7th Time Loop Soundtrack Review

The 7th Time Loop soundtrack is easily overlooked. Part of it is because the anime itself was a fun ride with a likable protagonist in Rishe whose resourcefulness occupied a big chunk of my attention. And part of it is because the music isn’t a prominent part of the anime. Usually I’ll try to pay attention to the background music, but in this instance it never registered.

Which is a damned shame. Absent Rishe’s intricate plots to distract me, the 7th Time Loop soundtrack is surprisingly good! It doesn’t have the kind of music that will sweep you off your feet or leave you breathless at its grandiosity. No, 7th Time Loop‘s soundtrack is far more modest in its presentation. But the orchestral melodies that composers Satoshi Hono and Ryunosuke Kasai serve us are serviceable, enjoyable, and competent. Listening to it is a simple pleasure punctuated by moments of joy.

What helps is that this soundtrack has a nice arc to it. The first few tracks set the stage for the anime’s story, starting off with the main character. “Rishe’s Theme” is filled with optimism, capturing the protagonist’s outlook and go-getter attitude through an energetic string and piano melody. I found the piece to be as enjoyable as Rishe herself. Other facets of her personality also surface in “Kindness” with its softer, mellower sound and “Intelligent”, which rounds her out wonderfully through its deliberate pace.

We then get introduced to her eponymous worst enemy/husband-to-be in “Arnold’s Theme”. Here, composer Kasai evokes the dark, brooding, mysterious prince vibe through an entrancing string and wind melody. We’re also introduced to his brother Theodore through a darker-sounding piano theme that creeps along. It invokes images of skullduggery, matching Theodore’s initial untrustworthy persona to a T.

Once we’re introduced to the characters, we’re treated to a beautiful waltz! Count me in as one who enjoys a good waltz. And the one in 7th Time Loop warrants strong consideration. Anyone who’s seen the anime will remember Arnold’s and Rishe’s spirited waltz, with its quick, sharp movements. The music accompanying this dance, “Waltz ‘Rishe and Arnold'”, is a swirling delight. Its delivery is a whirlwind of elegance, giving no hints that there was a minor battle of wills ensuing just under the surface.

From here, the album proceeds to set Rishe’s day to day life to music. I enjoy the energy of “Life as a Carefree Bride” especially in how the piece blossoms once the strings and piano come in to augment the guitar. That’s followed by the joyful romp of “Expectations” with its catchy whistle melody and a relaxing guitar. But those tracks don’t hit nearly as well as “Empire”. “Empire” ranks only second to the “Waltz” for being my favorite track on the album. I love its grandeur and ambition as the strings paint Galkhein as a buzzing empire full of potential.

Where the album starts to falter is when we drift into more somber waters. Tracks like “Lonesome” is decently rich in the titular emotion as the piano melody wanders in a depressed state. But it’s hard for me to engage with it. Its long, sustained notes are uninteresting and don’t do it for me. When I listen further to pieces like “Pathetic” and “Tense Atmosphere”, I’m forced to conclude that darker, more somber themes are Hono and Kasai’s Achilles heel from a music context. Their pieces are serviceable; there’s never any doubt in that. But their upbeat themes are better in keeping me hooked.

Thankfully, seeing this album through to the finish yields some thrilling rewards as the album’s story arc wraps up. The conclusion starts with “Dream Forward to the Future” which recovers the album’s sense of optimism and pushes forth an image of Rishe springing into action to avert tragedy. This feeling is furthered by “Enthusiasm” where the piece crescendos into a riveting piano melody as the action continues. All of that comes to a close in “Ring” where the happy ending vibes run strong through a beautiful violin solo that imparts relief.

With their work on Fluffy Paradise, and now 7th Time Loop, composers Satoshi Hono and Ryunosuke Kasai have once again struck gold (haven’t listened to Tales of Wedding Rings). Their optimistic pieces are impeccable and enchanting. And even though there are some rough edges on this album, that it works well in the context of the anime means I can’t fault it too hard. So while 7th Time Loop‘s soundtrack might not turn heads, it still succeeds in getting me to smile with its modest melodic delights.

Rating: Good

7th Time Loop Preview Tracks

Even in a heavy-hitting soundtrack, some pieces hit harder than others. One obvious example would be the opening theme “Tank”. But you can also say the same for “Blue” which shone through Mai Yamane’s soulful delivery and elevated the final scene with Spike and his finger gun gesture into one of the most iconic anime moments of all time.

And now, the song gets a second wind, albeit as a song for a Honda commercial which seizes on the sense of liberation through movement as its primary motif. The song follows suit: in place of Mai Yamane helming the vocals, we have Maya, a singer who got her start on TikTok (don’t confuse he with Maaya Sakamoto!). Maya’s rendition is less melancholic but is still stirring as it retains the longing for freedom.

If you’re keen to listen to the full rendition, here it is on Yoko Kanno’s official YouTube channel:

Yoko Kanno had this to say about the project overall:

“Even after 25 years, the longing for freedom never leaves us. With Maya’s voice as a new set of wings, the song continues to soar even higher, even deeper, into the blue. The imagery Mr. Daichi Yasuda [the Honda commercial director] explores is an invitation to a journey for eternity.”

And Maya enjoyed her chance to work with Yoko Kanno, saying:

“I’m beyond honored and happy to announce the release of a song that features my voice. In a world where it can sometimes be very challenging to feel “free,” I sang my heart out in hopes of bringing freedom to as many people as possible. The recording session with Ms. Yoko Kanno was a learning experience for me, and a very inspirational one. As a young artist who is just starting out, I cherish and treasure every moment spent with Ms. Kanno, who I admire so much.”

Frieren Soundtrack Review

The impression I got when sitting through Frieren‘s early episodes is that this isn’t your traditional epic fantasy anime. That is true of the story and the music is a reflection of that. Where one might expect the grim, somber fanfares characteristic of soundtracks like Princess Mononoke‘s and the Lord of the Rings, Evan Call’s music for Frieren feels more laid-back, more prosaic in comparison. Frieren‘s music is willing to wander, to dilly-dally, moving only when it precisely means to. It doesn’t lean into those epic fantasy tropes and it is the better for it.

Evan Call’s steadiness in the composer’s chair should have been expected going in. I found myself entranced by the music he’d previously composed for Violet Evergarden and can say the same holds for Frieren’s score. The first track, “Journey of a Lifetime ~ Frieren Main Theme” is a delight, taking a Celtic air and infusing it with excitement for the journey ahead. I love how the strings and woodwinds explore the emotional facets of the anime, from the more festive moments to moments of quiet confidence. And through it all, I became well acquainted with Frieren’s captivating motif.

That motif comes up quite often, yet never overstays its welcome because it pairs well in so many contexts. For example, in “One Last Adventure”, you hear flashes of that motif early on before the piece segues to solo violin and flute sections that weave an anticipatory air. Once the piece crescendos — and boy does Evan Call do an amazing job with his use of crescendoes throughout — a feeling of resoluteness sets in, and with it, the calling to a new adventure.

