Review: One of the occupational hazards I’ll likely encounter comes when much-loved artists are subject to my glaring disapproval. And as far as fan reactions go, Nana Mizuki and T.M. Revolution are certainly much-loved and have a solid body of work to back them up – I’ve particularly enjoyed the former’s general excellence on the Nanoha franchise and White Album and know that the latter’s work on Gundam SEED has won him many fans. But just as the most promising corporate mergers can float as often as they fail, so too can artistic collaborative efforts. Nana Mizuki and T.M. Revolution’s work on Valvrave the Liberator’s, suggested that greatness was in store for this pop-rock synergy. Alas, though high on spectacle, “Preserved Roses” lacks the heart and soul that would propel it beyond anything more than your above average, run-of-the-mill electronic J-rock song.

On the surface, “Preserved Roses” bears the sort of energy you’d get from a mecha anime’s opening theme. The thumping beat in the introduction arrives on schedule to kick the action into gear, and though there’s a weird key signature difference in the transition between the introduction and Nana Mizuki’s and Takanori Nishikawa entry that sounds really off (something having to do with composer Daisuke Asakura?), the duo’s vocals come in with gusto to grab listeners’ attention. As the song goes through the verses, Mizuki and Nishikawa each alternate lines, giving us a delivery that possesses much urgency, one that only becomes even more pronounced in the chorus where the burning passion flows forth effortlessly as the two evoke a loneliness that brings a torrent of pain and anger without ever letting up, all the way to the end.

But when the last notes and vocals fade away, there’s little to compel me to hit the play button to listen to it once more. The song is so devoid of catchy hooks, so routinized, and so generic that neither artist manages to impress. Perhaps that’s what happens when the presentation is so in your face that there’s little to contrast one section from another, robbing the song of nuanced emotions and expressions.

And then there are little things that bugged me about the performance, perhaps none bigger than the delivery of the lines:

Kowagaranaide nozomanu asa wa
Mou konai
Azayaka dake wo kurikaeshi
Tsunagari owari kimi wa mata…

which I found suspect. There, Nana Mizuki’s vibrato is over-embellished to the point where it’s unpleasantly airy, lacking a firm vocalization that would have worked better. It’s safe to say we’re not getting Nana Mizuki at her best and this sticking point is enough to lower this song’s appeal.

So on the whole, “Preserved Roses” is passable though neither artist stands out as I feel any J-pop and any J-rock artist could have come together to make this song with the same results. In light of that, that may be its most damning aspect; in spite of the talent behind it, it fails to rise from its genericness to become one of the more memorable OP/ED themes scattered about this season.

Rating: Decent

Valvrave the Liberator OP Single – Preserved Roses

Written and published at: Anime Instrumentality Blog

Tracklist
Disc 1

[[Visit blog to check out this spoiler]]

Disc 2

[[Visit blog to check out this spoiler]]

Review: Chihayafuru’s soundtrack, with the glowing energy and passion that it carries, is stunning in its magnificence and delivery, so much so that any attempts at following it up is a fool’s errand. The idea of maintaining thematic consistency while adding in new music is not an easy act to balance and with Chihayafuru 2’s soundtrack, Kousuke Yamashita tries and succeeds in making the album maximally appealing without being overly extraneous. By dipping into this musical broth, one will experience new flavors along with a taste of nostalgia, as the memories of the anime waft up, leaving one feeling charmed by the warmth it radiates even if it doesn’t reach the heights its predecessor did.

That said, the first BGM track, “Chiisana Deai,” can fool you into thinking you’re in for an extraneous experience as its flute melody wanders in. Its mood is pleasant, maybe even aimless in its carefree execution as other instruments come in to ornament the melody (including a slight dash of the first season’s main theme). But the piece sheds its meanderings once it reaches the measures driven by the strings; here, the melody transforms, taking on more certitude as it blossoms into an air of quiet confidence and so, ushers in Chihayafuru 2’s main theme.

Chiisana Deai

[Audio clip: view full post to listen]
Now, unless you’ve listened to this album through at least once, that theme is not going to be readily apparent from the get-go. Give it a listen though; it’s worth exploring because of how well it allows this album to stand on its own. When you compare this to the first season’s theme, you find that it’s less of an exultation; gone are the raw emotions the first season’s theme unveiled to evoke that group of flashy underdogs who succeed in striving for and wringing victory from the jaws of defeat! Here, we have more certainty and confidence and fewer surprises as everyone has their role within the team; the only direction is to reach their potential. Tracks like “Ippo Ippo” are suggestive of this new direction, as the melody, backed by the percussion, moves with purpose until it revels (relatively quietly) in the karuta team’s victories gained from skillful and self-assured play and less from blind luck.

Ippo Ippo

[Audio clip: view full post to listen]
That’s not to say that the theme from the first season doesn’t make any appearances; the piece will forever be identified with Chihayafuru and the anime just wouldn’t be the same without it. There are a few scattered snippets where the main theme is arranged slightly as in the tension-filled, but bland “Yureru Kokoro” or the more intriguing “Shoubu no Yukue” which assigns portions of the main theme to a background function while the flute comes in with its distraught sound to amplify the gritty, competitive nature of the matches. “Namida no Kazudake” offers the best rendition as its slower tempo and stately delivery demonstrate an unobtrusiveness that allows one to reflect and reminisce on the strong bonds of friendship formed in the course of playing karuta. Finally, there’s “Shouri wo Tsukame,” which allows you to relive the gloriousness of the first season’s theme through its brash and exalting delivery.

Namida no Kazudake

[Audio clip: view full post to listen]
The rest of Chihayafuru 2’s soundtrack consists of the fare you’d expect from the competitive sports genre. Suspenseful tracks like the decent “Pressure to no Tatakai,” with its screaming crescendos leading to dissonant airs, mix with the deceptively traditional “Ishu Kakutougi!?” – the latter’s deception comes in the way the traditional Japanese percussion and flute build the piece up before segueing into a funkier rhythm towards the end. There are also atmospheric tracks, which aren’t too enthralling. “Fuda no Michibiki” utilizes brief piano lines to evoke a foreboding aura while keeping development low. The same can be said for the early parts of “Harakikaketa Tsubomi” which blare out its disembodied tone and then plods along in a soporific fashion until the arrival of the sparkling, uplifting main theme make the piece much more bearable. Finally, one cannot leave out the amusing “Toritsu Mizusawa Koukou Kouka” which bears a militaristic demeanor fitting of a high school fight song that eclipses my high school’s by a long shot through its more regal aura and the earnestness with which the singers perform it.

Ishu Kakutougi!?

[Audio clip: view full post to listen]

Harakikaketa Tsubomi

[Audio clip: view full post to listen]

Toritsu Mizusawa Koukou Kouka

[Audio clip: view full post to listen]
But when all’s said and done, the track that draws the highest plaudits is none other than Asami Seto’s “Akanezora,” which serves as Chihayafuru 2’s ending theme. Although her prior work on Chihayafuru is already solid, Asami Seto steps it up even more here, raising the argument that she deserves more singing duties. I especially love the way her voice glides atop the instrumentals as she conveys the longing feelings in the verses, building that up to an uplifting chorus. Throughout the song, her voice never strains, never wavers, allowing the emotions to bubble forth effortlessly to make this the best ending theme I’ve heard thus far in 2013.

Akanezora

[Audio clip: view full post to listen]
Kousuke Yamashita’s ability to dwarf his own efforts on Chihayafuru 2’s soundtrack was not going to happen, but the album is solid in its own right as a more confident main theme propels its way to the fore to give this particular disc its own sense of identity. If anything, the surprise is that Yamashita continues to excel, creating consistently enjoyable compositions which ensure that doubters will never look upon competitive karuta as anything mundane.

Rating: Very Good

Written and published at: Anime Instrumentality Blog

Overview: When you think of Jun Maeda, sob stories that stir one’s heart (critics will label them melodramatic tripe) set in a world where at least some of the cast are dead are what often come to mind. Fair or not, Maeda’s reputation is built on these scenarios which he’s written as part of the visual novel company Key – his author credits include titles such as Kanon, Air, Clannad, and Little Busters! But though his written works are what often stirs the most discussion, Jun Maeda is quite an adept composer who excels at simple, but effective melodies that mesh perfectly with the visual novel’s scenarios, turning up the waterworks and ultimately rendering those moments absolutely unforgettable.

While the aspects of Maeda’s musical repertoire that remain most notable are the themes that he’s composed for Key’s visual novels, one shouldn’t underestimate his ability to write both the music and the lyrics for J-pop either. In the vocal music arena, Maeda’s collaborated with quite a few well-known names, ranging from Lia, to yanaginagi (formerly of supercell) where’s he’s delivered songs that are arguably as memorable as his BGM themes (though this entry will only cover his anime work or visual novels that have been adapted to anime).

So we embark once more (perhaps temporarily) in our composer series. In case you’re here to only listen to the soundclips and not read any of the text, below is the master list of all the pieces featured in this profile entry in order. It’ll save time if you don’t want to have to click through each and every track.

Master List

[Audio clip: view full post to listen]

Biography:
Jun Maeda’s entry into scenario writing began around the time he was in elementary school, continued as he worked for the school newspaper in middle school, and maintained in high school. High school would also be when Maeda would start composing music, with the goal of becoming a video game composer for Japan’s larger publishing studios.

