for sure and a show featuring a new composer I don’t think any of us know much about. Seriously, I don’t know where they picked him up and the only music-related thing that anyone pointed me to (thanks ottocycle!) is a song he wrote while he was at whatever music conservatory he studied at. Needless to say, it’s a pretty neat blend of dissonant orchestral music and some jazzy syncopation, and if this is what we get out of Fractale, we could be in for a wild, zany romp. There is method to that flurry of madness though and if you’re curious, you can listen to what I’m talking about below:

Final Notes:
I will do a reminiscence post for all of 2010′s anime music. I will not do it until March, since that’s when the last of the soundtracks for Fall’s shows will have been released and that I’ll have been able to listen to a majority of them to be able to highlight the good, the excellent, and a lot of the unappreciated!

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:

[[Visit blog to check out this spoiler]]

Review: Eve no Jikan’s movie soundtrack represents background music in its purest form. Its tracklist consists mostly of short snippets that serve as musical cues to trigger a story event while the lengthier tracks work primarily to channel a character or location’s aura. The music works well with the show’s visuals to depict the charming, sometimes eccentric nature of the titular cafe and its patrons, but beyond the nostalgia value for people who have seen the ONA, this soundtrack is unlikely to leave much of a lasting impact.

Those who have seen Eve no Jikan are probably able to remember a handful of tracks. There is, of course, “CODE:LIFE,” with its catchy rhythm that slowly grows more chaotic through the addition of other instruments. It displays a disharmonious kind of harmony; there are times when the instruments take off in different directions, resulting in a hubbub that resembles the pleasant, chatty atmosphere of a crowded cafe. The show’s eponymous track, “Eve no Jikan,” picks up where “CODE:LIFE” leaves off with a charming piano melody early on before blooming radiantly as a cavalcade of chaos creates a chorus that re-energizes as though it were opening a gateway to a utopia that offers a fresh, mind-opening experience, dissonant and harsh though it may be.

CODE:LIFE

[Audio clip: view full post to listen]

Eve no Jikan

[Audio clip: view full post to listen]

Beyond the tracks that are over a minute long, it’ll be tough finding memorable pieces. Most of the tracks that follow are fairly simplistic, and because they’re so short, are fairly undeveloped. For example, “Rikuo Rensou Kyoku’s” melody consists of a piano meandering around a minimalist fabric that, while fitting in its depiction of an everyman, just doesn’t curry one’s attention because it never expands upon that theme. I’d rather hear themes like “Akiko,” where the lively accordion gives way to a dapper sound that captures the titular character’s upbeat personality or “Yasashii Jikan no Naka de’s” jazzy sound that carries a hopeful air with an upswing that ends with a phrase that could be taken from any smooth piano jazz piece (think Vince Guaraldi’s “Linus and Lucy”).

Rikuo Rensou Kyoku

[Audio clip: view full post to listen]

Akiko

[Audio clip: view full post to listen]

Yasashii Jikan no Naka de

[Audio clip: view full post to listen]

Unfortunately, such catchy melodies and upbeat displays are in short supply as Tooru Okada rightfully aims for a more subdued soundtrack to make sure the music never eclipses the anime’s scenes. The ambiance that emanates from tracks like “Kanoo no Nakami” does well to sculpt some of the more tension-filled moments while also adding a layer of electronica to emphasize the show’s robotic theme. But more often than not, the atmosphere of fear is overblown as it is in portions of “Rinri Iinkai” and “Android,” where the dissonance isn’t exactly pleasing to the ear, especially with the latter’s use of a siren that sounds grating 5 seconds in. It doesn’t leave behind a strong impression at any rate.

Android

[Audio clip: view full post to listen]

“Eve no Kanata” does end it all on a hopeful note with its stately, subtle tones, but by then, the soundtrack has passed me by, and aside from the few tracks that stood out, Eve no Jikan’s soundtrack is largely forgettable. It’s understandable why Tooru approached the music the way he did given the scope of the project, but a part of me thinks a better composer could have succeeded in the face of such constraints. If you’re like me and enjoyed Eve no Jikan, you’ll find that the soundtrack is good for one or two listens to capture the nostalgia. But no more than that. It just doesn’t stand the test of time.