In “Farewell, My Friend” the motif takes the form of a somber chorus that evokes the tribute being paid to a legendary hero. The same can be said for “Where the Blue-Moon Weed Grows” which, again, pays tribute, but takes on a more introspective approach before ending on a gracious note. As I said before, so many opportunities to use that motif, but never overtired or overdone.

Finally, given what’s come before, I wasn’t sure if Evan Call could deliver with a good battle theme, but I really enjoyed “Zoltraak”. The piece’s Celtic air takes the form of a fast-moving dance, full of short, agile bursts of movement. It evokes the twisting, turning, feinting nature of the duel. Furthermore, the accompanying chorus drives home the tension. The combination yields a piece that’s dynamic, keeping me at the edge of my seat until it comes to a firm, decisive close.

Needless to say, I’m quite pleased with the music Evan Call’s composed for Frieren: Beyond Journey’s End. To hear him take on a fantasy adventure anime while departing from many of its conventions (very much like the anime itself with respect to the genre!) has been mesmerizing. Needless to say, I look forward to listening to the full soundtrack once it’s released in April.

Rating: Excellent

Frieren Preview Tracks

Escaflowne Soundtrack Review

The Vision of Escaflowne series was a dazzling delight that captured my attention through its story, its characters, and most of all, its music. Prior to Escaflowne, I hadn’t been exposed to anime music that swept me off my feet to such a degree with its heavenly choruses and the sense of grandeur that it imparted.

And that’s just the background music. The album starts with the evergreen “Yakusoku wa iranai”, which sees the working relationship between Maaya Sakamoto and Yoko Kanno in its early days, a relationship that will blossom magnificently with each successive (and successful) release. Here, Maaya Sakamoto’s vocals are simply incredible. The track has a joyous tone that carries across much of the soundtrack as it tells the tale of Escaflowne itself. That joyousness continues much later on with Sakamoto’s performance on the breezy “Poketto wo Karanishite”. The more somber pieces akin to “Deja Blue” and “Romance” convey the strife and despair that the actual series deals with.

With Yoko Kanno taking the helm for the first few tracks, the uplifting adventurous spirit of the album takes flight. “Flying Dragon” captures that vibe with a breathtakingly lofty melody that evokes a sense of majesty and elegance. The album then takes a darker turn with “Murder” and “Dance of the Curse” with their more foreboding and, in the case of the latter, action-packed auras that are gripping in their tension.

And then there’s “Angel”, a track that features a heavenly chorus that’s as heartfelt and beautiful as you might expect a track with that title to be. But for my money, nothing hits the grandiosity spot quite like “Gloria”. Though it starts off with a somber Gregorian chant, the piece segues into a magnificent procession for the crowning of a new king. The chorus’s delivery is that of a hymn, giving that section a regal air that closes with the triumphant “gloria”. Props go out to Hajime Mizoguchi for nailing the mood and atmosphere of both tracks.

Of the tracks, “White Dove”, is a bit of an eccentric, if pleasant listen. The beginning has that stirring morning sensation. Then the clapping sound comes in along with the rest of the instruments. Once the vocals begin, the poppy exuberance is a bit at odds with what came before, but I liked its cheerfulness. The guitar solo is really great as well, augmenting a solid cheerful song on an album chock full of ’em.

And yes, the less said about the TV ending “Mystic Eyes”, the better. This Hiroki Wada song features an electronic dance number paired alongside some really unpleasant vocals. If there was a way to extract this song from the disc, I’d be all for doing just that. Thankfully, “Deja Blue” serves as a nice ear cleanser to close things off. It takes the melody from “Yakusoku wa iranai” and sets it to a music box to remind you of all the solid pieces that came before.

All in all, Escaflowne over the Sky is one of my favorite albums. It’s worth getting simply for Maaya Sakamoto’s vocals, Yoko Kanno’s frenetic works, and Hajime Mizoguchi’s glorious orchestral pieces. The range of music captures the gamut of Escaflowne’s emotions, making this album one that must be experienced.

Rating: Excellent

Vision of Escaflowne Preview Tracks

Its motif can be heard early on in “Date”, which features a sparse piano introduction as if it’s unsure of itself. Little by little, the piano adds an additional voice to create a burgeoning sense of warmth and tenderness. Once that emotional foundation has been established, the piece takes you on a playful side journey before returning to its core, this time backed by shimmering strings. And as the piece continues to the end, it grows more assured, all the while retaining the warmth it built up in the beginning.

“Theme of Mitsuha”, like “Date”, also starts sparsely, but this time, the warmth and tenderness are more apparent when the violin is introduced, playing a lovely accompaniment to the piano melody. And to further contrast itself from “Date”, the whimsy is replaced by a resoluteness that spans across time and space. The buildup that takes place between the piano and strings is beautiful, ending it all on a stirring note.

Enter Joe Hisaishi…

So of course Radwimps’s Yojiro Noda‘s composition for Mitsuha’s theme is wonderful and memorable. But when you have Joe Hisaishi’s (of Studio Ghibli fame) well-practiced hands at the reins, the piece takes on a new light. I positively squee-ed with delight when I got the notification of this arrangement’s release.

From the opening chords, the tenderness and warmth are there, but Hisaishi amplifies the impact of those feelings. I found the emotional outpouring more varied and complex. Here, a sense of longing that is aching in its delivery. There, the resoluteness from the original version, but with a tone that maintains the gentle aura. Needless to say, I’m captivated by the little changes that Hisaishi makes to enhance an already amazing piece and take it to the next level. Definitely give it a listen!

Joe Hisaishi’s A Symphonic Celebration Album Review

Joe Hisaishi’s debut on Deutsche Grammophon, A Symphonic Celebration, sees him paired with the Royal Philharmonic Orchestra of London to showcase 10 arrangements (12 if you count the bonus disc) to 10 of his Ghibli film scores. The arrangements themselves span the gamut of intricate symphonic suites and melodic medleys and all of them are a delight.

But here’s the rub: I’ve heard plenty of Ghibli orchestral albums, and this one doesn’t bring a whole lot to the table. The pieces are enjoyable, but if I wanted to listen to Hisaishi’s works presented as a symphonic suite, I’d listen or watch him conduct the New Japan Philharmonic World Dream Orchestra at the Budokan. If I wanted good ol’ symphonic Ghibli arrangements, I’d listen to the Czech Philharmonic Ghibli album. Or get the two Essential Joe Hisaishi volumes for a good representation of Hisaishi’s oeuvre.

Regardless of where you are in your Hisaishi/Ghibli fandom, this album is solid. You’ll get all of the classics. Where the quality differs lies in how cohesive the arrangements are. Nausicaa’s suite’s individual parts are solid. Its introduction is stirring in the flurry of drums and brass, before yielding to a sublime piano melody befitting that of an epic journey. The transition to the requiem feels sudden, but it effectively channels the grimness. Likewise, the transition to the battle theme isn’t smooth, but its melody is dynamic and engaging with the frenetic woodwinds atop a rushing rhythm. 