However, life didn’t go quite the way he envisioned. Maeda would go to college at Chukyo University where he graduated with a degree in psychology, perhaps using that knowledge of how humans work by applying it to his future career as he applied to game studios as a composer. None took him up on the offer though and he had better success when he switched over to becoming a scenario writer, landing him a job at Scoop, a startup game company. He wouldn’t stay for very long, leaving Scoop shortly after to work at Tactics where he did more scenario writing and contributed music on Moon and One: Kagayaku Kisetsu e. Both games proved to be successful and with a good work history under his belt, Maeda, along with important employees at Tactics, left due to creative differences to form Key, where they released Kanon in 1999.

Kanon would prove to be a success, selling 300,000 units across all of its incarnations and garnering two anime adaptations: one by Toei in 2002 and the arguably better-known Kyoto Animation version in 2006. Much of Kanon’s music was composed by Key stalwart Shinji Orito, but Jun Maeda was responsible for the game’s main theme, the unforgettable “Last Regrets,” sung by Ayana. The song instilled a melancholy nostalgia over the setting of the game, an aura further enhanced in the BGM version titled “Remnants of a Dream.” Other Maeda pieces contributed to the overall mood; “Winter Fireworks,” featuring a sound library made up of a piano and flute to carry the melody, augments that existing nostalgia while “Afterglow” uplifts with its sense of relief. None of Maeda’s pieces here are complex, but if there’s anything his contributions to Kanon’s music show, it’s that Maeda knows how to set the overarching atmosphere for the game as a means to connect the visual novel reader to the events on screen.

Kanon – Last regrets

[Audio clip: view full post to listen]

Kanon – Winter Fireworks

[Audio clip: view full post to listen]
This skill would become useful when setting the stage for Air where Maeda contributed a mere two themes which would end up overshadowing pretty much every other aspect of Air’s music. The first theme is “Aozora” (“Blue Sky”) where Maeda would collaborate with the artist Lia in a soul-stirring song that’s uplifting as it’s imbued by pleasant memories. As beautiful as “Aozora” is however, the heavyweight track on the album would be none other than “Natsukage” (“Summer Lights”). Here, Maeda cultivates the sense of magic that becomes Air’s centerpiece, starting with an ethereal-sounding introduction, then giving way to a poignant piano melody that’s nigh unforgettable. “Natsukage’s” slow pace and breezy feel work together to conjure images of a rural countryside summer and the bells which come in halfway through bring with it an aura fitting of a regal march from days long past. The piano work on display builds upon Maeda’s previous work on Kanon, especially in terms of setting the scene, making it far more evocative than his prior pieces.

Air – Aozora

[Audio clip: view full post to listen]
This ability to bring out emotion will be crucial in Key’s next game: the almighty Clannad. Maeda continued his form by contributing the critical pieces that helped Clannad turn up the waterworks. Of those, the most important one by far is the iconic “Nagisa,” Maeda’s first character theme. The piece starts out slow, tentative, maybe even a bit fragile, but as it develops, it slowly blossoms once it hits the main theme and an aura of happiness and hope seeps in. More importantly, “Nagisa” would provide the foundation for many other tracks, from Clannad’s anime ED “Dango Daikazoku” and the chorus in “Chiisana Tenohira” (“Tiny Palm”). Another worthy track, “To the Same Heights” quietly lingers in its aura of contentment as Maeda weaves what may be his most complex melody to date. What makes it more memorable is its use as Clannad ~After Story’s~ OP theme “Toki wo Kizamu Uta.” Finally, Maeda proved he can do more than just soporific stuff as he channels the spirit of travel in “Country Train” which features a rushing train in the background while the lively piano and string sound libraries fill in the melody to bring about a sense of excitement for the road ahead.

CLANNAD – Nagisa

[Audio clip: view full post to listen]

CLANNAD – To the Same Heights

[Audio clip: view full post to listen]

CLANNAD – Country Train

[Audio clip: view full post to listen]
For Maeda, the road ahead meant working on Key’s next project, the highly-regarded Little Busters! In continuing his musical contributions, Maeda’s compositions make up a larger portion of Little Busters’ soundtrack, proffering tracks ranging from the easygoing “RING RING RING!” with its upbeat synth, the heartfelt and uplifting “Boys Don’t Cry,” and the poignant “Lamplight.” Taken in sum, Jun Maeda demonstrates an ability to touch on a wide variety of moods within a single score beyond the melodramatic, even if the results are a bit mixed. Even so, it’s Maeda’s main themes which pull through, including the formidable, eponymous “Little Busters!,” “Haruka Kanata” (“Faraway”), and “Song for Friends” which drips with pain and regret.

Little Busters! – Little Busters!

[Audio clip: view full post to listen]

Little Busters! – Lamplight

[Audio clip: view full post to listen]

Little Busters! – Song for friends

[Audio clip: view full post to listen]
After completing work on Little Busters!, Maeda tread further into the world of anison with “doll” and “human,” both of which served as ending themes to Gunslinger Girl -Il Teatrino-. Here, Maeda would continue his work with vocalist Lia as well as Aoi Tada whose voices are soft during the verses and sonorously beautiful during the chorus, establishing him as someone who can compose J-pop rather well.

Gunslinger Girl -Il Teatrino- – doll (Lia)

[Audio clip: view full post to listen]
Also, given just how successful Key’s visual novel adaptations were turning out, Maeda got the chance to work on an original anime, releasing Angel Beats! with P.A. Works in 2010. Once again, Maeda took over the reins as scenario writer and composer, but this time, the results of both aspects were mixed; the writing was clumsy and much of the vocal music was a wash as it see-sawed between being wonderfully sentimental to flat and lame. The former examples include Lia’s smooth, emphatic performance of “My Soul, Your Beats,” Aoi Tada’s plaintive “Brave Song,” and karuta’s heartfelt delivery on “Ichiban no Takaramono” (“My Most Precious Treasure”), but those are undone by the awful vocals and uninspired instrumentals coming from marina and Lisa in “Crow Song,” “Alchemy,” and “Thousand Enemies.” If there’s anything these songs demonstrate, it’s that Maeda ought to stick to the more heartfelt, sentimental piano music and either drop any pretense of writing rock-ish melodies or pick better artists (yanaginagi, for example). That said, the arrangements of those vocal themes, once again, are superb and other tracks, like the eponymous character theme “Kanade” emanate warmth through a soothing and occasionally glimmering melody.

Angel Beats! – My Soul Your Beats

[Audio clip: view full post to listen]

Angel Beats! – kanade

[Audio clip: view full post to listen]

Angel Beats! – Ichiban no Takaramono

[Audio clip: view full post to listen]
Beyond anime music and visual novel soundtracks, Jun Maeda has taken the time to collaborate with yanaginagi through his recent record label Flaming June, where the two have worked on a single, “Killer Song,” and a full-length album titled Owari no Hoshi no Love Song. He continues to work as a key member of Key, especially in writing the music to Rewrite.

Zzeroparticle’s Thoughts:
Of Key’s musical triumvirate, Jun Maeda’s music tends to stick out most. His strength lies in writing main themes that either capture the entirety of a visual novel’s atmosphere (as in Kanon, Air, or Clannad), or inject a high dose of energy (as in Little Busters!) to capture your attention from the get-go, rendering them absolutely memorable. With tracks like “Last Regrets,” “Nagisa,” and “Ichiban no Takaramono,” Maeda’s ability to turn up the waterworks by meshing the scenes with the music is absolutely solid. That said, outside some of these main themes, Maeda’s synthy stuff doesn’t click too well; “To the Place Where Wishes Come True” from Clannad and “Let’s Return” from Little Busters! are rather lacking, and the repetitive nature of game music does them no favors.

So though Maeda’s music doesn’t get as much playtime from me compared to other composers, he’s worth looking up for all the occasions in which he’s paired up with a singer on the caliber of Lia (I still love “Toki wo Kizamu Uta” and “Chiisana Tenohira”). All that, and “Natsukage,” are sufficiently impactful for Maeda to carve out his beats that endear my soul.

CLANNAD ~After Story~ – Toki wo Kizamu Uta

[Audio clip: view full post to listen]

Air – Natsukage

[Audio clip: view full post to listen]

Written and published at: Anime Instrumentality Blog

Review: For as long as man looked upon the night sky, there has been an inexorable urge to explore that final frontier. In capturing this intrepid spirit of exploration and discovery, musicians and artists have dwelled upon the majesty of the experience, bringing to light moods and situations that include war, jollity, and mysticism. But above all, a sense of magic permeates the experience as one sallies forth in search of wonder and greatness.

Space Brothers BGM Live Medley

[Audio clip: view full post to listen]
Toshiyuki Watanabe’s BGM medley for Space Brothers invokes the grandiosity of such an undertaking, as the work transforms childhood hopes and dreams into a chance of a lifetime. The medley starts with a soft rendition of the Space Brothers main theme, initially impressing its quiet inspirations one feels while gazing at the stars and letting the imagination soar. But as the strings take over, the excitement begins to simmer before the horns amplify it to full-blown anticipation. The way in which the melody imparts a glowing sense of mission and destiny keeps you rapt in attention as this personal journey towards greatness begins to unfold.

Sure enough, the determination comes in full force as the main theme becomes more pronounced, more regal, and more relentless as it moves with little hesitation towards its ultimate undertaking. Here, the trumpets lay out the scope of this odyssey, building up a thoroughly majestic theme and calling upon the aspirations that propel you onward to reach your potential. The lofty heights that the piece strives towards convey a mesmerizing audacity that never falters, as the ambition and drive keeps the dream alive.

