Track List:

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Review: Rock music isn’t a genre that’s typically associated with anime music beyond the sea of J-rock OPs and EDs. Other than those, you’d be hard-pressed to name a soundtrack in which electric guitar riffs feature prominently. Geneshaft will usually be mentioned as one of the few that do, and now comes NEEDLESS’s soundtrack, which sports an excellent array of rock tracks that will draw you in and hold your attention. Masaaki Iizuka, who also goes by e-ZUKA, should be commended for this soundtrack, which channels a sense of ferocity and intensity perfectly. As I listen to this, I imagine that even if these tracks don’t exceed Geneshaft’s level of quality (I’ve not listened to Geneshaft’s OST), they’re going to come pretty darn close since there aren’t any tracks that I would consider to be weak or boring.

Take for instance the first track “Raging Flames,” which starts off quite strongly with a fast-paced rhythm that works with the melody and guitar riffs to depict that intensity borne from a face to face battle between two hated rivals. The amount of energy that this track pours forth will keep you enthralled, but what really stands out is the guitar playing towards the end of the track as the tempo keeps on going up and e-ZUKA doesn’t miss a beat as he takes the already high amount of badassery to the next level. Impressive the whole way through, “Raging Flames” offers a taste of what’s to come, providing that very strong first impression.

Raging Flames
[See post to listen to audio]

As you dig deeper into the soundtrack, it’s the frenetic guitar work that makes this album such an awesome experience. I am not fan of rock music, and because of that, it’s hard for me to judge whether e-ZUKA’s technique constitutes a virtuoso performance. So without much background knowledge to lean upon, I can only say that many of the passages leave me in awe. “COUNTDOWN,” in particular displays some really awesome guitar solo parts towards the middle of the piece as the notes get shorter, creating the feeling that the tempo is purposefully sped up until it feels like the rhythm guitar is flying at a manic pace. The grim feelings that this track imparts is conveyed well as it maintains a high level of intensity that has characterized many of the tracks thus far.

COUNTDOWN
[See post to listen to audio]

Furthermore, the show’s shounen roots will yield some tracks that work to convey a sense of purpose. “VISION” primes us for this by sounding somewhat upbeat before moving into a melody that could depict the characters’ resolve as they proactively seek to achieve their aims. This image is even more pronounced in “Vital Mission in the Spanish Desert” which starts off with a fast rhythm before settling on a guitar solo that carries with it a sense of purpose and propels the piece forward. In listening to this, there’s a slight bit of a Spanish flavor that one can pick out, helping to bring some variety to the soundtrack. It also doesn’t hurt that the way e-ZUKA shows off his shredding ability on the guitar comes off sounding really impressive, making you want to catch every single note that comes forth.

Vital Mission in the Spanish Desert
[See post to listen to audio]

The ambiance is also present in this soundtrack and manifests itself quite nicely. “The Moon of a Silence,” for example, creates a foreboding aura as it aims for a slower pace as it uses the electric guitar to depict a menacing presence. This atmosphere continues in “Sleeps in Madness,” where the guitar plays intermittently to create a feeling of uncertainty. The other instruments that comprise the background add to this by creating a ghastly aura that depicts tormented spirits howling in despair. The piece never ends conclusively, leaving that creepy feeling to linger on. Finally, you’ll come to “Slave of your Ghost” which is as oppressive as its title suggests by bearing you down with spiritual burdens through a harsh, dissonant melody that feels as though one’s soul was being crushed by some overwhelming force.

Sleeps in Madness
[See post to listen to audio]

But inevitably, all will end well, and “CHASING TRUTH” wraps things up nicely through a celebratory tone. The rhythms sound upbeat for a change and the piece lacks a sense of urgency. While there are some points that allow the characters (and the listener!) to reflect on all the events that have happened, the overarching theme provides a sense of relief as though to show that the heroes have succeeded against all odds and can take their well-deserved break.

CHASING TRUTH
[See post to listen to audio]

As I listened to this soundtrack, my mind kept drifting towards an enjoyable rock video game soundtrack that has seen continuous play time on my music player: Guilty Gear XX. In comparing the two, I’d say that NEEDLESS’s soundtrack’s quality comes close to matching Guilty Gear’s level of quality. It isn’t enough to make me want to watch the series to see the music presented in its proper context, but the intense electric guitar shredding and consistency that each track displays will have me coming back for repeat listens.

Rating: Excellent

It seems like forever since I’ve written up anything related to the MALKeionbu (alternatively known as the MyAnimeList Music Piece of the Week Club), but I figured now that we’ve entered our 25th week of voting, there’s something special to be had in this moment. 25 represents a pretty significant psychological barrier, for me at least, because, let’s face it, keeping a weekly event running for 25 consecutive weeks with few hiccups along the way is a pretty huge feat. And for that, I’d like to thank all of those who’ve directly participated whether it’s in track nomination or voting, in making this such an awesome event.