Similarly, My Neighbor Totoro’s suite has issues going from one theme to the next. You can’t go wrong with the enchanting theme from “Path of the Wind”, with its stately aura and mystical tones. But when the piece moves to the chorus singing the jaunty “Hey Let’s Go” opener and the fun Totoro ending theme, there’s an emotional mismatch. While you can’t fault the individual sections, I do wish they handled the transitions better. 

Where this album shines is in the thematically cohesive pieces. Kiki’s Delivery Service, with its iconic motif, effortlessly goes from “A Town With an Ocean View”, where the strings swell with optimism and a touch of nervousness, to the more somber and introspective “Heartbroken Kiki”, and ends with the heartfelt “Mother’s Broom”. The same can be said for Ponyo, where the entrancing Deep Sea Pastures lead to the graceful and serene vocals in “Mother Sea”, before closing out with the effusive Ponyo ending theme.

As good as these performances are, if you’ve been listening to Ghibli arrangements, it’s likely you’ve come across works of similar caliber, making this album feel superfluous. For example, the Royal Philharmonic goes the safe route with yet another rendition of the iconic “Carrying You” theme from Laputa. New listeners not familiar with it may enjoy how the vocals weave in and out in perfect harmony to sculpt an atmosphere of sadness born out of tragedy, but it’s a been-there-done-that for me. The beautiful “Bygone Days” from Il Porco Rosso is another safe pick, and though it’s easy to be drawn into its dreamy, waltzing reverie, I wish they incorporated more material from the movie. Doubly so for Princess Mononoke’s suite, which is missing the emotional release of “Ashitaka and San” to make it complete.

With that said, pieces like The Wind Rises help to clear the jadedness from old heads. Avi Avital’s mandolin solo in The Wind Rises’s “A Journey” carries an exquisitely daydreamy quality, building a wondrous foundation that the strings use to move the piece forward. I’ve also not yet grown tired of vocal versions of “One Summer Day” from Spirited Away with its beautiful blend of nostalgia and loss. So having both a Japanese and English version of that song was a plus. 

There are three factors that come in evaluating a Symphonic Celebration of Studio Ghibli. If musicality is the concern, worry not. There’s a lot to like here. I’m much more lukewarm about this album being a thorough deep dive into the works of Joe Hisaishi, but if you’re looking for an enjoyable introduction, this works. But if you’re a seasoned Ghibli/Hisaishi fan, this release feels unremarkable. The key is to figure out where on this spectrum you belong and what you value in an album. Thankfully, if you’re already subscribed to a streaming service, it should be fairly easy to evaluate. In that case, go for it. It’s worth a listen.

Rating: Good

Joe Hisaishi’s A Symphonic Celebration Preview Tracks

Kessoku Band Album Review

Bocchi the Rock’s Kessoku Band’s self-titled debut album jams. That’s not exactly my expectation going into yet another entry in the crowded field of schoolgirls doing music, but I feel all the better for having experienced this gem of an album. From the get-go, the clarity of vocalist Ikumi Hasegawa’s performance lulls me in with her lively energy in the opening track, “Seishun Complex”, building a foundation that would leave me enthralled. 

In fact, the quality in nearly all the songs on Kessoku Band is captivating. Part of the credit goes to the album’s musicians. There’s the likes of drummer Osamu Hidai from school food punishment, guitarist Ritsuo Mitsui, credited on several of Naruto Shippuuden’s OPs, and bassist Yuichi Takama, who never seems too far from collaborating with LiSA. But a large part of my appreciation is reserved for the composers who’ve put their own flourishes while keeping the album reasonably cohesive.

And that cohesiveness takes the form of the energy that propels me onward. Take “Hitoribocchi Tokyo’s” intro, where the percussion’s steady rhythm drives towards an emphatic guitar riff. Ikumi Hasegawa’s vocals, again, are effortlessly nestled atop the instrumentation from verse to a wondrous chorus. The resultant energy that emerges is pleasing. The same can be said for “Distortion”, my favorite of Bocchi the Rock’s ED themes. The song does all the hard rock tropes right until after the bridge where its rousing surprise brings the song to a satisfying close. 

At this point, my praise for Ikumi Hasegawa’s vocals is going to get repetitive, a testament to her consistency. Do I laud her ability to navigate the chorus in  “Guitar, Loneliness and Blue Planet” where she imparts an impeccable sense of urgency? Or how about the way she nails the emotive verses before letting loose in the chorus of “That Band”? Do I rave about her charming, poignant delivery in “Little Sea” that left me with an indelible warmth? Or maybe talk about how endearing I found the chorus in “If I could be a constellation”, a song only marred by the lack of a bottle slide solo? In short, I cannot emphasize enough how wonderful Kessoku Band’s offerings are and Ikumi Hasegawa’s performances go a long way in building that feeling of enchantment across the album.

That said, the other vocalists don’t quite make me go “kita! ikuyo!” because their performances are merely adequate. Saku Mizuno’s performance in “Karakara” offers a more casual pop-rock affair during the verses, followed by a kick into a higher gear during the chorus. But with its repetitiveness, the song is hardly a standout. Sayumi Suzushiro’s delivery in “What is wrong with” is better because of the initial burst of energy in the intro and the verses. Unfortunately, the chorus falters; I found it too pedestrian in its melody and delivery. A shame because Sayumi Suzushiro’s has the ability to navigate the lyrics adroitly. When you compare this to the other tracks on the album, this song feels serviceably bland.

Finally, Kessoku Band closes out with a tribute to its source material. By that, I mean the ever-present reference to Asian Kung-Fu Generation throughout Bocchi the Rock. The last song, “Rockn’ Roll, Morning Light Falls on You” takes the arrangement of Asian Kung-Fu Generation’s big hit and has voice actress Yoshino Aoyama deliver a very Bocchi-like rendition. That is, a high-anxiety performance replete with nervous jolts, tentative passages, and gulps aplenty. This performance is hardly a pinnacle of listenable, but I found it to be charming on account of the context. And the fact that Aoyama presents Bocchi’s character so well has me cheering for Bocchi’s continued success. And when the second season does drop, here’s hoping for another consistently enjoyable album from the Kessoku Band for me to treasure.

Rating: Very Good

Kessoku Band Preview Tracks

My Neighbor Totoro’s Highlights

Visuals: Reminiscent of earlier Ghibli works.
Setting: Enchanting and infused with magic.
Music: Wonderful and soothing
Characters: Charming and relatable.

My Neighbor Totoro is a Delight

Review: I was deep into my adult years when I watched My Neighbor Totoro for the first time. Even though the movie is ostensibly for kids, there was an energy and an imagination to it that was riveting. How could one feel any other emotion but delight when the catbus makes its jaunty entrance to carry Totoro away?