Eve no Kanata

[Audio clip: view full post to listen]

Rating: So-so

Tracklist

[[Visit blog to check out this spoiler]]

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

Une Lumiere Envoutante

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

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

Servante du Feu

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

Amazing Grace

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

Ciel Bleu

[Audio clip: view full post to listen]

Un Bol d’Air

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

Rating: Excellent

Setlist:

[[Visit blog to check out this spoiler]]

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

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

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

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

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

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

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

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

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

The further I progress into the 2000s, the more familiar the shows look and the more music I seem to have accumulated from those series. That’s no accident given how much more I watched from the second half of the decade and so, the lists start becoming really long and it is in 2005 where I really have issues figuring out which soundtracks I’d consider my favorite because there’s just too many to choose from. I’ve reformatted this year’s selections somewhat to make it easier to read if you’re skimming through. Hopefully, that helps with the deluge of shows that I’m showcasing.

Same goes for OP/EDs for that matter. Fan favorites like Air’s “Tori no Uta” can be heard since 2005, but there are a handful of other good ones that deserve mention. Do be warned though. This list is huge. Ridiculously so. I’d listen to a few and then come back otherwise you might be overwhelmed by the sheer number of awesome tracks on here.

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

Blood+
Blood+ is a good place to start as any because it’s one of the few (I’m guessing) anime soundtracks composed by Western composers. And notable composers at that. I still remember the moment I spotted Mark Mancina and Hans Zimmer in the opening credits and how my eyes bulged out as I began to expect a soundtrack of grand proportions. Both of them are widely known for their film scores and here, their work does not disappoint. The standouts like the “Grand Finale” are absolutely fantastic, but the track that really takes the cake lies in “Diva” which never fails to raise the goosebumps with its hauntingly beautiful melody. Just don’t try to whistle along unless you can hit those high notes.

Grand Theme

[Audio clip: view full post to listen]

Diva

[Audio clip: view full post to listen]
Tsubasa Reservoir Chronicle
A lot of people say that Mai HiME was their favorite Kajiura soundtrack, and I’d largely agree with that sentiment. However, the soundtrack to Tsubasa Reservoir Chronicle is really solid and though it wouldn’t top Mai HiME, it certainly comes close. Here, Kajiura dispenses with her usual style to create that mysterious atmosphere through the violins and chorus parts. Still, it’s the tracks ringing with emotion like “Guess How Much I Love You” that win me over alongside with action-y tracks like “Break the Sword of Justice” that bring to mind some of her video game music in the Xenosaga series.

Break the Sword of Justice

[Audio clip: view full post to listen]

Guess How Much I Love You

[Audio clip: view full post to listen]
Full Metal Panic: The Second Raid
Sequels generally mean same composers and rehashed music, but for what its worth, some of the newer tracks that showed up in FMP:TSR were pretty impressive on the whole. The main theme in particular struck me as being more memorable and part of that is attributable to me liking the military themes in this series as well as the overall darker atmosphere that Sahashi puts forward. Even his more emotional tracks like “Looking Back” are able to take the main theme of the series and work it in such a way as to bring about an air of calm that works as a way to get you to be introspective. And of course, “Counterattack” takes the theme and delivers a grandiose fanfare that leaves you feeling damned inspired to fight on!

Looking Back

[Audio clip: view full post to listen]

Counterattack

[Audio clip: view full post to listen]
Victorian Romance Emma
Beyond the idea of maids done right, this Victorian Romance Emma features some excellent music by Ryo Kunihiko, whose compositions capture more brimming love than an aim to recreate Victorian English music. You do hear quite a few harpsichord tracks here and there, but the recorders are what set this soundtrack apart, especially in the ending sequence that brings out the sort of music you’d expect out of a country fair. Still, with a solid opener in “Silhouette of a Breeze” and the piano stuff like “Emma,” which captures her quiet, introspective, but dignified demeanor, this soundtrack was a love at first listen.