As the shimmering excitement peaks, then dies down, the piece gently ushers the mood to calmer, more introspective waters that allow you to take in the peace and serenity of being up in space and looking down below at Earth. The piano, in particular, cultivates the quiet joy brought about as you marvel at the pale blue dot traversing the endless void of space. As much as the yearning desire for home wells up in this section, when the strings come in, it bears a serene, but steadfast aura that nudges us to dive into curiosity’s wellspring, breathing new life into those childhood dreams.

And with that, the final section picks you up in its whirlwind climb to greatness and glory. The manner in which the piece segues is overly excitable, maybe even a bit sloppy in its display of unrestrained eagerness, but it leaves little doubt about the hope and persistence that it seeks to invoke. Through this fervent delivery, the final section lights the fire in a brilliant orchestral display that pushes you on to greatness, allowing for the next chapter of the awe-inspiring journey to be written.

Rating: Excellent

Written and published at: Anime Instrumentality Blog

2008: A Mixed Identity

Anime Instrumentality started out on a whim more than anything else. When I signed up for webspace to work for a now defunct project, I decided to add another domain: www.animeinstrumentality.net, thinking that I could use it to create a database of anime music (a task that VGMdb has done admirably).

Although the site was called Anime Instrumentality, oddly enough, the first post that appeared was not a review of an album, but a review of Makoto Shinkai’s 5 Centimeters per Second. At the time, my goal was to improve as a writer and to write about things I was passionate about. Reviewing anime was a logical task and seemed much easier than reviewing anime music. However, I wanted to talk about the music side eventually, and after a spate of anime reviews, I finally published my first album review: Chi’s Sweet Home’s Ouchi ga Ichiban (a cute earworm I enjoy to this day).

Again, the choice of an OP/ED single was driven by the fact that they were short and easy to write about. Longer-form soundtracks were comparatively intimidating; there was so much to talk about and, let’s face it, having one semester’s worth of music knowledge doesn’t exactly provide one with a solid foundation upon which to write music reviews. Despite this lack of confidence, I took solace in the fact that 1) no one was really reading this site at the time so I had nothing to lose by stepping outside of my comfort zone, 2) I was really passionate about the instrumental side of anime music, and 3) I found an album that I felt comfortable talking about. All three elements came together and my first anime soundtrack review was none other than Hitoshi Sakimoto’s score for Romeo x Juliet.

Despite this, anime reviews were still the mainstay. Album reviews came out much more slowly and most of the selections had little rhyme or reason for coming into being. I reviewed hits like Macross Frontier’s soundtrack and oddities that seemed out of nowhere like Allison and Lillia’s OP single.

It was around August that I got poached and joined the staff of the Nihon Review. Anime Instrumentality slowly transitioned to its current incarnation because it felt silly to host anime reviews in two places. I credit this event as being the impetus that got me to totally discard the extraneous trappings of the fandom to focus entirely on the music, which has made Anime Instrumentality what it has become.

So as 2008 rolled to a close, the site became dominated by more and more music reviews. It was around September that I added clips to soundtrack reviews to improve the experience by giving people an even better idea of what to expect. Still, most of the reviews that came out focused on anime OP/ED themes as anime soundtracks are difficult (and still are) to write about.
[Audio clip: view full post to listen]

2009: Fresh Voices

2009 continued in due course with me experimenting around here and there. Traffic numbers started picking up once I joined AnimeNano and I even tried a few seasonal summary posts to increase it even more. However, the post that drew the most traction and new readers was one that discussed how Clannad’s music really strengthened a certain scene. About halfway through the year, I made the conscious decision to cut back on reviewing OP/ED singles and focus more on writing soundtrack reviews since I was more passionate about them and my comfort level writing reviews of soundtracks was high enough to push on with confidence. It also saw the first review to earn a Masterpiece rating (Akira Senju’s Red Garden soundtrack) as well as the birth of the now-defunct Anime Song of the Week Contest, better known as the MALKeionbu.

The MALKeionbu made use of MyAnimeList and was a fun club where people nominated music based on a theme and voted for the one they liked best. The club was a way for people to share stuff others might not necessarily listen to and the voting mechanism was a way to force people to actually listen to the songs. It was successful at what it did, opening my previously narrow awareness to bigger and more awesome things. The club itself lasted longer than a year, stopping when my energies were sapped as events in my personal life proved to be a bit of a distraction.

Nevertheless, the most important event to come out of 2009 was when, out of the blue, someone else who enjoyed Anime Instrumentality’s content appeared and really really wanted to contribute. This opened my eyes to the idea that perhaps I’d found a good niche after all and that anime music fans really wanted a good resource on all the various forms of anime music out there. So with the enthusiastic, but ephemeral sung gyu at my side contributing a review of ARIA’s Stagione Piano Collection and Hinagiku singing an ED to the second season of Hayate the Combat Butler, I continued onward with much more confidence than I had previously.

Short and sweet, though that working relationship turned out to be, I continued to advance the cause of anime music further, working with the Eminence Symphony Orchestra for a short, but fruitful period of time.

So if the most important event from 2009 was sung gyu’s joining the cause, giving me that boost of confidence, the most important person to join Anime Instrumentality’s ranks that year was none other than Jen, whose knowledge of J-pop eclipsed mine by a long shot and whose diction was quite sharp. Her writings were concise, making it abundantly clear where she stood with regard to an anime album as she denounced bad singers with aplomb and praised strong performances to the high heavens.

Jen’s arrival wasn’t that evident at first, however. Her first submission was a track by track review of Pandora Hearts’ soundtrack which, if you know the way Anime Instrumentality works, is a big no-no. I promptly sent back the draft asking for a rewrite, expecting that, like many others who had submitted writing samples previously, I’d never hear from her again. But not only did she pull through, she carried on, delivering an excellent review of Pandora Hearts’ soundtrack and becoming Anime Instrumentality’s first fully-fledged, and most importantly, long-term reviewer who never ceases to impress me with her knowledge and insights, especially where J-pop is concerned.

As 2009 drew to a close, Anime Instrumentality embarked upon its most ambitious project yet. Knowing that the first decade was rolling to an end, it was time to look back upon the past 10 years and see what really clicked and resonated with us. This plan brought about one of the most successful posting series where we reminisced on the decade’s music.
[Audio clip: view full post to listen]

2010: Chugging Along

With all those projects (and an ebullient, dedicated writer in tow!) going on, Anime Instrumentality kicked off the year strongly. Our first concert report materialized in the form of a kickass Utada Hikaru performance at the House of Blues in Los Angeles. During that time, we also had a few one-offs, including Burning Lizard’s thoughts on the Fairy Tail soundtrack, and the start of a more well-defined partnership with the Nihon Review. Kevo also came in to add his voice to the chorus, giving us an awesome survey of doujin electronica that one ought to pay attention to and Chikorita157 gave a few thoughts about a few character singles and OP/EDs that caught his interest.

2010 also marked the first year I attended Anime Expo as a member of the press corps, granted, through my work at Original Sound Version. My inexperience showed, but I got some pretty good concert reports out of that. AX that year was a success in terms of musical enjoyability as we had Macross Frontier fully represented by May’n’s and Megumi Nakajima’s amazing performances.

The year wore on without much incident until the very end of the year; the Decades post finished with much fanfare. But just when things looked calm, Aftershok came on board to shake the very pillars of Anime Instrumentality with his knowledge, passion, and his infatuation with jazz and music in 5/4 time.
[Audio clip: view full post to listen]

2011: A Chorus of Energy Unleashed!

Aftershok’s energy that emerged through his writing was a force to behold as his zeal flared, yielding not to a mere inconvenience like arbitrary word count limits! He made his impact felt right away with a stimulating review of the jazz pieces in Cowboy Bebop’s soundtrack before laying out a paean to the Death Note soundtrack. Since then, he has remained an invaluable addition, being the go-to guy for stuff like Platina Jazz, bringing to light the intricacies of “Tank!’s” legendary sax solo, throwing a few sax arrangements for the world to behold, and bouncing ideas off of me to inspire me to greater heights.

And as if Aftershok wasn’t already a handful, Anime Instrumentality had to contend with Yu coming on board. Early on in the year, Anime Instrumentality looked to recruit more writers onto its team and longtime commenter Yu responded to the call, gushing with her love for Mina Kubota’s Kannazuki no Miko soundtrack.

Yu’s comments had already demonstrated a great deal of knowledge about anime music. But when she joined, the scope of her knowledge truly materialized and has been a boon for the site ever since. Her chief role has been to introduce people to composers who are of great merit and induce people to try truly astounding soundtracks that had the bad fortune of being off the beaten track, away from the ears of most anime fans. She’d also prove to be an excellent collaborator when it came to things like group posts, and even an Anime Expo panel, providing excellent insight, sharp analysis, and bringing to light the underappreciated.

That collaborativeness would prove to be crucial as Anime Instrumentality began a (currently hiatused) series of posts focusing on anime composers, starting off with none other than the fan-favorite Yuki Kajiura and stopping after going through Taku Iwasaki. However, the anime decades post did live on, in a fashion, in the form of the Anime Music Awards; our first one anointed wonderful music such as Fairy Tail’s soundtrack, celebrated composers like Michiru Ooshima, and lauded OP/EDs like Working!’s “Someone Else.”

Anime Expo also proved to be quite an event in 2011 with the likes of Hatsune Miku performing as well as Kalafina joining for the festivities. In a stroke of luck, that aligned well with the first time I ran a panel at Anime Expo covering Yuki Kajiura’s music. It was an experience that I took a lot away from and would shape future panels for the better.