If the enchanting parade of soot sprites or the appearance of the eponymous teddy bear-like totoro are all the movie had to offer, it would still be a fine film. But what elevates it beyond a kid’s flick is its portrayal of the Kusakabe family.

Satsuki and Mei occupy center stage in this film and their day to day concerns are immediately relatable. There’s the unrestrained joy at the prospect of moving into a new house and the eagerness for the adventures that are soon to follow. There’s the simmering hopefulness that picks up during the hospital visits that their mother can join them in their new abode. And, of course, there’s Mei’s stubborn desire of wanting to be at her older sister, Satsuki’s, side. Never mind the fact that Satsuki must attend school or that they must wait in the rain for their father’s return.

And speaking of their father, his presence in the film is understated, but nevertheless brims with compassion and warmth. Throughout the film, the wealth of support he offers his daughters was touching. Whether he was divulging factoids about the world or taking his daughters at their word when they recounted their encounter with the fantastical Totoro, his interactions with Satsuki and Mei were always patiently reassuring. His demeanor precisely captured the sort of parent I wanted to be.

And then I became a dad. And when my daughter turned 3, I was able to share Totoro with her.

She took to the film right away. The way in which she seamlessly empathized with the characters was striking. Not surprisingly, she saw the younger sister Mei as a kindred spirit. She’d imitate Mei’s explorations around the new house, squeal with delight when the smaller white totoro appeared, and even copy the motion the characters made when the totoros came to help the plants grow. And yes, she cried when the two sisters argued about their mother’s illness and when Mei got lost.

Those conflicts would raise the stakes high enough to make for a satisfying payoff. My daughter’s eyes would light up when Totoro lent the sisters their aid. The journey the girls took to resolve it filled her with joy and wonder. Sure, she might sing the Totoro theme song just a bit too much and I might have to bear her humming the “Wind” theme from Joe Hisaishi’s excellent score for days on end. But it’s a testament to Miyazaki’s vision that Totoro‘s magical qualities can so effortlessly touch viewers young and old alike.

Rating: Very Good

Cross Game’s Highlights

Episode one: Once you watch it, there’s no stopping.
Characters: Interactions are engaging, exhibiting great chemistry.
Soundtrack: Nakagawa Kotaro delivers an enjoyable, light-hearted score.
Pacing: The baseball games never feel like they drag on and on.

Cross Game Review

The fun, idyllic days that marked Cross Game‘s first episode seemed like they would last forever. Its disarming atmosphere teases you into thinking that the show is nothing more than a light-hearted, coming-of-age story. While the latter part remains true, it tosses a wrench in the works in the form of a tragedy. The absorbing backstory then reels us in hook, line and sinker. Turning away is no longer an option. We feel compelled to find out how the characters come to terms with the event as its effects continue to ripple within the narrative.

Cross Game isn’t a departure from the sports genre, but it sure executes the formula flawlessly. It features the usual group of gritty underdogs who toil and sweat, but are able to climb the ladder towards respectability. The story doesn’t waste time dwelling on the easy games. Seishuu’s results during difficult games are never tainted by fluke events. Bad things do happen once in a while, and when they do, the team is forced to roll with the punches. For example, when a star player falls ill the day before an important tournament game, the mangaka, Adachi Mitsuru, lets the chips fall where they may. No reprieve is granted. Better luck next time.

Despite the setbacks, the characters continue to persevere, and it’s during the course of baseball practice and non-game situations that these characters demonstrate their charm and cohesive chemistry. Cross Game boasts one of the more likable casts in recent memory. It derives a large part of its strength from their personalities that interact in a natural and genuine manner. Though there are too many great characters to count, the protagonist, Kitamura Kou, sets himself apart with his nonchalant demeanor and quiet self-assurance. Of the major characters, only Tsukishima Aoba feels somewhat static. She is marked by tsundere tendencies which eclipse her other personality traits, but makes up for that with her dedication to ensuring everyone can perform to their potential.

You can’t have a sports anime without a blossoming romance or two. With 50 episodes, there’s plenty of time for romances to fully develop alongside the baseball in Cross Game. I liked how the primary romantic focus slowly progresses. Oftentimes, people in love really don’t know what’s going on between them, and this trait is on display throughout the series. The point at which it comes to fruition is endearing, and when you take into account the tragic conundrum that functions as the major obstacle, makes the end result all the more fulfilling.

Through the highs and the lows, the show never falters, never loses its rhythm. All heart, Cross Game reveals the magic that can happen when every aspect of the show fits together just right, and in so doing, delivers a fantastic experience.

Final Score: Excellent

As a part of the role, Aina Suzuki has had to do a lot of singing. One of her solo efforts include “New Winding Road”, written by Aki Hata, composed and arranged by Makoto Miyazaki. Her delivery is excellent. She succeeds in bringing out the song’s yearning, nostalgic emotions while demonstrating a good amount of voice control, especially with her vibrato.

These skills have translated into success. She’s gone on to perform in concert with her fellow counterparts from the school idol group Aqours at the Tokyo Dome in 2018 and the 69th NHK Kohaku Uta Gassen the same year.

Aina Suzuki Debut Album Details

So with all those skills in tow, she’s finally debuting with her first solo album on January 22. The album, titled “ring A ring”, features 13 tracks. While none of her Aquors work is present, she does deliver anison in “Hikariiro no Uta”, which is the ending theme for the anime “HATENA☆ILLUSION”. A preview of the track can be seen below:

The song, written by ZAQ, is another entrant in the power-pop tradition. Its rhythm can get pretty intense and the backing instruments can be pretty frenetic. From her opening notes though, Aina Suzuki’s Mari Ohara voice is unmistakably present. While the song doesn’t break new ground, it’ll appeal to Suzuki’s fanbase at the very least.

Her Message to Her Fans

Aina Suzuki also has this to say about her debut:

To debut as an artist has always been one of my “dreams”.

I have loved Anisong since I was small. No matter how hard time was, Anisongs have always been by my side, and I received power and courage from them! When I heard I was going to debut, I was really happy that now I could be the one to spread the joy!!

I hope I could spread my love through singing, which is what I like the most.

I will do my best, so that Aina Suzuki’s songs will become one of the elements that cheer you up, and give you courage every day, and I hope you will support me!!

Kiki’s Delivery Service Original Soundtrack Plays Like a Story

Kiki’s Delivery Service takes a dose of witchcraft and pairs it with the mundaneness of an Amazon drone delivery service. Which is to say it’s a fantastic premise with the right amount of drama to make for a compelling watch. To accompany such a backdrop, composer Joe Hisaishi once again shows off his magical touch at blending the magical with the ordinary. With that, Hisaishi’s airy waltzes and soft, murmuring solos brings the story of a young witch to life in the Kiki’s Delivery Service OST.