Silhouette of a Breeze

[Audio clip: view full post to listen]

Emma

[Audio clip: view full post to listen]
ARIA the Animation
I really don’t know how else to put it. ARIA’s music is pure magic, bringing together waves upon waves of relaxing sentiments that makes you want to run away from the hecticness of day to day life to paddle around in a gondola and experience life through rose-colored glasses. The music certainly helps in that regard with the Choro Club and Takeshi Senoo bringing in both light, bouncy fare like “AQUA” that sets the main theme of the entire ARIA franchise to stunning, heartfelt tracks like “Mangetsu no Dolche” with its cello melody that really succeeds in bringing unto the listener the feeling that they’re privy to a scene that is wonderfully precious. And lest I forget, there are quite a few tracks propped up by Eri Kawai’s serene voice, and listening to her singing makes her passing feel that much more of a loss.

AQUA

[Audio clip: view full post to listen]

Mangetsu no Dolche

[Audio clip: view full post to listen]

Santa Claus no Sora

[Audio clip: view full post to listen]
Air
I’ve already mentioned Air and the music for the VN is probably my second favorite after Clannad’s awesome soundtrack. There’s a reason for this blatant favoritism: the gap between Clannad and Air is pretty wide and I’m not sure I can point out to many of Air’s tunes that are immediately memorable but don’t strike you as “generic dating sim music.” Well, there is Jun Maeda’s “Summer Lights” that’s always going to be a fan favorite. The piano melody is nothing complicated, but the way it conjures up the image of the countryside summer (cicadas not included!) through its breezy feel is catchy and wonderful the whole way through. Yes, there is also “Tori no Uta” on top of that if you want something that’s really memorable. I’m sure that was pretty much everyone’s first introduction to Lia’s voice.

Summer Lights

[Audio clip: view full post to listen]
Sousei no Aquarion
Sometimes, anime directors make the darnedest things. I’m not sure if this series was supposed to be a joke, a parody, or something borne out of madness, but drawing those comparisons between those unification sequences and sex is far-fetched, but if it’s meant to be played for laughs, then it sure as hell succeeded. Anyhow, Kanno once again showcases her talent for diversity while doing a heck of a job with what she pulls forth. It’s almost like how she conducts herself in Wolf’s Rain because of how it mixes all those musical genres and have it be pretty solid on the whole. Oddly enough, I don’t find myself listening to the first soundtrack a whole lot; the second one is where the songs that really catch my attention are located. “Shinwa Teki Gikou Sonata” nails the kind of fast-paced piano music I really like to hear. If it’s grandiosity, then look no further than “First Love, Final Love” which brings out that finale that fills you with the sort of feeling you’d get out of Handel’s “Hallelujah Chorus” from Messiah. Maybe that’s just intentional since the main character is supposed to be that messianic figure reincarnated.

Shinwa Teki Gikou Sonata

[Audio clip: view full post to listen]

First Love, Final Love

[Audio clip: view full post to listen]
That should be it for the BGM. Page 2 is where you want to go for them OP/EDs.

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

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

2003 brings back a lot of fond memories since that was the year that my interest in the medium was rekindled after going on a one-year hiatus. By that time, I had completely settled into my new environment, made quite a few friends, and more importantly, I had a sense of direction. That peace of mind helped free up more time and through a friend, I was compelled to give anime another shot since a lot of good shows were airing, some of which would end up on my all-time favorites list. It would be an overstatement to call this period an anime renaissance, but at the time, it sure felt that way to me.

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

Anyone who has known me for any significant length of time will know that if given the opportunity, I can babble on and on about how awesome Gunslinger Girl is. And how could I not? Everything about the show caught my attention straight away, from the crisp, detailed art and animation to the plot, and it effectively brought me back into the fold and held me there but good.

But the music… Gunslinger Girl’s soundtrack was an utterly beautiful piece of work that I would not hesitate in putting in a top 10 soundtracks list if I ever decided to sit down and take the time to cobble one together. Toshihiko Sahashi really outdid himself with the classical-style melodies that conveyed the action and the setting wonderfully. The “TEMA’s” are pretty much the foundation that the soundtrack is crafted behind, and I love “TEMA I’s” melancholy violin melody the best out of them all though “TEMA IV’s” intensity will always be a favorite too since it does a good job of bringing on the action. Concentrating on the themes alone would mean missing out on a lot of other excellent pieces such as “Bucolica” and “Ti Amo” which depict the characters’ day to day life in the European perfectly allowing you to immerse yourself in the setting.