This milestone also offers an excellent opportunity to look back on all the tracks that have come and gone. The weekly process of nominating 7-10 tracks for 25 consecutive weeks yields a whole hell of a lot of anime music of all styles and rhythms. We’ve gone from simple emotions like Love and Despair, scene depictions like Action and Cityscapes, works from a single composer, to examining music covering various styles (Funky/Groovy) and instruments used (Piano, Electric Guitar). The thing that blows my mind the most is the club members’ ability to come up with a pretty good set of tracks week after week and I’ve yet to go through a week where I didn’t learn something new or find some album or composer to check out. Then there are the discussions that result during the voting phase that have been enjoyable to take part in, because through that, you get a better understanding for people’s tastes and opinions which in turn, helps you appreciate the music more. So it’s been a great learning process through and through!

With that in mind, let’s turn to some of the pieces that really struck a chord with me in some way or other. For the purposes of this list, neither tracks that I’ve nominated nor tracks that I’ve heard extensively are eligible since a big part of what makes this club fun is the process of discovering new pieces. So here are my picks:

Week 2 – Love
Anime Title: Giniro no Kami no Agito
Track Title: Ai no Melody
[See post to listen to audio]
Comments: Man, even after all this time, this piece refuses to get out of my playlist and the funny thing is that I didn’t even give it points when I had the opportunity to vote for it! And yet, this piece continues to grow on me. The more I listen, the more I notice the little things, like the way she sings the line, “Ai no melodyyyyy” (thanks to Omisyth for getting me to pay close attention to that part) that enhance the track and make it as beautiful as it is. It also got me to take a look at the soundtrack (composed by Taku Iwasaki) and that too, was a very nice experience all around.

Week 3 – Lost
Anime Title: Pokemon Heroes
Track Title: Search for the Girl
[See post to listen to audio]
Comments: “Search for the Girl” grabbed me with a sense of energy and purpose that you can definitely hear through the music. Furthermore, the music makes for a good picker-upper because the the violin and accordion parts play really well together to create that sense of the grand adventure that works well on its own. What this piece manages to show is that Pokemon music need not suck and its quality virtually assures it a place in my playlist for a good long while.

Week 4 – Legendary
Anime Title: Gigantic Formula
Track Title: Main theme v.0
[See post to listen to audio]
Comments: MAJESTIC! That’s what this track is. The way the track just crescendos in still leaves me in a state of awe every time I hear it, as it instills within me a sense of the story’s epic scope filled with struggles, tragedies, and triumphs. This piece also served as my first introduction to Hiroyuki Sawano and this introduction has been rewarding. The music from Gigantic Formula is gorgeous and I really liked his versatility in moving into rock in his compositions for Sengoku Basara.

Week 5 – Pop Vocals
Anime Title: Top wo Nerae! 2 Diebuster
Track Title: Groovin’ Magic
[See post to listen to audio]
Comments: It’s really too catchy for its own good. I mean, ROUND TABLE’s music has always had this sweetness to it like the ARIA EDs, but this one just takes the cake. I’ll just blame the melody for having that catchiness that ingrains itself in so well in my head and never quite lets go. I’ve often found myself humming this song and not realizing that I am until about halfway through.

Oddly enough, half of the list comes from the first 5 weeks. I think a part of it has to do with the time span because these tracks have had more plays compared to some of the more recent stuff. Or maybe actually blogging it helps my memory a bit more than just posting my thoughts in the voting thread itself. Anyhow, let’s skip past a few weeks where we hit

Week 11 – Discovery
Anime Title: Someday’s Dreamers
Track Title: Where the Sky and the Earth Meet
[See post to listen to audio]
Comment: The piece starts off quietly enough before it comes forth with a very beautiful piano melody. In listening to this, I just can’t help but be drawn in by its sweetness and the feeling of childhood innocence that it depicts through a very whimsical atmosphere that’s just somehow perfect in its execution. The fact that the melody carries a Celtic/Irish flavor is an added bonus since that’s not a quality that I see often in anime soundtracks and variety, in my book, is always a good thing. Also, this track opened my eyes to composer Takefumi Haketa whose compositions have been impressive overall.

Week 16 – Yoko Kanno
Anime Title: Brain Powered
Track Title: Spark
[See post to listen to audio]
Comments: When I decided upon our first featured composer, Yoko Kanno was a natural pick since her works span many different types of shows and in general, they’ve been quite excellent. The tracks picked for that week were pretty good, but this gem proved to be a little different, starting with that discordant bit in the beginning which might very well have been a turn-off if one were to stop there. Listening further though, would yield quite a musical treat that mixes dissonance with the epic to really keep one off-guard in terms of what to expect, at least, until halfway through the track where it starts showing its true colors as a piece depicting some sort of an epic finale. It’s the unconventional Kanno that I really like here and this effort shows why she’s pretty much at the top of most people’s lists when they have to name anime composers.