Hisaishi’s strength as a composer lies in his ability to write a soundtrack that takes you through the story. The leitmotif provides the core for Kiki’s Delivery Service. We get that in the whimsical, down-to-earth “On a Clear Day…”. The quaint flute solo paints the movie’s pastoral atmosphere, then quickly grows to include a procession of exuberant instruments. The optimism is sustained further in “Departure’s” quiet, loving air that hints at the dab of trepidation for the road ahead.

On a Clear Day…

And with that, we’re off! “A Town With an Ocean View” evokes a bustling seaside village. I particularly love how much character Joe Hisaishi fuses into this track. The initial mixture of business and curiosity makes way for a mysterious, scurrying oboe. With a crescendo, the piece gets its joie de vivre through a string section that swoops in with a lively, pastoral dance to mirror Kiki’s enthusiasm.

A Town With an Ocean View

Kiki’s Character Growth Comes to Life Musically

From there, the routine of the day-to-day settles in. “Helping at the Bakery” has an irresistible energy that possesses a sense of purpose. The same can be said for “Starting a Job” which has a cheerful, earnest vibe of a girl figuring things out as they come up. In a sharp contrast to all the energy, “Jeff” ambles along to a lazy-sounding tuba in its depiction of an old dog napping in a warm corner until stirred by a warm breeze. All together, these pieces capture facets of the pleasant, unhurried pace of seaside life in its entirety, in a way that makes me smile as my mind floats on towards wondrous daydreams.

Jeff

But a new life isn’t all sunshine and rainbows. After the excitement wears off, loneliness and the feeling of being out of place seep in. Joe Hisaishi’s music shifts to represent this aspect of growing up. “Heartbroken Kiki’s” poignant piano melody presents a sadness borne out of a search for one’s identity. Though the melancholia stands at the forefront, I love how the string melody conveys a yearning for a sense of happiness and purpose that seem elusive.

Heartbroken Kiki

The OST’s Conclusion is Uplifting

The drooping mood doesn’t last long, however. Inspiration comes through deep reflection. Hisaishi depicts this in “To Ursula’s Cabin”. It starts with a mellower version of the main theme, then cascades gently to wash away the stress and soothe the spirit. “Mysterious Painting” builds upon that with its subdued tone. I appreciate how it departs from the motifs that have come before to stand strong in its own right, providing a welcome change of pace.

Mysterious Painting

But then, it’s time to put character growth, introspection, and a resurgent ability to the test. In “Rough-Flying Airship Adventure” the urgency settles in with a dissonant line to set the listeners on edge. The scope then increases in “Old Man’s Deck Brush”, where the motif from “Town with an Ocean View” rears up, but in a more menacing tone. The trumpet sallies forth with fierce determination and the strings scurry along to amp up the urgency Kiki experiences. These two pieces are a lot more action-oriented than what’s come before, but it’s another bit of variety that keeps the album fresh.

Rough-Flying Airship Adventure

When the excitement hits its zenith, a measured sense of hope rides in on a deck brush. In “Rendezvous with a Deck Brush”, the calm, stately strings imbues the atmosphere with grace to match the increased self-confidence. Though short, it provides an assurance that no struggle is insurmountable.

Rendezvous with a Deck Brush

The Kiki’s Delivery Service OST wraps it up with “Rouge no Dengon” which has the type of 70s disco pop music. While I’m not as fond of its synthy goodness the first time through, it’s grown on me with its cheesiness. Of the vocal tracks, I much prefer the folksy “If Enveloped in Tenderness”. The guitar duet feeds right into my mellow sensibilities and the atmosphere of the soundtrack on the whole. Yumi Arai’s soft and sweet vocals adds a final soothing touch to what is a wonderful album.

If Enveloped in Tenderness

Rating: Excellent

Although our focus is on the music, we appreciate a good CD release here, and I was curious to see what the soundtrack release offered. The cover art depicts a mercenary and the mecha unit called the Arsenal. Inside, you can reach through thoughts from the game’s composers as well as its core staff members: Producer Kenichiro Tsukuda, Director Ken Karube, and Co-Director Ken Awata. It’s just a shame that they’re all written in Japanese, so there’s no way I can get a good translation at my disposal.

So with that, here’s the unboxing we did of the game’s soundtrack.

So it’s not bad! The game consists of 45 tracks, spread across 3 discs. But the key lies in the music staff, most of whom work with Namco-Bandai.

We’ve got:

• Junichi Nakatsuru – Credits include Soul Calibur and Ace Combat.
• Rio Hamamoto – Prolific work for the Tekken franchise and Soul Calibur.
• Toaki Usami – idolm@ster credits
• Mitsuhiro Kitadani – Both idolm@ster and Ace Combat 7

Needless to say, that’s a pretty strong group of composers. With that in mind, I’m going to gamble and say that Daemon X Machina’s soundtrack will align closer to Ace Combat than idolm@ster, so expect a lot of rock or epic string orchestra to sweep you through the conflict. Either way, I’ll look to have a review up in about a week or so, so you can pore through what I really think of this release.

DAEMON X MACHINA Original Soundtrack
© 2019 U/M/A/A Inc.
© 2019 Marvelous Inc.
(Nintendo Switch is a trademark of Nintendo)—

10 years later and Rasmus Faber is still hard at work. He’s continued to release more jazz arrangement albums and even found time to compose the score to an anime series. What I found delightful about his efforts (even if I admittedly fell off the anime wagon a few years ago) was was how the Platina Jazz series continues to stay up to date, plucking songs from anime old and new to bring a wide-ranging survey of anison to fans.

Now with Platina Jazz Volume 6 getting its release on October 23, 2019, we see their hard work bear fruit. Prior to the launch of the album, their YouTube channel featured 2 new songs: “Welcome To Japari Park” from Kemono Friends and “Komm, Süsser Tod” (AKA “Come Sweet Death”) from The End of Evangelion.

Hot Takes of Platina Jazz Volume 6

In “Welcome to Japari Park”, their jazz treatment transforms a fun, throwaway seiyuu song, into an equally fun, swingin’, swaggerin’ selection. “Komm Susser Tod’s” arrangement stays equally faithful to its source material. Its resigned, regretful take on Arianne’s cheerfully apathetic rock ballad shines in light of Niklas Gabrielsson’s pitch-perfect delivery. I’ve found myself entranced by his rendition of the tumblin’ “Hey Jude”-ish chorus, with its cathartic release of despair and self-abnegation.

There’s more, of course, but I’ve yet to listen to the album in its entirety. But to hear the initial impressions is heartening. An English version of “Zen Zen Zense” from Kimi no Na Wa/Your Name? A swingin’ “Connect” from Puella Magi Madoka Magica? How about “One More Time, One More Chance” from 5cm/second? Needless to say, I’m pretty excited about this set!

So if you’re into old media like I am, you can pick up the CD here.