About halfway through the year, maskerade made his appearance known and bringing him on board proved to be an easy matter given his extensive music review contributions to a defunct e-zine. His first note took the form of Tokyo Brass Style’s Anijazz First Note. From there, maskerade went on to touch upon the old school fineries of Now and Then, Here and There’s soundtrack, no surprise given that he’s the old geezer of the Anime Instrumentality staffers. Not so old that he can’t do things like attend J-rock concerts and scream his heart out though!

Finally, the biggest happening that drew us more readers was the Aniblog Tourney run by Scamp, who brought forth much drama. However, that event truly pushed Anime Instrumentality into the light and we garnered quite a bit of positive feedback as well as more awareness that we existed. I suspect that had it not been for that moment, we might still be languishing in (relative) obscurity.

2012: Calmer Days, A Time of Transition

[Audio clip: view full post to listen]
2012 opened up slowly and thoughtfully with TWWK from Beneath the Tangles penning a well-researched post on Irish music in Japan, one that spurred me to do a currently incomplete project but that I’m still turning my attention to when I have the time. A few projects also unfolded: we had the Monday Musical Musings, which was an attempt at shorter form content that lasted for a brief period, we awarded Chihayafuru soundtrack of the year (much to the consternation of Madoka fans), and unveiled our first real long-term April Fool’s prank. Here, we converted ourselves into J-Drama instrumentality and shared some of our favorite albums like Michiru Ooshima’s Gokusen and Joe Hisaishi’s Cloud on the Slope.

Aftershok also took it upon himself to episodically blog Kids on the Slope for a while, contributing his insights on jazz here and there while Jen ticked off some names to watch for on the anisong scene. Anime Expo brought energy and mystery/despair with LiSA and Yuki Kajiura with FictionJunction in tow, though the mood felt a bit more reserved. That said, we pulled off a well-received panel that touched on music and its impact on notable anime scenes, covering such iconic tunes from anime as Summer Wars, Gunslinger Girl, Princess Mononoke, and 5 Centimeters Per Second.

But most of all, the second half of 2012 would be seen as a time of transition. Our lives would get busier, our contributions more sporadic. This general atmosphere would continue on into 2013.
[Audio clip: view full post to listen]

2013: The Road Ahead, Rebuilding

Anime Instrumentality would witness a burst of activity early on in the year as staffers took advantage of the winter holidays to churn up some new reviews. Our second round of April Fool’s pranking might have been a bit more zealous than 2012’s J-Drama bit, but it elicited a reaction and showed us just how high in esteem we’ve (had?) been held.

That said, we’ve built a strong foundation and we’re eager to see what the future holds as the unreleased projects running in the background start to materialize and bear fruit. So dear readers, friends, music fans all, thank you for all the support you’ve provided and the insights you’ve shared and thank you for welcoming us into your lives and being a part of our five-year journey! We couldn’t have done it without you!

Written and published at: Anime Instrumentality Blog

Introduction

by Yu
Despite the relatively sparse pickings in comparison to past years, 2012 still managed to produce its fair share of memorable favorites. In fact, the sheer variety on display appeals to many different tastes, and it shows in terms of how divided we were in regard to our selections. The soundtrack department saw the return of big names like Michiru Ooshima who scored the majestic Zetsuen no Tempest, a classically inspired tour de force of powerfully romantic themes and we were happy to see several composers rarely seen in the anime-sphere contribute some unexpectedly good music. Taking us all by surprise, Takagi Masakatsu’s Wolf Children delivers a minimalistic but nonetheless heartwarming tale of hardships and happiness alike. Quite a few gems surfaced in the year’s OP/ED collection as well, with fan favorites Kalafina performing the Fate/Zero OP. From such a list of respectable achievements, Anime Instrumentality is glad to present yet another round of awards to show what we thought were the most memorable works of 2012.

Soundtrack of the Year – Tsuritama

by Jen

The previous Soundtrack of the Year winners can be summed up nicely with the word ‘spectacular’. If we were at a pageant, Fairy Tail would be the one to strut in, proud and brash; Chihayafuru would saunter in, poised and graceful. This year, Tsuritama’s soundtrack marches forth in all its quirkiness and eccentricity, and clinches the title. Truly, in an anime about fishing and aliens, what more can we ask for?

By just being the way it is, Tsuritama depicts the lifestyles of our protagonists perfectly. We get a taste of the laidback and carefree island of Enoshima through tracks such as ‘Tsuritama March’ and ‘Benten Kyou no Wataru’. The playful tunes of ‘Tsuritama March’ weaves the mischief and escapades of our protagonists into a light and cheerful backdrop, while ‘Benten Kyou no Wataru’ hits all the right notes, using its folkish tune and instrumentation to bring the image of a seaside town to life. Among that, the soundtrack also touches on more poignant moments through tracks like ‘Kirei na Hana’, and captures the anime’s idiosyncrasies in tracks like ‘DUCK Honbu, Ootou Seyo!’.

With that, 2012 sees an endearingly humourous and lighthearted soundtrack clinching the title of Soundtrack of the Year because it reminds us of how, at its core, good soundtracks provide (along with many other things) a pleasant listening experience. And honestly, who can’t help but smile upon hearing ‘Kakeashi March’?

Composer of the Year – Yoko Kanno

by zzeroparticle
This year’s composer selection proved to be hotly contested. We had Yasuharu Takanashi continuing his fine form for Fairy Tail and the PreCure franchise while others like Shiro Hamaguchi made inconsistent splashes, doing terrifically well with Tari Tari’s soundtrack, but less so with Girls und Panzer’s. In our for a composer who was both solid and fresh, perhaps it’s a tad ironic that the prize goes to none other than Yoko Kanno.

Honoring Yoko Kanno’s efforts in 2012 feels like we are honoring her discography as a whole; in a sense, her musical efforts this year proved to be a throwback of sorts. The Aquarion franchise continued under her musical vision, where new efforts like “Aquaria Mau Sora” and “a jealous flapper” find themselves at home with glorious, yet familiar themes like the ones shown in “Genesis History #2” to yield an eclectic and enjoyable work. And then there’s her work on Kids on the Slope, which showcases the kind of jazz music not seen since Darker than Black and, if we go even further back, Cowboy Bebop. The caveat: many of the pieces from Kids on the Slope are taken from the jazz canon. Nevertheless, her original compositions are no slouch either as pieces like the eponymous “Kids on the Slope” stirs one’s hearts and warms us to the newfound friendship between Kaoru and Sentaro and “Jazz for Button” is light and whimsical, reminiscent of the tunes from Kanno’s Napple Tale and, ultimately, providing unto us a very memorable musical experience.

Opening Theme of the Year – Sakamichi no Apollon – Sakamichi no Melody

by maskerade

Can a song be so familiar and different at the same time? Kanno’s “Sakamichi no Melody” is certainly very distinct from her previous Jpop outings, or her more exotic pieces. The gentle drumming march, light guitar tones, that trumpet. It’s a little slow for an opening surely? Then, the pace picks up with a snap of the fingers, the strings come in and suddenly, we seem to have stumbled upon something that is quintessentially Kanno. A nod to her Escaflowne and Card Captor Sakura days, the theme is less showy certainly, but maintains a welcome child-like exuberance we don’t often see in openings.

For a veteran Jpop singer, YUKI hasn’t really done that many anime openings. Those she does though, have been very memorable. We know her. She has a voice that’s hard to forget. You listen to that voice and always wonder, ‘What comes next?’ And here, her ability to convey intense emotion and sly whimsy doesn’t disappoint. Paired up with Kanno’s layering, the song bursts into colour and just flies as a standout among the openings in 2012.

Ending Theme of the Year – Jinrui wa Suitai Shimashita – Yume no naka no Watashi no Yume

by Aftershok

Masumi Itou is a member of a rare breed of anime composers, almost in a category of her own. How many old solo artists compose soundtracks and feature in OP/ED’s for anime? This, combined with her particular brand of airy, fluttery soprano vocals and bold, unpredictable songwriting truly puts her in a class of one. To our ear, she’s outdone herself with Anime Instrumentality’s pick for best ED for 2012: “Yume no Naka no Watashi no Yume.”

The song is a chaotic clutter of awkward instrumental contradictions and rapid shifts in tonality; it seems to be ceaselessly at odds with itself. Hints of elegant Arabia soaring through the harmony are betrayed by a crackling electric distortion guitar carelessly belting out chords; a pulsating shuffle drum kit and a dainty, sparkling string section constantly threaten to make the other realize it’s in the wrong song.

But, oh, how Itou pulls it off. “Yume no Naka no Watashi no Yume” comes together in a beautiful, beautiful mess of clashing ideas and sudden changes of mind. The way Itou plays with your expectations, how she leads you gently by the hand and then pushes you off a musical cliff – that’s as good as it gets. It’s a master work by a master worker whose artistic vision drove the conception, composition and arrangement all the way through to the performance. Such a thing is rare in anime music, and we’re not afraid to give credit where it’s due.

Omake – Best Musical Moment – Girls und Panzer – Katyusha

by zzeroparticle

Musical moments that take your breath away are so rare that when it does happen, there’s a tendency to cherish it all the more. 2012 had more memorable musical moments than most, but the one that totally stood out as being the best in its class is none other than Girls und Panzer’s rendition of the Russian war song “Katyusha.”