Week 23 – Electric Guitar
Anime Title: Geneshaft
Track Title: IDENTIFICATION
[See post to listen to audio]
Comments: Omonomono had blogged about this particular week with the note that as far as anime soundtracks go, rock music doesn’t actually feature prominently in the BGM. Needless does manage to fill that gap (and I’m working on giving that soundtrack my full attention), but before Needless, there was Geneshaft. In “Identification,” no time is wasted as the piece dives into the melody while delivering on the action that this piece depicts. Through it, you can hear some pretty awesome riffs and distortions that really hold your attention and lend an air of intensity. If this is representative of what the rest of the soundtrack has to offer, I’ll certainly have to look into it!

So as we start the nomination process for Week 26 (dealing in badassery), I’ve also put up a survey to better gauge people’s backgrounds and how well the club is serving its purposes. We also have a slew of year-end activities to look forward to, mostly in putting together a compilation of the best tracks nominated this year, so definitely keep an eye out for that. Either way, here’s to another 6 months of awesome anime music!

Review: We all know in terms of anime, books, and people, a first impression is everything. Suzuki Yuki’s debut album as an individual artist definitely starts her off on the right foot. Perhaps it is due to the all-too-common image of bikini-clad crazies screaming on a stage being regarded as ‘music’ in recent years, that I instantly classify all singers who sell themselves with their image as people who can’t sing for nuts. Because of this, I wasn’t very eager to listen to Suzuki at first. However, Suzuki has proven her worth as a singer in just one single, making me realize that, perhaps, I have been a bit too biased after all.

“Hi Iro no Kakera’s” opening demonstrates that this track definitely won’t be mediocre because its style, albeit old-sounding, is different from the usual J-pop openings to be enjoyable. Suzuki’s low voice suits this song almost perfectly. Because this is her debut album, it is important she give us something to identify her with, and the one thing that was imprinted firmly in my mind is her confidence as a singer. Everything about her, from her vibrato to her decrescendos tells me that she definitely knows what she’s doing. The music is also worth mentioning, especially with the consistent bass which, during the chorus part, brings out this song’s strength. Its use of the distortion of the guitar and drum set also brings attention to the main melody, while the piano gives it some class, which many new songs lack. So in terms of standing out, not many songs can do better.

However, there are a few things that can be improved upon. The opening sequence, though very unique, was too short, making it feel haphazard, even a little messy, because it wasn’t closed up properly. Finally, Suzuki’s rapid change from her low chest voice to her head voice brings in too big a contrast, since the latter is actually quite sweet and gentle compared the former.

The song which actually raised my impression of Suzuki significantly is the B-side. Of course, this is one of the best B-sides I’ve heard to date. What we associate with B-sides are generally fewer instruments, and less attention paid to it. I do not deny, music-wise, that “Hi Iro no Kakera” is superior. But the two things that strike me in this track are Suzuki’s wonderful expression and that, as a singer, she definitely does not think that B-sides are insignificant. Her emotions that she conveys through “Signal” are just as good, if not better than it was in “Hi Iro no Kakera.”

“Signal” is more of a rock song than the previous track. The reason “Signal” is so powerful and delivers it message of belief and resolve so well is because Suzuki convinces herself as she sings the song, pouring forth a confidence which pulses through every line of this song.

Personally, the way I judge singles is by following the guideline of A-side sets the image, B-side sets its worth. If the A-side lacks a very specific feel or style, the single is halfway down the drain. If the B-side shows very obvious lack of attention, it gives me the impression the artist isn’t even that serious about his or her work. So if I were to judge “Hi Iro no Kakera” based only on these two criteria, it would be almost perfect. However, I do not deny that being a new artist, Suzuki has much room for improvement and much more room to discover her strengths and styles.

I can’t honestly say that with “Hi Iro no Kakera,” my views on those image-flaunting singers have changed for the better. But Suzuki! I’ll make an exception for you as I eagerly await your next single!

Rating: Very Good

07-Ghost Opening – “Hi Iro no Kakera”

Track List:

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Review: When I had written about the Spring 2009 season, my initial impression of Saki’s music was that it was going to be short and undeveloped, signifying an unambitious, but functional soundtrack. Although this sounds like a value judgement, it shouldn’t be seen that way because all I expect is some good music and on this front, the composer, Tsuyoshi Watanabe (of Nogizaka Haruka no Himitsu fame), delivers with some catchy, enjoyable themes. Even those who have not seen the show will be able to derive enjoyment out of this album because its simplistic nature doesn’t require much imagination to figure out what the track is supposed to depict. A quick listen will show that Saki’s soundtrack runs the gamut of easygoing slice of life tracks, character themes, emotional pieces, and intense tracks that convey the thrill of the mahjong matches. Though the music is as far from being mind-shattering while still being enjoyable, it need not be thrilling to succeed.