Genre: Drama
Company: Brains Base
Format: 13 episodes
Dates: 07 July 2008 – 29 Sept 2008
Purchase at: Amazon (affiliate)
Natsume Yuujinchou Soundtrack Review

The Highlights

Main characters: Exhibit a lot of growth and development.
Natsume and Nyanko-sensei: Interactions are fun to watch.
Atmosphere: Subdued, but absolutely beautiful.
Storytelling: Sentimental, uplifting, even heartbreaking at times, but wonderful.
Music: Soft and unobtrusive.

Natsume Yuujinchou Review

The concept of the episodic anime series revolving around supernatural beings is a relatively new phenomenon. But it’s a genre with a stellar track record. Natsume Yuujinchou, Brains Base’s latest foray into the genre, doesn’t pack a punch like Mushishi, but it is enjoyable in its own right. By taking a down-to-earth approach to its stories and filling them with emotional moments, this series forges a connection between the humans and the spirits. This allows the viewer to understand and sympathize with the characters and makes the anime’s poignant vignettes all the more memorable.

From start to finish, Natsume Yuujinchou rarely wastes a second. Each episode builds itself up by focusing upon a simple theme like lost love or reconciling disagreements between friends. The familiarity and relatability of such situations are crucial to this series. Once the audience understands the basic premise, the episode can then develop the emotional side and draw it out to great effect.

And develop the emotional side it does. Each episode brings forth its distinct mood flawlessly, regardless of the subject matter. Whether the episode is trying to aim for comedic fare, a sentimental moment, or an uplifting experience, the episode hits the mark more often than not. I found myself content to sit back and be taken along for the ride.

None of this would have been possible if the series had not taken care to develop the characters. The spirits themselves are fleshed out rather well. Each one has a distinct personality and detailed backstory that makes it easier for the audience to empathize with them. However, where this series excels is how they develop the main characters, especially Natsume.

Natsume’s role makes him the bridge from one episode to the next. Though he starts out as a reluctant protagonist, by being forced to interact with spirits, his stance towards them softens. Furthermore, his interactions encourage him to break out of his shell to socialize with people more. This progression is slow and subtle, but the Natsume at the start of the series is different from the one at the end. The honesty of the feelings and emotions that go into Natsume’s development is disarming in a way that’s almost ARIA-eque. That is, it grabs at the audience’s heartstrings by encouraging them to reach out and form that emotional bond with Natsume.

The artwork and the soundtrack immerse the viewer into Natsume Yuujinchou‘s subdued, enchanting setting. Even then, the series shines brightest in the way it tells its stories and develops its cast. Just be prepared for the occasional bout of waterworks that comes with this ride.

Rating: Good

The Rundown: If you’re in the mood for some militaristic mecha fare, Fafner in the Azure‘s soundtrack is probably one of the better ones. Tsuneyoshi Saito’s compositions run the gamut of mellow, airy themes to battle themes that carry an intense atmosphere without overshadowing the melody amidst the bombast. But nothing matches the poignancy of the piano concerto he tucks in near the end. That track, with its overflowing emotions, turn a very good soundtrack into pure aural gold.

Review: Fafner in the Azure’s first soundtrack, -No Where- envelopes the listener with its sense of wonder, majesty, and ambition. In a genre that’s filled to the brim with thrilling orchestral scores, that Fafner’s music stands out among the many mecha anime out there is a testament to composer Tsuneyoshi Saito’s efforts. The struggles, tragedies, and triumphs feel much more impactful, elevating the Fafner listening experience to that of an epic. It’s not a term that I throw around lightly, but in this case, it fits.

Part of that is from the sheer diversity of emotions that Saito brings to the fore. We have our initial feelings of dread in “Prologue -Beginning-‘s” heavy-handed atmosphere. The sense of danger kicks into higher gear once the brass take charge, evoking the panic brought about by enemy attack. But in every adversity, there is a chance to seize glory. “Prologue” plays that trope magnificently near the end with its furious string ostinatos and brass fanfares, leaving us with the feeling that the characters will triumph.

Fafner then takes a few asides, throwing in calmer, more idyllic melodies in “False Paradise.” “False Paradise” stays true to its title with a relaxing flute and violin melody. “Blue Sky” is better still, with strings that are as lofty and airy in its depiction of the piece’s title. “Comrade” takes us into familiar mecha territory with a militaristic theme. Its staccato melody conjures the flurry of activity and camaraderie that will become critical once calamity strikes.

And it does. “Truth’s” melody summons the disaster through a violin melody that crescendos to herald the coming of the enemy. With disaster comes tragedy, and “Anguish’s” piano melody paints a stark picture through repetition to create a growing sense of despair. A respite is heard in “Flowing Tears,” and in “Valkyrie’s” meandering chorus. But that respite is temporary once “FAFNER -An Oath-” begins playing. Here, Saito mixes the epic and the majestic with its sweeping violins. The motif in “Prologue” is played at a slower, more deliberate clip to capture the rejuvenating morale that builds up the grit into stubborn resistance.

Battle is then joined in “Are You There? -Battle-” which brings forth the brass in all its intense glory, instilling into the listener with its sense of grandiosity, but it does not neglect to touch upon the tragedy. Indeed, one hears little hope in this and in “Assimilation Crisis” where the repetitive line builds up the tension which does not reach a resolution until the namesake track comes on to bring in a taste of glory to be had in victory.

With that, the sadness and regret bubbles up in “Blue Sky of Sorrow,” which uses a trumpet to play a funeral dirge that oddly reminds me of the theme from “Taps.” However, the best track that plumbs these emotional depths is “-SHOKO-,” which draws upon the power of the piano concerto. Immediately, the piano part plunges the listener into the pits of despair and regret with its melancholy melody, creating a tragic, yet strangely beautiful result. One of the highlights is hearing the piano plays as a counterpoint to the orchestra, moving exquisitely that one cannot help but feel the pain and sorrow that this piece expresses so well.

“-SHOKO-” serves its role as the emotional climax of the album; things wind down after that. “Prayer’s” chorus brings in an air of serenity which “Sky” picks up upon to harken to a peaceful era. The little harp crescendo helps elevate that feeling of hope and assures the listener that the triumph is well-nigh. Once “FAFNER in the Azure’s” fanfare starts, one feels that wave of triumph wash over, making it a great way to end the instrumental part of the album.

Through it all, Tsuneyoshi Saito brings us a majestic soundtrack that is more ambitious than the usual anime score. The way his music allows us to experience the action and empathize with the characters cannot be praised enough. Although it would have been a much easier to throw in the standard bombastic mecha fare, Saito’s memorable orchestral score for Fafner leaves us in awe at its beauty, majesty, and emotive power.

Rating: Excellent

Synopsis: Detroit Metal City is about Negishi Soichi, a recent college graduate with a very mild-mannered disposition who dreamed of one day becoming a kindergarten teacher and living an ordinary life. But life didn’t quite work out that way and now, Negishi finds himself moonlighting under the pseudonym Johannes Krauser II, the lead guitarist and vocalist for the death metal band Detroit Metal City. It’s already hard enough trying to conceal this aberrant lifestyle from his family, but to complicate matters even more, Aikawa Yuri, a girl he used to have a crush on in college has come back into his life, making it all the more important that she doesn’t discover his Krauser alter ego.