Girls und Panzer doesn’t do much to toy with expectations; its story is about as straightforward as can be. But the manner in which it was able to worm into our hearts lies in the earnestness in which it presents itself as it sought to capture the thrill of battle and the incredible depth of knowledge in the realm of tank warfare. So amidst the heavy-duty nerdery in the field of tankery, the anime never neglects the proud, musical tradition that keeps the troops soldiering on, inspiring them every step of the way. And in the scene in which the Pravda girls sing “Katyusha”, their earnestness and relentlessness are on full display. They surge forward, hearts united, spirits and heads held high in their pursuit of nothing but total victory, as they place their stamp upon the year in a way that will never, can never be forgotten.

Note: Feel free to drop your two cents. Do keep in mind that as always, we do intend to touch upon the awesome soundtracks that 2012 offered up in a later post, so until then, stay tuned!

Written and published at: Anime Instrumentality Blog

Photo Kano
Composer: Mina Kubota
Synopsis: Armed with his father’s old camera, the spineless Kazuya Maeda begins exploring photography at school and winds up getting recruited by the school’s Photography Club, a group of misfits whose photographic intentions are less than pure. Nevertheless, Kazuya proves to be a valuable asset, given his uncanny and inexplicable ability to bump into and attract many of the school’s hot girls to him.
Thoughts: I’m really sorry to see someone with the prowess of Mina Kubota, whose work on outstanding soundtracks like Kaleido Star and Kannazuki no Miko get saddled with such a project. For one, that effectively rules me out of following this series for more than one episode. For another, the music is actually quite good. Kubota conjures forth charming, soothing piano pieces to start things off before regaling us with her Celtic melodies that, together, create an aura that’s light and optimistic. Thank goodness then, that I can fetch the soundtrack later since this one looks like it’ll get a standalone release (for once!).

Dansai Bunri no Crime Edge
Composer: Yasuharu Takanashi
Synopsis: Kiri Haimura is obsessed with cutting hair and when he gets lost one day, he comes across a formidable foe in the form of Iwai Mushanokouji’s locks which cannot be cut by normal scissors. But as Kiri finds out, the scissors he packs are anything but normal as they effortlessly slice through Iwai’s hair, bringing her much happiness but also much darkness into the world.
Thoughts: It’s been awhile since I’ve heard a Takanishi score that isn’t Fairy Tail or PreCure and I’m glad for that. The music in Dansai Bunri no Crime Edge has been a mixed set of moods with the beginning of the episode packing a more light-hearted affair that’s whimsical and joyful with a smattering of regality about it. But as the story unfolds, Takanishi’s score descends into eerier fare, fitting, given the excellent work he did with Shiki’s soundtrack. With lonely piano solos building up some delicious tension (for what it’s worth, it’s some of the better tension-y pieces I’ve heard this year), followed by some strings to augment that loneliness further to set up for a dose of good ol’ heartfelt tragedy, I expect to see Takanashi deliver once more with a riveting score for a less-than-riveting (at least to me) anime.
Hataraku Maou-sama!
Composer: Ryosuke Nakanishi
Synopsis: After being defeated by the Hero in the battle for Ente Isla, the Demon Lord Satan takes refuge in modern-day Japan along with his faithful general Alsiel. Unfortunately, magic is near-non-existent in this world and so, the two must find some way to restore their powers. Until then, to make ends meet, Satan finds himself working judiciously as a crew member at a local fast food joint while Alsiel snoops around in the library to research how to work magic in this strange new land. Little did they know that the Hero followed them to Japan and hilarity ensues when they encounter each other.
Thoughts: Ryosuke Nakanishi’s anime credits are pretty thin on the whole and even if the start of the first episode has promising fare like dark, ominous tracks that hang overhead with its ponderous choral sections, nothing else really sticks out from the drone of urban indifference. The pieces that play during the comedic sections are less than enthralling, which isn’t a bad thing, but when I stick to this series (which I will), it’ll most certainly be for the amusement value and not for the music.

Devil Survivor 2
Composer: Kotaro Nakagawa
Synopsis: Daichi Shijima persuades his friend Hibiki Kuze to try out a new mobile app called Nicaea, which shows faces of people who are about to die. Sure enough, both boys’ faces are shown as being the next victims and sure enough that comes true when a subway derails and falls on top of them. But somehow, the app gives them a second chance at life, and they awake to find that the world is now under attack by demons but that they too can summon demons to defend themselves and the world around them.
Thoughts: This is a bit of a strange turn for Kotaro Nakagawa, whom I associate more with themes that approach grandness and less so on some of the funkier synth that’s on display here. As the episode progresses, he delivers with some tragic-sounding piano music, but once the action comes up, you get some harsh, rhythmic electric guitar tracks that do carry a current of energy, but lack the finesse of something you’d expect out of someone who composed Code Geass’s score. Not that it matters anyway, since I won’t be seeing this show through anyway, but if the soundtrack manages to be good, I may give it a whirl.

Ginga Kikoutai Majestic Prince
Composer: Toshiyuki Watanabe
Synopsis: Team Rabbit is widely considered to be the lowest performing group at the academy city of Gurantseere, not surprising when it’s made up of Izuru, a starry-eyed idealist, Toshikazu, a rough guy known for getting stage fright, Tamaki, a girl who focuses on love at the expense of nearly everything else, Kei, the serious type, and Ataru, the gun freak. Nevertheless, they get called out on a sortie to rescue a moon colony and succeed beyond all expectations.
Thoughts: Toshiyuki Watanabe is someone I’ve been keeping an ear on, especially given the excellence he’s shown in his score for Space Brothers. And so far, I’ve been pleased with his efforts on Majestic Prince. This anime’s music keeps with the sort of high-minded militaristic themes along with some small ensembles that deliver upon more whimsical fare from time to time to vary things up a bit. Not surprisingly, it’s the majestic tunes that rule the day and the only real worry I have is that it’ll degenerate to become generic space battle orchestral music that won’t stand out in any meaningful way. But so far, the music is sweeping and awesome in its scope and the story piques my curiosity just enough for me to see it through for just a bit longer.
Suisei no Gargantia
Composer: Taro Iwashiro
Synopsis: In a last-ditch effort to defeat a marauding alien species known as the Hideauze, the Galactic Alliance of Humankind sends a barrage of soldiers piloting mecha units to destroy the enemy superweapon. After the attack fails, Humankind’s troops are forced to flee and as Red, a 16-year old pilot attempts to go through the closing wormhole, he’s attacked, narrowly escapes, but loses consciousness. When he awakens, he finds himself surrounded by a primitive group of humans and learns from his mecha’s AI unit that he may very well be on Earth.
Thoughts: Without a doubt, Taro Iwashiro’s soundtrack for Suisei no Gargantia is the best musical offering out of Spring 2013’s anime by a long shot. It’s hard to turn away from something so stirring as the strings draw us into the story and carry an aura that suggests that an epic tale is about to unfold. With credits to his name including the Red Cliff movies and the Fullmetal Alchemist Sacred Star of Milos movie, you really can’t go wrong. With all that Iwashiro is serving up, I can’t help but be swept into the story as the music and the anime work in tandem to bring forth an epic adventure!

Valvrave the Liberator
Composer: Akira Senju
Synopsis: Up until now, Haruto Tokishima had been living a normal high school life where he engages in eating contests with his friend Shoko, a girl whom he’s had a crush on for a while now. As he’s about to confess to Shoko, the militaristic Dorssian Federation attacks his city and lays waste to the school. A stray shot winds up nearly killing Shoko and, enraged, Haruto climbs on board an experimental mecha unit that somehow managed to reach the surface to kill the invaders. In the process, Haruto inadvertently turns into a zombie. Yes, you read that last part right.
Thoughts: Akira Senju is known for composing one really awesome theme and then decent-ish everything else (see his Fullmetal Alchemist: Brotherhood soundtrack), with <em>Red Garden’s soundtrack being a notable exception. Still, they work well within the context of the work and his work on Valvrave is no exception. The series starts off on a dark and dramatic note which fits Senju’s tendencies to a T. Then, things take a slight turn to the whimsical during the eating contest, but once battle rages, the tragic-sounding themes rear their head and, given Senju’s inability to compose hot-blooded action music, we settle for funereal dirges, which nevertheless suit the scenes extremely well. I’m not sure whether the show will deliver in terms of plot, but the music is sterling and with Senju’s pedigree, you really can’t go wrong here.