Saki’s soundtrack’s strength in simplicity is evident from the first track, “Tokimeki no Toki” which lelangir had described as a well-executed ojou-sama piece. The piano and the harp work together to bring forth a dainty aura that carries with it a scent of romance and innocence throughout its duration. In doing so, its sets the tone of the series by driving expectations for a feel-good anime that, in spite of its tense moments, assures the audience that the ending will be a happy one.

Tokimeki no Toki
[See post to listen to audio]

The slice of life moments then spring forth with “Majanbu de no Hitotoki’s” upbeat, easygoing atmosphere that it projects through its harmonica and piano melody, sculpting a scene in which the stresses of day to day life are nonexistent. “Saki – Gakkou” builds up on the laid-back setting with a quaint piano melody that immerses the listener in an aura of contentment and “Yoi Ko to Issho” adds to it through a high-pitched recorder that meanders about as it calms the listener in a lullaby-like fashion.

Saki – Gakkou
[See post to listen to audio]

Given the show’s idiom, romantic feelings inevitably flutter about in a simplistic, innocent manner, with moments where the characters do their best to summon up the courage to pour their feelings out. “Ano Toki no Kimochi’s” piano melody pauses often, illustrating the anxiety that comes with confessing their love and how the characters go through a cycle of false starts. “Tsutsumi Komarete” a few tracks down furthers the anxiety, but adds a greater sense of urgency through a faster tempo. Unfortunately, that’s about as varied as it gets; most of the pieces will fall along the same vein and by then, you’ll want a break from all the feelings that the characters keep bottled up inside.

Ano Toki no Kimochi
[See post to listen to audio]

That is where some of the sillier tracks step in and “Maid Kissa” injects a high dose of energy into the soundtrack. The image that it conjures through its track title and melody is that of a fanservice moment as the characters find themselves in a state of embarrassment and must cope with it as best as they can. Then comes “Dotabata’s” brand of silliness which is novel the first few times one hears it, but its flighty, impish aura can be slightly irritating after a while. Because of this, my preference goes more towards pieces like “Tacos Costa” and “Yuuki ~Dajiee~.” The titles capture Yuuki’s persona perfectly as the former serves up an atmosphere one might find in a tropical cabana out in the Caribbean while the latter’s fast-paced, frenetic tempo does an excellent job depicting her hyperactive nature.

Tacos Costa
[See post to listen to audio]

After establishing the setting, atmosphere, and characters, it’s time to move into the mahjong matches. “Shiai Mae” shows just how serious the competition with its militaristic melody that covers both the excitement of being at the tournament and the jittery feelings that will inevitably follow. The serious tone then takes over once the matches get under way. Here, one is treated to dissonant that tracks like “Te no Uchi” which drive home the fears the characters experience at the mahjong table. Although there are a few points in which the intense tracks will take a break, allowing for victory-sounding pieces like “Kousei” to settle in, it’s only a respite serving as a release from all that tension.

Shiai Mae
[See post to listen to audio]

Once the series hits its stride through its formidable matchups, the soundtrack follows suit, reflecting the incredible powers that some of the mahjong players wield. “Attouteki na Chikara wo Mokuzen Toshite” carries a feeling of doom through a repetitive section that speeds up as the piece progresses until it hits a point of no return, screaming out a warning as it’s enveloped by the danger. “Kami ka Akuma ka” emphasizes that atmosphere further to demonstrate how truly scary some of the opponents are. The music in “Kami ka Akuma ka” is heavy-handed, bringing with it an oppressive air designed to give the audience an idea of what the other players are forced to endure even if it can get unbearably repetitive at times. However, this series does deal in cliches, and it’s not long before the breakthrough comes along.

Kami ka Akuma ka
[See post to listen to audio]

As soon as “Heroic Star” begins playing, it becomes obvious that the end is in sight, bringing with it a sense of relief along with the taste of sweet, sweet success. The trumpet fanfare gives an adrenaline rush as it pours all its energy into creating that spectacular finale to leave the audience in awe at Saki’s clutch performance. To be sure, “Heroic Star” is cheesy, milking that glorious moment for all it’s worth but it does the trick in dissolving all that tension that had built up, leaving nothing but a sense of relief.

Heroic Star
[See post to listen to audio]

From this point on, the tracks wind down as it depicts the tournament’s epilogue as all of the competing school reflect back upon their experience. The peaceful melodies that dominate this section allows the listener to relax and look forward to the challenges that are to come. Saki’s soundtrack then closes out with “Glossy MMM (arranged)” which wraps things up nicely through an acoustic guitar melody. It differs from the original piece by toning down the excitement appropriate for an ending track. At least, until next time when the mahjong madness begins anew.

Glossy MMM (arranged)
[See post to listen to audio]

For an anime soundtrack that doesn’t aspire to much, Saki manages to achieve its objective of matching up the music with whatever is taking place on screen while delivering an enjoyable listening experience. While criticisms can be lobbed at it because of its general lack of development, the music is never boring. And as long as a soundtrack is capable of achieving that bare minimum, I have no qualms about giving it a passable score.