Genre: Comedy
Company: Studio 4°C
Format: 12 OVAs.
Dates: 8 Aug 2008 – 28 Oct 2008
Purchase at: Amazon (affiliate)

The Highlights

Comedy: Has a few odd moments, but it’s generally consistent and it works.
Pacing: Rapid-fire, which means there’s hardly a dull moment.
The manager: Appalling, but hilariously so.
Art: Has a manga-fied look about it.
Romance: Somewhat pointless.

Detroit Metal City Review

Detroit Metal City’s unrepentant spoof of the death metal genre is so far off the beaten path that it becomes a brilliant parody. Nary a highbrow joke can be found, but its execution is exceeding clever. Don’t expect a plot either, it’s its satirical take on the death metal genre as well as the humor that comes from the dueling Negishi-Krauser persona that reigns supreme. The result is a highly entertaining series that gleefully pushes its parody of the death metal genre to the extreme by sparing no one from its assault on the genre.

Detroit Metal City satirizes the music itself by taking one of the most demonized musical genres and defanging it through its ridiculous portrayal. The music is packed to the brim with profanity and the acts described in the lyrics would make anyone with a puritanical outlook squirm uncomfortably. But through the series’s use of hyperbole, the parody becomes readily apparent and delightful by revealing the extent to which death metal is a hollow, harmless genre that aims to cash in through pure shock value. Pay attention to DMC’s hilariously over-the-top lyrics (one of the songs is about killing and raping one’s own parents) as well as the song titles including the comically titled “Death Penis” to get an idea as to how far this series goes in its mockery of death metal.

But an even more important reason to read the lyrics carefully is to get at another facet of Detroit Metal City’s comedy: the conflict between the Negishi-Krauser personas. Throughout the series, Negishi’s attempts to write trendy, but campy pop music fares poorly, a setback that isn’t all too humorous if it weren’t for the way his music becomes the source material for many of DMC’s songs. The series cleverly juxtaposes Negishi’s words alongside DMC’s and a quick comparison between the two sets of lyrics reveals that DMC’s amusingly vile lyrics draw inspiration from Negishi’s original works. As such, seeing the manner in which his original lyrics are perverted to suit DMC’s idiom leads to a load of laughs, especially considering how appalled Negishi is at the messages contained within DMC’s music.

Naturally, this internal conflict between Negishi’s mild persona and his raging Krauser alter-ego brings with it the sort of hilarity borne from schadenfreude because of how horrified Negishi is with Krauser’s actions and how his attempts at controlling Krauser fail miserably. Furthermore, DMC’s raucous fans do him no favors by goading the Krauser part of him on and in doing so, add to the Krauser legend by having him perform stunts that are reinterpreted to propel Krauser to divine status. And of course, DMC’s foul mouthed manager deserves a special mention for her reactions to DMC’s music and behavior. I’ve never seen anyone possess knowledge of so many ways to describe female sexual arousal, each one more outrageous than the last.

As I watched Detroit Metal City, my mind kept coming back to Monty Python’s Life of Brian because the two are so similar. Both works feature a protagonist who isn’t all too comfortable with the hand fate had dealt them and though they grapple with the world around them, their efforts are in vain, but the comedy is downright hilarious. Detroit Metal City is certainly not on par with Life of Brian, but it does come pretty close, and it sure is a lot of fun to watch by providing a lot of laughter from start to finish.

Rating: Very Good

Genre: Drama
Company: Studio Ghibli
Format: Movie; 126 minutes.
Dates: 20 July 2013
Purchase at: Amazon (affiliate)
Wind Rises Soundtrack Review

The Highlights

Art: Not as wild as previous Miyazaki works, but fitting given the story.
Jiro: His dreams bring forth much tragedy.
Side characters: Their perspective covers Jiro’s blind spots.
Hayao Miyazaki’s Swan Song: An excellent finish to a wonderful career.

Wind Rises Review

The Wind Rises takes the complexities and contradictions of the human condition and lays it bare for all to see. The story centers on Jiro Horikoshi, a dreamer and idealist seeking to create beautiful airplanes. But these lofty ambitions are tainted by their use in war to slaughter countless people. It is this personal conflict in which Jiro’s story is told, yielding a powerful finale to Hayao Miyazaki’s career.

The tragedy that unfolds is borne by a single-minded passion that borders on the obsessive. In it, we see a man possessed by the desire to steer Japanese aviation to greater heights. His head is constantly in the clouds where, in dreams, he meets and talks to his idol, the Italian Count and aviation pioneer Giovanni Caproni. The Count serves as a source of inspiration, but also a voice that alerts Jiro of what he’s in for should he pursue his dream to the end. The film does an excellent job in framing this dilemma when Caproni compares the beautiful and ugly sides of Jiro’s dream to the Pyramids.

Nevertheless, Jiro’s passion drives him forward, earning him the admiration of his superiors, but leaving him seemingly apathetic to events around him. That his focus so supersedes everything else elicits much admiration and consternation, but in the end, it makes him very human.

Jiro’s seeming unawareness is counterbalanced by an excellent supporting cast. Of those, John Krasinski’s performance as Kiro Honjo is one of the film’s brightest spots. Honjo, an engineer and Jiro’s friend, serves as the voice of cynicism throughout the film, verbalizing the misgivings in the audience’s mind. Stanley Tucci, as the showy Count Caproni, also does an excellent job in his role as Jiro’s spiritual guide, showing him not only what’s possible, but also the pains his conscience will have to endure.

One of the most fascinating aspects of the film is the relationship between Jiro and his wife Naoko. The courtship plays out in a manner typical of that in the Taisho era, but it adds a symbolic layer to the duality of Jiro’s dreams. In the film, we see her, beautiful and understanding, but also fragile and delicate. And the closer Jiro is to designing Japan’s aerial war machine, the closer the two experience tragedy. Her parting words near the end of the film nail the moral underpinnings of Jiro’s pursuits, making for a wonderful, bittersweet finale.

The landscapes, comparatively speaking, are tame for a Miyazaki film. They feature none of the flourishes of Ponyo‘s underwater sceneries, the fantastic workings of the titular castle in Howl’s Moving Castle, nor the evocative locales in Spirited Away. Instead, one notable scene sees the ground roiling about violently in Miyazaki’s depiction of the Great Kantō Earthquake in 1923. And then there’s Miyazaki’s love for aviation, which comes to life in the elaborate, ribboned constructions of Count Caproni’s aircraft and the practical and deadly designs of Jiro’s planes. The use of color is also fitting as the browns and grays of ash and rubble paint the extent of the destructive results of both the earthquake and Japan’s military incursions.