RDG Red Data Girl
Composer: Hikaru Nanase (Masumi Ito) myu
Synopsis: Izumiko Suzuhara lives with her grandparents at a shrine while her parents are away in the city. A shy girl, she has this strange ability where she cannot interact with electronics without breaking them in some way, exemplified when she causes a blackout at school after fiddling with some computers. At that moment, Yukimasa Sagara, a monk, comes to pick her up. With him is Miyuki, a boy Izumiko’s age who is assigned to be her guardian. Though at first they don’t get along, tensions ease somewhat when Izumiko’s role in the world is revealed.
Thoughts: I’m not sure what to expect out of part of the score for Red Data Girl given my lack of familiarity myu’s music, but Hikaru Nanase is a name that’s relatively near and dear, though I’ve yet to see her deliver anything on the scale of the beautiful Bungaku Shoujo soundtrack. But if there’s anything that’s looking like it’s coming close to that, so far Red Data Girl looks to be it seeing how it’s coming along pretty nicely. The early slice of life pieces consist of nice, pleasant orchestrals that take a calm and mellow tack, but once Izumiko begins communicating with her father, the melodies take a more threatening turn that border on the tragic, especially when that violin solo comes in. There are a few moments of sheer tension in the second episode too and the music rises up to the occasion without being overbearing. Beyond that, the rustic music comes off as quaint and charming, tinged with a mystical edge to capture our senses and fill it with the hope that Izumiko will be able to reconcile herself with her newfound role.
Attack on Titan or Shingeki no Kyojin
Composer: Hiroyuki Sawano
Synopsis: Mankind faces a threat in the form of giant grotesque humanoids called Titans who feast on humans. To safeguard humanity from these creatures, people have constructed cities guarded by tall, thick walls. That has worked for over 100 years, but now, the Titans have renewed their assault on humanity and in their invasion, changes the lives of Eren Yeager, Mikasa Ackerman, and Armin Arlart forever.
Thoughts: I’m not sure whether it’s because the series has just started and there’s not much to show off just yet or what, but so far, we haven’t heard much from the music. Known for bombastic stuff like his score for Guilty Crown and Gundam Unicorn, Hiroyuki Sawano seems to be keeping a rather low profile, dispensing with generic action music for the most part while keeping silent everywhere else. That said, when Sawano puts his mind to it, the music can be extremely impactful such as in the part where the chorus and strings sound out during the Titan invasion. There, the music enhanced the grotesqueness of the creatures while filling viewers with chest-tightening fear, effective when it comes to making the experience all the more visceral. Hopefully we’ll see more of that as the anime continues and that this isn’t just an awesome first impression that’ll falter down the line.

Miscellany: Once again, quite a few anime got left off our list, mostly because this list is already full as it is and I think we’ve hit most of the high points anyway. I wasn’t ready to sit through Arata Kangatari just to see what Kow Otani is serving up since he’s kind of a hit or miss anyway and it’s going to take much from Shiro Hamaguchi for me to sit through Karneval’s plot. Sequels like Ore no Imouto carry with them composers who are effectively known quantities and… ehhh… I just can’t bring myself to care about what Satoru Kousaki and Monaca compose outside of J-pop. Sad, I know.

On the bright side, this does bring our Western cartoon shenanigans to an end, so there’s that to celebrate, I guess! (For those who didn’t look to see what we did last year, SHAME ON YOU! ;D )

Written and published at: Anime Instrumentality Blog

Tracklist

[[Visit blog to check out this spoiler]]

Review: Throughout its 204-episode run, SpongeBob SquarePants has never been afraid to ask the hard-hitting questions. Just how is the Krusty Krab sidestepping OSHA regulations? Will Larry the Lobster ever overcome his crippling steroid addiction? When will Mr. Krabs reveal to Pearl that he’s not her real father? Will Sandy’s status as an illegal immigrant ever be addressed?

As much as the inquiries above betray the complex intricacies and multilayered machinations that comprise SpongeBob SquarePants’ substantive writing and directorial portion, the show has historically always been a creature of rather inconsistent technical merit. Its nearly 14-year (and counting) runtime has been a veritable roller coaster ride of bizarre variations in its audiovisual quality, usually for the worse. This unfortunate distinction inevitably extends to the soundtrack, and a particularly substandard batch of tunes seems to have made its way onto this album at hand, The Yellow Album.

Released in 2005, the album is an unsettling amalgam of outlandish, exaggerated, and at times grotesque eccentricities. It’s lost on me whether these queer aberrations are the distressing results of overwhelming technical incompetence or some kind of fetishistic self-indulgence on the part of the staff. Whatever the case, it nonetheless stands that this release has serious issues and is representative of the many production-related woes the long-running franchise has suffered through the years.

SpongeBob SquarePants Theme

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The disc opens with the familiar “SpongeBob SquarePants Theme.” They say familiarity breeds contempt, and SpongeBob’s notorious opening track is still the throbbing pustule of affliction it has been since 1999. The song attempts to be a swashbuckling pirate shanty, but Patrick Pinney’s vocal effort simply falls flat – his try at emulating a pirate’s gravelly timbre sounds more like he’s singing with half a mouthful of food. The children’s repetitive chanting of “SpongeBob SquarePants!” (lyrics are not this track’s strong suit) sound similarly phoned in, with some seriously dubious pitch accuracy, to boot. This mutation of “Blow the Man Down” rather wheezes softly against its legendary folk predecessor.

He’s Flying

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Similarly, few kind words can be said about Tom Kenny’s singing throughout the disc. “He’s Flying” endeavors to be a bubbly, energetic Broadway-styled piece, but fails on account of Kenny’s leading vocals. His shrill, overblown vocals amount to a crass caricature of what singing should sound like. The song’s sudden, exaggerated twists and turns do little to support Kenny’s tiresome performance and frankly magnify its imperfections.  The backgrounds employ the crudest of orchestrations, content to flavorlessly reiterate the melodies from the vocals.

Underwater Sun

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“Flavorless” is actually a good term for much of this disc, as the series’ music does little to establish its own identity, and this lack of individuality is at the root of the problem for the show’s tunes. The show contents itself in simply aping well-worn tropes of the music world, and the imitations are less than flattering. “Underwater Sun” embodies this well, as it undertakes a mimicry of what it believes a surf pop song might sound like, but ultimately coming off as being cheap and uninspired. The reverb guitar disinterestedly squawks out chords as the bass monotonously thumps its best impression of flatulence. There’s little interesting going on here.

Campfire Song Song

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It doesn’t get much better. Tom Kenny takes another shot at the microphone in “Campfire Song Song,” this time joined by Bill Fagerbakke (introduced as “Patrick”), and does little to change prior impressions. Kenny’s performance is simply annoying, though it pales in comparison to Fagerbakke’s effort. The song’s shtick is its sudden, drastic increase in tempo, but Fagerbakke just cannot keep up. If his increasing exasperation as he attempts to remain in sync with Kenny is painful to behold, his solo section is even more so. What’s most embarrassing, and likely the lowest point for the disc, is a vocal track that was entirely forgotten and unmixed into the final song. The result is the awkward call for a certain “Skwedwird” to have a turn at the melody, with absolute silence in response.

Reviewing this album is an exercise in repetition. Everything is either a halfhearted manipulation of something better or a half-baked bad idea, and the album suffers greatly for it. The inadequacy on display here is nigh-unforgivable, and the show as a whole is a lesser work to its credit. The meticulous writing and plotting of SpongeBob SquarePants was always praised for its sophistication and nuance, and it’s a disgrace that these other aspects of its production could never quite follow suit.

Rating: Awful

Written and published at: Anime Instrumentality Blog

Tracklist

[[Visit blog to check out this spoiler]]

Review: The delightful, traipsing jazzy melodies that make up the Peanuts TV show themes is more than just a whiff of nostalgia that takes me to my younger days. There’s magic at work in the compositions of such luminaries as Vince Guaraldi, Wynton Marsalis, Dave Brubeck and David Benoit, who’ve proffered their vision of Charles Schultz’s most iconic comic strip, imbuing it with a light, mellow energy that harkens back to simpler days and simpler times with a touch of the everyday fantastic. As someone who grew up reading Peanuts, the adventures of Charlie Brown and Co. quickly became an indelible part of my childhood. In that vein, David Benoit’s retrospective album, Jazz for Peanuts, helps me relive some of the more memorable moments, as Charles Schultz’s creations truly come to life in this engaging, rollicking work.

And exploring life is where this album excels. Right away, David Benoit’s mellow piano rhythm has us rolling along with a contentment that shifts to exuberance in “You’re in Love Charlie Brown,” as the energy that bubbles forth mesmerizes with its ebb and flow. The brassy, swinging melody, borne mostly by Christian Scott on trumpet and Andy Suzuki on tenor saxophone, creates a layer that seamlessly blends with the rest of the ensemble to create flashes of excitement or letting us sashay along in euphoria. The rest of the ensemble, with a piano that skips along and a saxophone solo that’s tasteful and classy, all contribute to that sense of eager anticipation, not only within the context of love, but to see whether the rest of the album can deliver the same sort of excitement.

You’re in Love Charlie Brown

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Wynton Marsalis is certainly no slouch in delivering excitement and “The Buggy Ride,” with its sax and trumpet call and response routine, springs with a liveliness that is more than up to the task. In listening, I found the phrasing fitting; Wynton Marsalis’ trumpet, filled with unrestrained glee, allowing me to survey my environs in wonder, at least, until the sax makes its call to signal that the jittery, but rousing buggy ride is set to bounce along to the next location. Not to be outdone, Dave Brubeck’s “Benjamin” gurgles with whimsy, as Bob Militello’s flute hops about, thrilled by the prospect of taking me on a journey. The tone then mellows out, and by the time the second half rolls around, Brubeck, on piano, gently takes over the reins, guiding me pensively while letting me rediscover bits and pieces of hazy memory, all in a sublime melody.

The Buggy Ride

[Audio clip: view full post to listen]

Benjamin

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With that, the album moves to calmer waters with Guaraldi’s “The Great Pumpkin Waltz,” which is imbued by an aura of mystery and wonder as it meanders about in search of the title spirit until the buildup to the climax that leaves listeners on a consonance that never quite resolves the mystery. The highlight here is Benoit’s piano and Dave Carpenter’s artistry on bass creating a texture with bouts of anxiety and unfettered anticipation as the wait becomes almost unbearable, along with a touch of doubt to hang over it all. But the excitement makes a return, and how! With David Benoit and Taylor Eigsti, we have the marvel that is “Wild Kids,” where the twinkling, soothing introduction has me eager for the adventure ahead which then materializes in an optimism that builds up to a wonderfully rambunctious cacophony.