Rating: Good

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

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

Koi no Mikuru Densetsu
[See post to listen to audio]

Though I’m very much familiar with Hamaguchi, the other two aren’t exactly household names (at least, they didn’t ring a bell to me when I saw their names). As you might have been able to guess from the picture, Akifumi Tada will also be a part of the circle of arrangers and while I recognize the titles that he’s worked on, I’ve never actually watched any of them, so I wouldn’t be able to tell you how skillful he is with composing and arranging music. I suppose the least I can do is listen to Ah! My Goddess’s ED theme to at least get some idea for how it’ll go.

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

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

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

Disc 1

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Disc 2

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Disc 3

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Tracklist provided by Ayumikat at the Brownie Post.

Review: Taku Iwasaki, while still a strong composer, hasn’t delivered as consistent an effort as he had in the past. Whereas before, he had composed the excellent Rurouni Kenshin OVAs, Read or Die, and Witch Hunter Robin soundtracks, nowadays, the quality of his work has varied, from the highly-acclaimed Tengen Toppa Gurren Lagann to the completely lackluster Black Cat. Kuroshitsuji’s soundtrack falls in the upper-middle part of the quality spectrum. The first disc on the soundtrack manages to depict the elegant, yet ominous aura of the anime’s setting, though it doesn’t strive to do much more than that, saving the best parts for the second disc which mixes some of the better orchestral tracks along with some Indian-themed music. The variety to be had in the second disc makes it engaging and through that, the soundtrack as a whole feels fresh and enjoyable as a result.

So while the first disc doesn’t include the best that Iwasaki has to offer, it is nevertheless a competent effort, especially in sculpting the tone for the anime’s setting. “Nigram Clavem” sets up that dark, ominous aura through a Gregorian chant to make one feel a sense of unease through the female vocalist’s stuttering, halting delivery and tracks such as “The butler” reinforce the unease through a melody that that cloaks the subject of the piece in a shroud of enigma. “A diabolic waltz” furthers the enigma through a smooth dance that combines an upper-class feeling of elegance and grace that carries a foreboding tone and in doing so, manages to capture both the aristocratic aspect and the supernatural elements of the anime series.

Nigram Clavem
[See post to listen to audio]

A diabolic waltz
[See post to listen to audio]

As you might expect, the lofty, aristocratic auras are given their chance to shine. “Master of Tea and Scones” works through a Baroque melody that brings to mind a scene in which a group of aristocrats are mingling about and talking about the issues of the day. What I find interesting about this piece’s execution is its use of the saxophone which, though it’s not commonly looked upon as an instrument one would use to depict the aristocracy, draws out an aura of sophistication and snobbery. “La Gardenia” aims more for majesty than sophistication, but its stirring, operatic delivery projects an aura of grandiosity so well that it’s one of the more enjoyable tracks if you like the pompous operatic songs. And if “La Gardenia” is your type of piece, you’ll also appreciate “Wie schon!” where the singer’s sense of urgency meshes well with the foreboding violin section in the background.

La Gardenia
[See post to listen to audio]

Most of the other tracks on that disc are enjoyable enough and if you happen to enjoy ambient tracks, the first disc should suit you just fine. Nevertheless, there are a few that you should watch out for and maybe skip altogether because they are downright terrible. The biggest offender is “Die Hasen!” which I’d charitably describe as a banshee wailing because the singer’s execution is so discordant and out of tune that I suspect that it was deliberate and done for a comical purpose. That, unfortunately, is of no comfort to those of us who have to actually sit through the whole thing and it’s better to pass over altogether. Thankfully, “Die Hasen!” is about as bad as it gets; the others are lackluster at worst. For example, “Shitsuji taru mono” feels as though it should be a comical piece, except that it doesn’t capture the goofy atmosphere all too well because its jazzy saxophone melody sounds kitschy, like the music you’d hear in a room full of video poker machines. “The Dark Crow Smiles” also isn’t too compelling, mostly because it fritters away its opportunity to nail the dark atmosphere through a campy-sounding narration.

Die Hasen!
[See post to listen to audio]

The Dark Crow Smiles
[See post to listen to audio]

The second disc is where most of the better tracks lie and the disc wastes no time in getting you into the mix of things with “Si deus me relinquit’s” mournful melody that creates a God-forsaken feeling. Once the track reaches the 1:35 mark, the piece really opens up with a majestic melody that hides within it a tone of loneliness and despair that can be overwhelming at times. “Si deus me relinquit” goes through a few transitional interludes which help to keep the listener engaged through its intensity and dramatic flair, leaving the listener in awe by the time it ends. Although some pieces like “Never More,” which uses a flute to create a despondent, unnerving feeling, and “Call thy name, ‘Stella Mystica,’” whose menacing tone done through a singer and a piano in the background captures the feel of a forbidden dark ritual, none of them are as enjoyable as “Si deus me relinquit” which grabs you through the raw power of its emotions.