TEMA I
[Audio clip: view full post to listen]

bucolica
[Audio clip: view full post to listen]

And lest I forget, the OP, “Light Before We Land,” also had the effect of tuning me into the Delgados, and I really like the music from their Hate album.

[[Visit blog to check out this spoiler]]

The only other show that could hold a candle to Gunslinger Girl was Full Metal Alchemist, which kept me in rapt attention with its ambitious plot and enjoyable cast of characters. It also served as my introduction to Michiru Ooshima’s works which, as I’ve commented before, tends to be fairly consistent from anime to anime. I don’t think I’ve ever heard a bad soundtrack from her ever. She just captures the drama and action so well.

Whether it’s the novelty factor of hearing Ooshima for the first time or the nostalgia factor surrounding FMA, I don’t know, but I’m still tempted to call this her best soundtrack to date. The action sounds have the required level of intensity so that you can feel the sense of urgency floating about, but the drama inherent in the tragedies that the brothers Elric are forced to endure is conveyed most poignantly through “Brothers.” “Kiro” is also memorable in the way in which the scope of the series is brought to light by giving the listener a taste of the show’s ambition through the militaristic beats and the grand, epic orchestral pieces. That people lament the lack of Ooshima in the latest rendition of the FMA saga just goes to show just how strongly people linked her music to the series. Akira Senju’s compositions are good enough, but without “Brothers,” something still feels missing.

Kiro
[Audio clip: view full post to listen]

Brothers
[Audio clip: view full post to listen]

Since we’re on the subject of grand adventures, how about some Last Exile? That show had quite a bit of that, didn’t it? But while the militaristic tracks like “Chivalry Spirits” are fine in my book, the compositions from the show that stand out the most are the ones that evoke the feeling you get as you look upon the the rustic, Irish countryside through the mixture of accordion, guitars, violins, and woodwinds that this soundtrack is filled with. For that matter, it’s the Irish inflections in the sound that helps differentiate this album beyond your typical adventuring anime soundtrack and so, I prefer tracks such as “Morning in Norkia” and “Workin’ on the Cloud.” Also, Hitomi Kuroishi’s singing isn’t my cup of tea, so I’ll give her vocal tracks a pass when I listen to the soundtrack.

Workin’ on the Cloud
[Audio clip: view full post to listen]

Chivalry Spirits
[Audio clip: view full post to listen]

That adventuresome theme also means we turn towards Wolf’s Rain, where Kanno’s eclectic mix of Latin rhythms and orchestral works make for an enjoyable listen overall. As you can probably guess, I have a stronger bias in favor of her orchestral compositions, and so, “Shiro Long Tails” will always earn a firm nod for its memorable, melancholy melody. But also, let us not forget Maaya Sakamoto’s performance in “Gravity,” which should get some sort of award for being one of the most poignant ending themes ever. I mean, it’s survived this long and has been a fan favorite since it came out in 2003.

Shiro Long Tails
[Audio clip: view full post to listen]

[[Visit blog to check out this spoiler]]

Chrono Crusade was also a show worth mentioning because it was my first exposure to Hikaru Nanase’s works. Her dark, gothic melodies earn a thumbs up from me, some of the sillier Rosette-oriented tracks are a bit annoying, only because one is an arrangement of the other and only a careful listen will really allow you to differentiate them. Still, the standouts are the OP, “Tsubasa wa Pleasure Line” sung by Minami Kuribayashi and the ED, “Sayonara Solitaire” composed by Yuki Kajiura and sung by Saeko Chiba.

[[Visit blog to check out this spoiler]]

[[Visit blog to check out this spoiler]]

Chrono Crusade might be one of Gonzo’s more underrated works. At least, I hardly see ever hear people discussing this show. All suspicions for this lack of discussion seem to center upon a mysterious organization known only as the Cult of the New.