Wild Kids

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As the first half of the album comes to a close, the second half begins with Dave Grusin’s “Breadline Blues,” played in a Grammy Award-nominated performance by Kenny G. Given the piece, things take a solemn tone as the funkiness works to enhance the bleakness of the period while the rhythm pulses on to give it a bit of grit and perseverance amidst the hard times. “Be My Valentine” similarly packs a downcast mood, one that murmurs and muddles through Benoit’s piano which conjure a mind filled with fluttering anxieties that yield much sympathy from listeners. The music takes a wistful turn as the piano simply sighs in the face of dreams which clash with anxiety, perfectly illustrated with Dave Carpenter’s bass pizzicato to bring a dithering quality to the track.

Breadline Blues

[Audio clip: view full post to listen]
But the optimism makes a return once again and Benoit’s animated “Rollerblading” frees us from the gang’s trials and tribulations, letting us freely explore through an airiness that’s packed with quiet contentment. The contentment slowly segues, building and expanding as Christian Scott’s trumpet’s snazzy lines deliver us unto a world filled with innumerable joys and possibilities, setting the world alight in instilling that sense of wonder. “Re-Run’s Theme,” with its optimism, follows well as it brims with a curiosity that rolls along effortlessly in its desire to discover. Here, Andy Suzuki’s flute and Benoit’s piano performance sings with a vibrancy that succeeds in entrancing me through its innocence and energy.

Re-Run’s Theme

[Audio clip: view full post to listen]
No Peanuts album would be complete without Vince Guaraldi’s iconic “Linus and Lucy” and no matter how many times I’ve heard the piece, it has never failed to enthrall. Its smattering of mischief, its unbounded energy, its curiosity and zest for exploring life, all coming together and delivered through the main theme is already magnificent. But when you throw in the burgeoning exhilaration during the improvisation and this piece seals the deal as it leaves me looking forward to the way in which serendipity will reach out and make life’s journey all the more thrilling.

Linus and Lucy

[Audio clip: view full post to listen]
Through it all, David Benoit effortlessly weaves, through this album, the musical fabric of my childhood by depicting the Peanuts gang’s travails and triumphs. Complex in its execution, yet simple in the scenes it looks to convey, the melodies continue to dazzle, to refresh, but most of all to leave us excited as it pick us up from the lowest lows and turns our head towards the grand adventure that’s up for the taking. So with all the pleasure it brings, Jazz for Peanuts is quite the misnomer; this album is definitely worth its weight in gold.

Rating: Masterpiece

Written and published at: Anime Instrumentality Blog

Tracklist:

[[Visit blog to check out this spoiler]]

Review: Probably one of the more controversial titles in the Disney pantheon, The Hunchback of Notre Dame impressed critics with its grandiose and darker than usual subject matter. Seeking to echo these themes, Alan Menken (who has won eight Academy Awards from scoring Disney films), created a soundtrack with songs that were more dramatic and certainly darker than Disney scores prior.

The first track, “The Bells of Notre Dame”, serves as exposition for its audience.  It’s one of my favourite pieces, with the charismatic Clopin, leader of the gypsies, telling the tale of Judge Frollo’s murder of Quasimodo’s mother and the boy’s subsequent adoption. Its tone is light at first, but then descends to a haunting, thrilling chorus of Latin verses which grow to a majestic climax. Clopin’s voice returns in an airy form to set the theme for the film by asking, “Who is the monster and who is the Man?” He then finishes the song with an incredible falsetto that starts the film perfectly.

The Bells of Notre Dame

[Audio clip: view full post to listen]

Throughout the soundtrack, the songs explore and play on the themes of darkness and light. “Topsy Turvy” plays as intended, with lyrics that let loose by throwing everything out of place amidst a jangling jig. It’s a fun piece, with only a slight hint of menace in the celebrations. “Out There” has Frollo gravely lecturing Quasimodo of the dangers of the world outside, but when Frollo leaves, Quasimodo sings of heading out into the world and experiencing its joys. The song is uplifting and conveys the innocent hope perfectly to the listener. Helps that veteran Tom Hulce produces a magnificent performance as Quasimodo and is envied among many a struggling baritone. Furthering this juxtaposition of darkness and light is the song “Heaven’s Light, Hellfire.” Amidst light bells, Quasimodo sings of meeting Esmeralda (whom he calls an angel) and expresses his wish to see her again. In Frollo’s “Hellfire” piece, these bells turn into a mournful prayer of confession, which serves as the counterpoint to his torment and lust for Esmeralda. This motif occurs again several times in other parts of the soundtrack.

Out There

[Audio clip: view full post to listen]

It’s not all drama in the score. God Help the Outcasts offers a quiet moment where Esmeralda asks for aid for the gypsies who Frollo hunts. It’s a lilting plea for the people others have forgotten and is really quite beautiful even if the Bette Midler version in the soundtrack, though sung very well by the songstress, doesn’t capture the agony and beauty of the film version.

The soundtrack features another pop song: Someday by All-4-One. It’s corny, but very catchy as All-4-One take it in their stride with a poignant delivery via exquisite harmonies. There’s also A Guy Like You, which is the soundtrack’s weakest song and probably just Menken’s need to include a show piece in a children’s film. While comical, the song just doesn’t fit in with the rest of the pieces.

The main stars in this score however, are the instrumentals. Tense strings and horns in Humiliation play a mockery of Out There, and are thoroughly heart-rending in the scene where Quasimodo is attacked by the vicious mob. The Bell Tower, with motifs from God Help the Outcasts and Someday, features airy bells accompanying lush strings, perfectly conveying Quasimodo’s innocent yearning for Esmeralda.

Paris Burning, Sanctuary and And He Shall Smite the Wicked, all have the strong Hellfire motif, paired with pulsating brass and that awe-inspiring chorus. Sanctuary, the longest piece of the instrumental tracks, has the bulk of the tension and danger carried through the chorus and pipe organ. This is tail-ended by the heralding of trumpets as the heroes arrive to save the day. And He Shall Smite the Wicked reprises the chants in The Bells of Notre Dame as Quasimodo battles Frollo for the last time. The piece is slower, but with the pipe organ in the background, much more definite.

Sanctuary

[Audio clip: view full post to listen]

Into the Sunlight runs the finale of the film, with the strings playing the Out There motif before moving into a reprise of The Bells of Notre Dame, where Clopin this time asks, “What makes a monster and what makes a Man?” This question is left up in the air, but the question seems to answer itself as the darkness yields to the light once the ringing bells, the blaring brass and that sumptuous chorus all combine into a more hopeful version of Hellfire, and a triumphant, glorious end.

The Bells of Notre Dame (Reprise)

[Audio clip: view full post to listen]

The Hunchback of Notre Dame is perhaps my favourite of the Disney movie soundtracks, aside from possibly the Beauty and the Beast. Though a couple of songs detract from the feel of it, the chorus arrangements are stunning and the daring behind a soundtrack like this is definitely worth the respect it garners.

And now if you would excuse me, I’m going to try and sing Out There again.

Rating: Excellent

Written and published at: Anime Instrumentality Blog

But if there’s something that unites us all, it’s an unyielding persistence that carries us on. So those anime companies are too high-minded, too hoity-toity, too elitist to sell soundtracks unbundled? They dare cram nonsense like drama tracks that are a jarring contrast to the sweet melodies in tracks previous? Very well! We shall set off in search of greener pastures that suit our idiom.

So after conducting a full diagnosis using Porter’s Five Forces Model complete with some good old-fashioned SWOT analysis and some BCG growth share matrices thrown in for good measure, we found the next step to be closer to home than we had thought! Why bother with Japanese animation when Western animation, with its history grounded in such storied franchises and companies as Disney, Hanna Barbara, and Looney Tunes, offers so much music for us to gleefully devour and enjoy? Here be an untapped vein just waiting to be excavated and based on the feasibility studies we conducted alongside our consulting team; this looks to be an exciting growth opportunity! Onwards to Western Animation Soundtracks!

Abandoning anime music isn’t something we take lightly, but this ability to gallivant into new territories leaves us breathless and eager as a fresh breeze blows in to clear the Kajiura-like stale air that has infested this place. A spirit of adventure awaits, encapsulated in the words of one very wise man that goes something like:

I can show you the world,
Shining, shimmering, splendid…

And that, dear readers, dear friends all, we will show you the world as part from these shores with the new dawn. With a clarion call heard from a song from ages past, I say, let us go forth and explore!

[Audio clip: view full post to listen]

Written and published at: Anime Instrumentality Blog

Review: Let’s be upfront with something. Seiyuu are awful singers. They usually manage to barely hobble along, but their limited vocal ranges and iffy pitch accuracy palpably put constraints on the scope of music productions. It’s just a bit of a gamble, really – putting green voice actors in front of the mic has pinched off more than a few stinkers (see this season’s GJ-bu OP, either of YuruYuri‘s themes), but occasionally produces surprisingly good results (Haruhi’s “Bouken Desho Desho?” or either of Asami Seto’s Chihayafuru ED’s).

Regardless, I approach seiyuu-staffed tracks with the same skepticism I have for payday loans from the mafia. Tamako Market’s OP was no exception; it had all the makings of a disaster. A newcomer to the scene? A slice of life anime? Singing in character? My apathy for this track was rivaled only by that of Korean ladies for other drivers on the road.