Si deus me relinquit
[See post to listen to audio]

Call thy name, “Stella Mystica”
[See post to listen to audio]

The Indian tracks also bring a bit of character to the soundtrack. Though the music doesn’t strive for something beyond stereotypical traditional Indian music, its strength lies in the novelty factor. It’s not often that one gets an opportunity to listen to Indian music, and being able to do so makes for a nice change from all the ominous orchestral tracks. For that, these tracks are worth checking out, especially if one is fond of ethnic tracks that cover the gamut of soothing sitar melodies to energetic Indian chants that convey an exotic aura.

rudra
[See post to listen to audio]

Although the third disc includes an excellent set of tracks ranging from SID’s “Kiss of Monochrome” to Kalafina’s “Lacrimosa,” Kuroshitsuji’s soundtrack’s strengths still lie in the BGM on the first two discs. Iwasaki has done an excellent job of bringing together the aristocratic tones and the ominous, foreboding auras that makes up a large part of the show’s supernatural side while also mixing in Indian rhythms, chants, and melodies. The effort is solid all around and though there are a few earaches, those comprise a few tracks which are easily compensated for by tracks like “La gardenia” and “Si deus me relinquit.” So whether you’re a big fan of the series or of Iwasaki, you should find this album to be an enjoyable listen since Kuroshitsuji is one of his better works as of late.

Rating: Very Good

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

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

Sora to Umi no Shi
[See post to listen to audio]

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

Other News:

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

Track List:

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Main Theme: Melody
[See post to listen to audio]

Review: Of all anime composers, Yuki Kajiura is one of the more established in the minds of viewers and that she has become an iconic figure in the anime soundtrack scene. That said, many of her soundtracks consistently lack their own distinct identity. Some soundtracks are such that when you listen to them, the anime and only that anime will come to mind. However, Pandora Hearts OST proves to be another case where, though the music sounds brilliant, one can hear many similarities between this and many of Kajiura’s other works.

As I went through this soundtrack, one major complaint that I had was the seeming lack of attention in its presentation, particularly to the order of the tracks. A fast-paced track can be immediately followed by a very light and jumpy tune, and then followed by a very heavy track, which made the listening experience a bit schizophrenic at times. There also seem to be little emphasis on instrumental quality, as some of the instruments sound suspiciously synthesized, such as the clarinet in “Tea Saloon” and the flute in “Alone.”

Furthermore, a few tracks from this soundtrack are almost exact copies of the tracks from Kajiura’s other works. For example, “Garden” is very similar in terms of style, instrument and even beat to “A Little Sunshine” in the Tsubasa Chronicles OST I. Finally, there is some ambiguity in what the track is trying to depict because a few tracks lack build-up or depth and function as a kind of ‘excitement’ track, like the first track “Pandora Hearts,” which is nice to listen to but is not really impressive in terms of composition.

However, it is impossible to hate this soundtrack because the melody flows really well in almost every track. One trademark of Yuki Kajiura is that her music will never be unpleasant. Some tracks such as “Contractor” and “Preparation” are really compelling and beautiful. “Preparation” is relatively slow paced but it provides serenity together with foreboding and sadness. There is an apt combination of both light and simple tracks, such as “Skip” and “Garden” and also the darker and more mystic tracks, like “Crush” and “Foretaste,” that offer some variety so one feels compelled to continue listening.

Skip
[See post to listen to audio]

Foretaste
[See post to listen to audio]

Yuki Kajiura’s soundtracks also include a lot of vocals which makes them stand out from other composers’ works. This gives a very unique feel, which, depending on the track, can range from tension to serenity to even surreal moments. In the case of Pandora Hearts, the vocals give it a mystic and ethereal feel, which fits the anime’s fantasy theme and the vocals are very powerful and suitable for their individual tracks. Wakana usually sings the tense and epic pieces, such as “Bloody Rabbit” while Eri Itou’s delivery sounds more peaceful and surreal, such as in “Alone.”

Bloody Rabbit
[See post to listen to audio]

There are definitely some noteworthy tracks. A few of the longer tracks such as “Foretaste” and “Crush” may drag on at first, but they’re well worth the wait because the music later evolves to be very dynamic. In the case of “Foretaste,” though it is hardly audible at first, it develops a very consistent beat. The violins’ entry and the increase in volume all helps to build up tension. Some tracks are also very well written to evoke emotions in the listener, such as “Parting Song” and “Another Dimension.” “Parting Song” uses a cello-piano duet to bring across a feeling of nostalgia while “Another Dimension” is very eerie, with a contrast of the light tinkling of a music box against a very heavy atmosphere. Finally, “Contractor” is notable in the way it puts many of the themes of Pandora Hearts into a fast-paced compilation, making it my favourite track because all the instruments complement each other perfectly. It has a perfect balance of the attention-catching segments as well as areas in between where softer bass notes take over.