And while we talk about shows that hardly ever get mentioned, I don’t see Scrapped Princess getting much love either. The few words that I can use to describe this is that for all intents and purposes, Scrapped Princess was a JRPG that was turned into an anime (Utawarerumono is a more egregious example of this). Also composed by Hikaru Nanase, I can’t claim to remember a thing from the soundtrack, and so, I must present you with the OP, “Little Wing,” since you can never go wrong with JAM Project.

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To shift gears a bit, maybe someone can update me on what’s going on with Mikuni Shimokawa. I was first aware of her when I watched Full Metal Panic, but it was in the Fumoffu spinoff that I really appreciated her singing a whole lot more. During 2003 and for many years thereafter, “Sore Ga Ai Deshou” was my favorite anime song, and one that I’d foist upon any unsuspecting anime fans who had not heard that piece. The ED, “Kimi ni Fuku Kaze,” isn’t as awesome compared to the OP, but I also enjoyed that one a whole lot, probably because the little marching figures and the rhythm has driven it into my mind forevermore. Soundtrack is more of Toshihiko Sahashi from the first series, so you know what you’re getting into.

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Kino’s Journey also features Shimokawa in the OP “All the Way” which was a really catchy song. It also was totally out of place with the general atmosphere that Kino’s Journey established through its vignettes. My guess is that they were trying to bring forth a sense of discovery since the song does a good job of making me want to pack my bags and explore the world so that I can marvel and experience all that life has to offer. After all, I maintain that traveling broadens ones mind, allowing one to see things from a different cultural perspective.

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Finally, we come to Planetes, the show that I’m still guilty of not having seen to completion. In listening to the music by Kotaro Nakagawa (of Code Geass fame), I can’t help but feel a sense of grandiosity through the first track, “Outside Atmosphere,” which is marvelous as it gets you to think upon the pictures of Earth that we’ve all seen before in our textbooks. It’s an image most of us will probably never experience in person, but it never fails to leave me in awe and wonder as I look at it and realize that the sum total of the human experience is encapsulated on that tiny sphere. The rest of the soundtrack is good too, but I don’t think they deliver on as strong a first impression like “Outside Atmosphere.” Yes, I really do pimp this song a bit too much.

Outside Atmosphere
[Audio clip: view full post to listen]

Other Notes:

A limit does need to be set on the number of times I mention that I haven’t seen Someday’s Dreamers and my overriding need to listen to Takefumi Haketa’s soundtrack the whole way through since I was so impressed by “Where the Sky and Earth Meet” (found on a MALKeionbu compilation near you!). My advice is to grab the compilation, and if you liked what you hear, give the show a shot or the soundtrack a listen.

The RahXephon movie came out this year, didn’t it? I suppose that I could post the Steve Conte/Maaya Sakamoto duet in “Garden of Everything” that arranges the well-known “Polovtsian Dances” from Borodin’s opera Prince Igor since their voices intertwine beautifully, but I’ve always preferred the original Oh well, for your listening pleasure since I don’t want this section to be totally devoid of music:

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R.O.D. TV gets a lot of mixed opinions and I’m on the side that found the story to be enjoyable. It also gets a lot of flak for using the same themes from the OVA, but I don’t find this to be a major fault since Iwasaki arranges the main theme so that each variation is enjoyable on its own. But then again, I’m big on the whole “theme and variations” bit that composers do (“Rhapsody on a Theme by Paganini” comes to mind).

To borrow a joke from NegativeZero, Shingetsutan Tsukihime received not one, but two fan discs composed by Toshiyuki Omori. Surprising, isn’t it? The music uses the violins to create an overwhelming sense of despair that makes for a good listen, but there’s nothing that’s really really memorable here. Except maybe the OP song “Sacred Moon” and the way it hits on the gothic horror fairly decently. OK, there’s a really poignant violin track too, but this is getting to be a bit lengthy and I’m starting to feel lazy. (For those who don’t get the joke, there is no Tsukihime anime.)

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Anything else that I missed other than possibly Tokyo Godfathers? I’ve been meaning to watch that, but I just haven’t found the time. And by that, I mean muscle out a block of time since it’s been hard finding the free time to actually hit my backlog, what with the stuff that’s currently out. It’ll sit on the back burner along with just about everything else.