In looking at Hayao Miyazaki’s filmography, we find works that have ranged from the whimsical to the fantastic, but all touch deeply upon humanity’s capacity to soar to great heights as well as the frailties that lay them low. The Wind Rises is a culmination of all these elements. It leaves us with a profound sense of loss as we keenly feel the tragedy that Jiro bears. But it also instills a sense of sorrow as we bid farewell to a master of his craft.

Rating: Excellent

Index:
2:19 – Clannad – Tiny Palm – riya
7:04 – Ponyo – Mother Sea – Joe Hisaishi
10:31 – Wolf Children – Lullaby in the Peaceful Light – Masakatsu Takagi
14:29 – Someday’s Dreamers – Where the Sky and Earth Meet – Takefumi Haketa
19:11 – Kurenai – Suiheisen no Mukou Ni – ken muramatsu
21:45 – Hanamaru Kindergarten – Kigurumi Wakusei – Ayahi Takagaki
29:42 – Penguin Highway – The Theme of Penguin Highway – Umitaro Abe
32:36 – Penguin Highway – Dentist Lady – Umitaro Abe
34:38 – Penguin Highway – Summer Vacation – Umitaro Abe
37:19 – Penguin Highway – Stolen Research – Umitaro Abe
40:29 – Penguin Highway – Penguin’s Parade – Umitaro Abe
44:25 – Tsubasa Reservoir Chronicle – Loop – Maaya Sakamoto
50:24 – Cardcaptor Sakura – Platinum – Maaya Sakamoto
54:36 – Rahxephon – Hemisphere – Maaya Sakamoto
59:43 – And Yet the Town Moves – DOWN TOWN – Maaya Sakamoto
1:03:42 – Amanchu – Million Clouds – Maaya Sakamoto

Enjoy and let us know what you think!

The somber passages from Nausicaa’s “The Legend of the Wind” that opened the concert signaled that I’d be in for a treat. The piece carried a powerful current of nostalgia that swept its way from Joe Hisaishi’s piano to the audience. As the images from the film flashed across the screen up front, I was enthralled by his performance and teared up as the sentiments from Nausicaa bubbled up the surface.

Never mind the fact that Hisaishi, at 67 years of age, no longer has the supple fingers needed to dance on the piano like some hotshot virtuoso. What the concert lacked in technical perfection it made up for in its heartfelt mixture of awe, wonder, and delight! Joe Hisaishi, backed by the Symphony Silicon Valley, would unleash melodies that endured in their timeless expressions of grandeur and representations of humanity.

The former was on display through works like Princess Mononoke’s “The Legend of Ashitaka”. The Symphony Silicon Valley Chorale plunged us into the depths of the film’s magic and mystery, setting the tone for the adventurous motif. The motif then segued into the “Demon God” with its concentrated intensity and dreadful vigor. Ponyo’s “Deep Sea Pastures”, with its outpouring of color, was equally grand in its vivid visual accompaniment. But what truly brought both suites to life was Soprano Lisa Vroman. Her beautiful voice gave Princess Mononoke its hallmark haunting tones and wrapped the audience in a soothing, motherly atmosphere when she sang Ponyo’s “Mother’s Sea”.

However, it was Hisaishi’s melodic depictions of humanity that proved most riveting in its live setting. Kiki’s Delivery Service was jubilant as the string section bounced and rolled along in “Town with an Ocean View” before it capped off with “Mother’s Broom’s” sentimental violin solo. The music of The Wind Rises took a different angle, beckoning to dreams tinged by bittersweet sorrows. But the most emotional piece the Symphony Silicon Valley performed was the romantic “Bygone Days” from Porco Rosso, which whisked along to bring out the characters’ dreams, desires, and doubts.

Mai Fujisawa, Hisaishi’s daughter, also performed at the concert with a beautiful refrain during Spirited Away’s “One Summer’s Day”. But where she excelled most was when she sang “Hey Let’s Go” and “My Neighbor Totoro”. The buoyant, happy melody brought a smile to my face, and I found myself bobbing along to the delightful theme. The students of the Reedley High School Symphonic Band also made an appearance when they marched in to perform “Doves and the Boy” from Laputa. Though their inclusion was probably the biggest head-scratcher of the evening, they acquitted themselves well with the fanfares before letting Hisaishi usher in the soulful “Carrying You”.

The encore also proved to be a must-see. Porco Rosso’s “Madness” made its thematic component known, creeping in through Hisaishi’s lyrically seductive phrasing. That was followed by “Ashitaka and San” from Princess Mononoke to close out the concert. Its melody was fitting, offering a sense of finality, but also a warmly inspiring feeling of renewal which had the cheering audience out of their seat in exuberant applause by concert’s end.

Note: Joe Hisaishi will be performing in Los Angeles on September 21 at the Microsoft Theater. Ticketing information can be found here for those interested in seeing him live.

For those unfamiliar with the band who are looking for a place to jump in, Keigo recommends their song “GO!!!” as a good introduction to their music. FLOW’s 4th single, the song was used for Naruto’s 4th OP. It’s a great example of what the band is all about with its catchy and morale-inspiring cheers of “FIGHTING DREAMERS!”. You can listen to the song on the band’s official channel here, and follow Kohshi’s instagram at kohshi_FLOW.

In person, the band was a pretty chill group. Keigo, Kohshi, and Iwasaki did most of the talking, often making relaxed jokes. Their answers gave the distinct sense that the band members truly love their work and their fans. They absolutely love putting on concerts and love connecting with the audience. It was my strong impression that FLOW is in it to see people have fun with their music.

Concert Review

Their concert was a blast! The band was definitely aware of the crowd and prepared a packed setlist filled with songs featured in different anime. The audience was treated with such favorites as “Colors”, “Days”, and “World End” from Code Geass, “Sign” and “Go!!!” from Naruto, and “Cha-La Head-Cha-la” from Dragonball Z, among others. Anime fans definitely didn’t leave the concert disappointed.

Out of all the performers at Anime Boston this year, FLOW absolutely had the best presence and crowd engagement (perhaps not that surprising when the band has been perfecting the art for more than a decade). The lighting was dynamic and interesting and really emphasized the songs while livening up the venue. As Keigo and Kohshi took turns singing the other would be hyping up the audience or  leaping all over the stage. The band broke up the performance to keep things fresh and inserted little flourishes that made the concert feel truly unique. Aside from the typical band introduction, FLOW took the time to introduce each of its members mid-concert by having each instrumentalist do an intense solo to showcase their technical skill. Fans of the Red Sox were also delighted when FLOW unexpectedly segued into a rendition of “Sweet Caroline” whilst Kohshi danced in a funky lighted costume. Finally, during “Go!!!”, the audience was encouraged to belt out the chorus along with the song, ending the concert on a high note of “Fighting dreamers!!!”.

By the end of the concert it was hard not to love such a fun-loving band. Luckily, FLOW tours quite frequently (indeed, they are touring South America in July) and I have no doubt they will visit North America again. Thank you FLOW, for coming to Anime Boston and I hope you visit again!