Parting Song
[See post to listen to audio]

Contractor
[See post to listen to audio]

Overall, compared to many of Yuki Kajiura’s works, Pandora Hearts will fail to stand out. Though the tracks are pleasant to listen to, many may appear very familiar to those who listen to Yuki Kajiura often. It also fails at painting a picture of the world depicted in the listeners’ minds. Yuki Kajiura has not gone beyond her normal style in this OST. However, she does consistently bring us very pleasant music and her own unique use of vocals, which we seldom hear from other composers. So, for those who have never heard of Yuki Kajiura, this OST will be a good start. After all, the iconic figure of anime soundtracks will definitely have something good to offer. However, for those who have heard lots of her works before, do not expect this OST to be very outstanding.

Rating: Good

Tracklist:

Show »

Review: I can usually watch an anime series and tell you whether the soundtrack is going to be enjoyable, but there are notable exceptions where the quality of the in-show music and the soundtrack CD are out of alignment. Taisho Yakyuu Musume’s soundtrack falls into this latter category, which is disappointing because I had high hopes for Taisho’s music after watching the anime and finding its lighthearted orchestral melodies to be charming. The music on the soundtrack isn’t bad per se, but its presentation is suspect given that there were long stretches where the music was abjectly dull as though it was content to serve its role in the background rather than rise to its full potential.

Up until the halfway point, most of the tracks manage to please as it offers a range of music that helps establish the setting to those that depict a strong sense of determination. An example of the former is in “Taisho Hiyori,” which uses a combination of clarinet and shamisen to create a melody that transplants the listener right into an era long past where life goes at a slower, relaxing pace. The idyllic atmosphere that this piece channels contrasts nicely with the next track, “Pai-No-Pai-No-Pai (Tokyo Bushi)” which injects a dose of energy and excitement into the listener through Kanae Itou’s adorable delivery as it imparts that infectious optimism that a young person living in a Japan on the cusp of modernization might experience. This song, in conjunction with the visuals, makes for an unforgettable moment and if you’ve seen this segment, you may find that it gives you the urge to watch that scene over and over.

Taisho Hiyori
[See post to listen to audio]

Pai-No-Pai-No-Pai (Tokyo Bushi)
[See post to listen to audio]

After going through the upbeat track used for the title screen, the music that follows depicts the many themes one might expect from a sports show featuring girls living in the Taisho Era. “Asou no Machi Name” sounds deceptively charming as though it were sculpting the image that the girls want others to see before the piece dispenses with the violin chords which gives off a feeling of determination on the part of the girls to show that they are capable of playing a boy’s sport. The theme of determination is also carried in tracks like “Play Ball!,” which exhibits an inspiring fanfare that calls upon the girls to give it their all in playing the game and their efforts all come together in “Soshite, Aruki Dasu,” which uses an upbeat enka melody to convey just how much hard work they are willing to put into baseball to play at a competent level.

Asou no Machi Name
[See post to listen to audio]

Play Ball!
[See post to listen to audio]

Soshite, Aruki Dasu
[See post to listen to audio]

Even with baseball as the backdrop, it’s natural to have moments where the girls are allowed to relax from the rigors of play and tracks like “Futari no Kyori” illustrate that through a soft, simple piano melody that is emotional as it depicts the sense of hope and happiness that the girls experience. “Hitori ja nai kara’s” acoustic guitar goes at an even slower tempo as it offers a chance for both the players and the viewer to take a step back and evaluate how far the girls have come in learning the game. This introspection allows the girls to reaffirm their motivations for playing baseball and as the piece closes, one gets a feeling that they still have a long way to go, but that they will tackle any obstacle with gusto.

Futari no Kyori
[See post to listen to audio]

Hitori ja nai kara
[See post to listen to audio]

But once you go past the halfway point, things take a turn for the worse. The issues that plague the second half of this album include from nondescript and repetitive melodies which bore me over the span of as many as six tracks before a dynamic piece can wake me from my stupor. It puzzling how someone could put a track like “Nayami Taki Toshigoro” as is into the album because its plodding pace comes with an utterly uninteresting melody that can drive you mad as it subjects you to its version of the Chinese water torture. Other tracks, like “Pinch desu wa…” and “Seigen Jikan” don’t inspire much more beyond what they’re trying to depict. In the former’s case, it’s the stereotypical DANGER!! track that uses ominous melodies and chords to achieve its intended effect but fails to expand beyond that. As for “Seigen Jikan,” it’s just altogether gloomy and even though it has moments where it carries some promise, all of that is undone by the drab, repetitive melody that never goes anywhere.

