Monday Melodic Musings: Michiko to Hatchin – Paraiso

zzeroparticle: I don’t really quite know what happened to Michiko to Hatchin. As in, I didn’t really quite finish the series and since then, I haven’t really heard much of a peep about it from the broader anime community, making the chances of me picking up that series and seeing it to completion that much more unlikely. That’s a bit of a shame since I remember being captivated by the opening theme the first time I watched the series and its premise was engaging at the outset.

“Paraiso” was the first time I was exposed to SOIL&”PIMP”SESSIONS, and the atmosphere they forged through their Latin-tinged jazz fit in perfectly with the boldness and recklessness that typified Michiko and Hatchin’s adventures. All of this is exemplified by the frenetic piano continually hammering away as well as the audacious trumpet blares that, together, left very little room for a quiet moment. I wouldn’t have it any other way. The wild, crazy odyssey would be here to stay and stay it did until I put that show on hiatus.

Thankfully this opening theme didn’t suffer the fate the show did; it still gets occasional bouts of playing time from me and when I listen to it, my mind is allowed to be free to trawl unknown territories. The unrestrained aura it gives off is what draws me to the opening theme in the first place and, judging from Aftershok’s comments below, suggests that I should probably check out more of SOIL&”PIMP”SESSIONS’s work. Here’s why:

Aftershok: Having kept up with SOIL&”PIMP”SESSIONS over the years, “Paraiso” stands out as a piece that contrasts just enough with their usual style of compositions to be unique while retaining the essence of their style, dubbed “death jazz,” that’s made them so well-known. When you listen to “Paraiso,” you’ll notice the vocalists; a rare sight to be had in a SOIL&”PIMP”SESSIONS tune. On top of that, “Paraiso” is much bit more toned down and methodical from their usual frenetic, improvisation-biased style.

You see, SOIL&”PIMP”SESSIONS often adapts a type of jazz that’s called “modal,” or in laymen’s terms, a style that uses very few chords over lots of measures with a focus on melodic, free improvisation. It’s the type of stuff they exemplified through “Paraiso’s” sax solo, which is shorter compared to what they usually do while throwing in some more chords as well. Nevertheless, it is important that they changed their flavor a bit to fit Michiko to Hatchin’s OP theme, and in that respect, it’s still a delicious addition to their already flavorful work.