Nayami Taki Toshigoro
[See post to listen to audio]

Pinch desu wa…
[See post to listen to audio]

Seigen Jikan
[See post to listen to audio]

In listening to Taisho Yakyuu Musume’s soundtrack from the second half onwards, I can’t help but think that many of these pieces could easily have been cleaned up if they were developed further. The foundation that some of the boring tracks have are completely salvageable and furthermore, one can combine tracks depicting a certain mood into one track, yielding some variety, making it more engaging as a result. At this point though, such a concept is wishful thinking and the reality is that there are quite a few strong tracks, but all of that is dwarfed by the second half of this album which leaves one wanting and not even the adorable rendition of “Pai-No-Pai-No-Pai (Tokyo Bushi)” is capable of turning this album into a real keeper.

Rating: So-so

Although Eminence Online is where I submit my anime music previews for upcoming seasons these days, I’ll still be reserving this blog space for the opportunity to look back on the music that’s been presented just to see how my guesses (if I made any) managed to pan out. As far as my summer preview article goes, I wasn’t able to take a peek at some of the shows I mentioned (notably, Toshihiko Sahashi’s work on Elements Hunters, nor was I able to check out Nanase’s work on CANAAN, or Yukari Hashimoto’s double duties on both Kanamemo or Yoku Wakaru Gendai Mahou. Of course, I wasn’t all too impressed with the music that she had written for Toradora! and the content of the shows themselves weren’t exactly up my alley either. Not that it was a problem since commentators like Sorrow-kun and hashi have declared summer to be one of the better seasons in recent memory (if not the best since Spring 2006). So not only was the content particularly strong, some of the soundtracks were downright fantastic.

In the feature, I mentioned that I wasn’t all too familiar with Takefumi Haketa’s work, but since then, I’ve really come to appreciate the sort of quiet, beautifully-executed piano pieces that Hata uses in his soundtracks. Listening to his compositions from Someday’s Dreamers which I was introduced to through Discovery Week (Week 11) on the MALKeionbu proved to be an enjoyable experience as he uses everything from a light chorus to putting in a section that has Celtic influences in it to top it all off. Though I’m nowhere close to finishing up Aoi Hana, the piano music has been unassuming, but is still beautiful all the same. It’s certainly not the soundtrack I’m looking forwards to most (that goes to the next series I’ll discuss), but the music is pleasant enough and given my love for soft-spoken (some might say boring) piano music, I’ll definitely be all over Aoi Hana’s soundtrack.

Based on what I heard as I followed the series, the prize for best potential soundtrack goes to Taisho Baseball Girls. This series managed to surprise me in so many ways, from its charming moments to the endearing characters, sentiments that I expressed in my upcoming review of the series at your nearest friendly neighborhood Nihon Review. In terms of the music, Taisho was me rediscovering Takayuki Hattori’s music once more since I haven’t listened to any of his works since Martian Successor Nadesico. Needless to say, Taisho’s soundtrack promises to be filled with light, bouncy, orchestral compositions that fit in with the overall atmosphere and that I thoroughly enjoyed.

Bakemonogatari, on the other hand, does not impress me all too much in the music department. The problem I have had with Satoru Kousaki’s work is that they can be enjoyable, but they often play second-fiddle to the content on the screen to the point where it becomes almost unnoticealble. His music was dwarfed by the sheer energy that Haruhi Suzumiya provided and in Bakemonogatari, it’s diminished in the face of the excellent dialogue. The OPs (all of them) and the ED however have stood apart, and all of the songs used have gotten a heavy amount of playtime on my media player or when I jump on youtube to de-stress after a long day. That the OPs/ED have not been reviewed on this site is a travesty and I hope that one of my sporadic contributors will get a review up by next week to correct this grave injustice.

The other potentials that I want to mention are Otani Kou’s work on Tokyo Magnitude 8.0 which managed to take more of a cinematic flavor than the sort of Shana-esque music that have come from him lately. Though I might be reaching just a tad, TM8.0’s melancholy music reminds me of the work he did on Haibane Renmei. I don’t know if anyone feels the same way, but once the soundtrack comes out, I will take the opportunity to compare that and Haibane Renmei’s in terms of stylistic similarities. Umi Monogatari is a show that annoyed me from episode 2 and currently, I’m loath to put more time into that series despite Muramatsu’s usual swing/jazz shtick that has always made for a good change of pace. Of what I’ve seen, Muramatsu does deliver on the summer/beach themes well and the brief snippets of conversation that I’ve caught here and there indicate that his music doesn’t work well during the more intense moments in the series. Spice and Wolf II is more of the same and I still feel disadvantaged at not having Umineko’s tracks at my disposal, but those two are certainly strong and in the case of the latter, brings with it a lot of enthused fanboyish reactions across the places I lurk.

My Fall preview article will hopefully be up at Eminence in a few days. The content of the season doesn’t particularly excite me all that much and I only had about 10 shows to comment about anyways. So while everyone else will be plunging into this new batch, I’ll effectively be dipping my toes in slowly and feeling my way around pretty much in the way that I have done after all these years. Either way, I do hope to see some pleasant surprises roll around.