But much like when a Korean woman uses a turn signal or makes a full stop at a stop sign, my assumptions were rocked to the core. When I heard “Dramatic Market Ride,” everything I had come to know was challenged. I was forced to come to a startling, earth-shaking conclusion:

This song is pretty all right, I guess.

That may come off as a bit extreme, I know, but it warrants the praise. The Broadway-esque showtune-style execution of the piece ranks solidly somewhere between “decent” and “not bad.” The tune’s arrangement and orchestration falls in the midst of “permissible” to “satisfactory.” Aya Suzaki’s singing stacks up in the stellar range from “good enough” to “fine.”

In all seriousness, there is nothing wrong with “Dramatic Market Ride.” It’s wholly competent. Satisfactory. Sufficiently pleasant. I’m not damning with faint praise; I’m trying to make a broader point. Why is adequacy the admirable exception? Aya Suzaki’s vocals are dead-on pitch-accurate, but sound plain, almost dry, and go without a hint of vibrato or emotional impact. Her vocal range is impressive, but at a price.  Though her execution is effortless and unstrained even at higher octaves, she often sounds rough, untrained, and almost harsh as she reaches for the upper limits of her tessitura. Not to disrespect Suzaki, but I lament that merely being “good at singing” warrants praise in this industry. Tamako Market’s OP illustrates how low the bar is set in the world of seiyuu musical performances.

That’s not a good thing or a bad thing for this single, only a litmus test. “Dramatic Market Ride,” on its own merits, is still very enjoyable. Well, enjoyable enough.

Rating: Good

(The B-side? I assure you, the B-side exists. Only listen to it if you’re the kind of person that finds nail-clipping exciting.)

Tamako Market OP – Dramatic Market Ride

Written and published at: Anime Instrumentality Blog

This is what it feels like to get bootlegged.

Well, that’s exactly what happened to ratsavage/Joojoobees (of Abandoned Factory Anime Reviews), that’s happened to one of this site’s contributors, and that’s also happened to me. Needless to say, it’s quite a shocker to find out that something you spent hard-earned money on isn’t the genuine article and it frankly sucks. In this day and age of digital music files, it takes someone who’s quite the fanatic (whether it’s about anime soundtracks in general or some specific composer) to actually shell out for a physical disc, and the last thing I want to see is money going to a bootlegger than the real deal if the intention is to enjoy the real disc. So with that in mind, here’s my 1-step method to make sure that what you buy is a genuine article. And best of all, I’m willing to bet it works 99.95% of the time!

Catalog numbers are your best friend

If you’ve ever looked through the anime music reviews on this site, you’ll notice that we always list something called a catalog number, usually made up of 4 letters, followed by a hyphen, then usually 1 to 5 numbers (eg: VTCL-60114 or SVWC-7681). The catalog number can often be found on the spine of the CD case and is also located on the back of the CD case. This piece of metadata generally tells you what company and label produced the CD (VICL = Victor Entertainment while SVWC = Sony’s Aniplex division) and the sequenced number within that company/label’s releases. If you want to see whether a CD you own or plan to buy is the real thing, the first thing to locate is the catalog number. And if you’re going to buy it from someone else on eBay (a notorious haven for bootleg anime music) or something, make sure they list the catalog number or you can easily locate it in the pictures they use.

Evangelion OST 1′s catalog number is KICA-286.

• K-O Records: Their catalog number looks something like KO-1111
• SonMay Records: Their catalog number looks something like SMG-1111, GGG-1111, A&G-1111, and GSM-1111
• Alion International Records: Usually ALCA-1111 or something similar
• Miya Records: Generally MICA-1111
• Ever Anime International Records: Includes GM-1111, A8-1111, and AnG-1111

So yeah, if you spot any of these prefixes in your collection and a check for the company that produced the CD matches with any of those above, then you’ve got a bootleg on your hands. Not only did your money not go towards the artists you love so much, the quality might not even be up to par compared to the original. If you’ve been fortunate and not have had to purge any bootlegs from your collection, then let this guide serve as a way for you to filter out future purchases for any fakes.

Finally, if you are looking for places to purchase physical anime music CDs (for whatever reason), CDJapan, Play-Asia, and YesAsia are generally good places to shop (especially with the decline in the Japanese yen making stuff cheaper). If you’re more budget-conscious like me but are fortunate enough to live near a Book-Off, I’d poke around there, though I have seen quite a few bootlegs appear here and there (so keep Anime Instrumentality or VGMdb in mind when you find a CD that you really want to buy for catalog number confirmation purposes!). Mandarake stores are also a good choice, but their eCommerce site isn’t too user-friendly for English speakers, so you might face a few hurdles when using it. If you’re especially brave, you can try perusing YahooJapan auctions. Finally, aside from a few select sellers, eBay is not a place I’d recommend you use if you’re looking for anime soundtracks.

So with that, happy hunting and hope you find some musical gems along the way!

Written and published at: Anime Instrumentality Blog

Review: Every episode of Psycho-Pass takes me down sobering alleyways and dank corridors that become more frightening as they build a sense of dread for what’s to come. The world, already shown in an increasingly harsh, unforgiving light, becomes that much darker and leaves me empathizing with the hapless cast as the struggle turns away from opposing an unrelenting, uncompromising ideologue to one that opposes society’s cold judgment altogether. As this gloomy atmosphere lingers, chelly’s voice bubbles forth, propelled by ryo’s (of supercell) lyrics and composition. Together, the two drive the point home in the ED theme, “All Alone With You,” in a manner that is starkly bleak and absolutely mesmerizing.

From the haze that shrouds Psycho-Pass’s twists and turns, a lonely piano line emerges, its tone plaintive and filled with a great longing. Chelly’s voice then joins in, murmuring a lament as she expresses an existence in an uncaring, indifferent world bereft of warmth, love, and hope, doing in so in a way that’s captivating and profound. The sadness lingers in the verses as chelly navigates the despondent road leading up to the chorus, and from her tone, she’s weighted down by the indifference, letting loose a quiet sigh as she feels resigned to her fate.

With a short pause, the feeling of stress and desperation that’s built up in the singer are unleashed in a cry that resounds with anguish, calling out to anyone who even feels or displays the slightest trace of empathy towards her. She channels the loneliness nicely and while I do think the use of the electric guitar in the chorus distracts from the melancholia, the song as a whole is hauntingly beautiful in light of chelly’s heartfelt struggle to rail against apathy as she trudges onwards.

In light of how well “All Alone With You” stirs my emotions with its sublime, tragic aura, the next song, “elbadaernU” (or “unreadable” backwards) is nothing short of an unmitigated disaster as it jerks me from that pool of melancholia into something far more unpleasant. I’ve never been a fan of the kind of high-energy electro-synth pop dubstep stuff that other people seem to be into these days, so when I listen to “elbadaernU,” the only word that’s fit to describe it would be “obnoxious”: obnoxiousness in the form of synthy bumps, wails, and grinds, and obnoxiousness in the form of a dull, lackluster vocal performance. Where “All Alone With You” bitterly mourns an existence in a world that lacks emotion, “elbadaernU” ironically makes the misstep of being the very thing its preceding track protests against as it’s content to toss a barrage of sound that contribute little to the creation of something wonderful and meaningful.

Oh well. It’s not like I’ve had high expectations for B-sides anyway. But the A-side, “All Alone With You,” allows the Psycho-Pass’s sentiments to sink in in a way that’s thoughtful, but intense as the feelings of loneliness and desperation linger on, leaving me to wonder just how far they can build up within the characters before the characters snap altogether.

Rating: Decent

Psycho-Pass ED 2 – All Alone With You

Written and published at: Anime Instrumentality Blog

• One, to wave a flag at the Glastonbury Music Festival.
• Two, to go to any one of the rock festivals in Japan.
• And three, to see all three of my favourite Jrock bands (L’arc-en-ciel, X Japan, LUNA SEA) play and rock out like I’ve never rocked out before.

In chasing these dreams, to date, I’ve flown to Taipei and enjoyed the hybrid pop/rock sounds of L’arc-en-ciel, risked the flood-wrought lands of Bangkok to witness X Japan’s reunion, and most recently, flown to Singapore to see LUNA SEA’s return to form.

To put things in context, even though I currently live in Melbourne, I’m a native of the fair shores of Singapore. I do go back there quite often, but mostly for weddings and other important events. LUNA SEA’s performance on the 8^th of February, counted as an important event. In high school, when I first listened to their album Eden at a friend’s request, I was introduced to the perfect blend of hard rock and catchy pop riffs and was firmly placed on the road to becoming obsessed with Jrock in its many forms. When they broke up in 2001 after two epic farewell concerts in Japan, I was quite devastated, and for the next twelve years, could only rely on the albums I had to tide me over. Those were dark times, my friends.

Until it was announced that the members of LUNA SEA had come back together, reforming the band and going on an Asia tour! They were to perform for one night in Singapore, their last stop for the tour and for the first time in twenty-three years. When I found out about this, blood rushed to my head, heart palpitations began, and I feverishly emailed my friends in Singapore straightaway to procure these tickets.

We got them.

I then purchased budget airline tickets and that was that. Sure, my friends and family shook their heads in consternation and explained the importance of saving money, but I told them with a heavy heart and sigh, I had no choice. No choice in this matter at all.

And flew off to sunny Singapore, bags and wide grin in hand.

I arrived in Singapore one day before the concert. Met some friends, had some food, and then concert day arrived. Outside the theatre, Singapore LUNA SEA fans (SLAVES as they’re called) clothed in iconic black thronged the lobby floor. It was an interesting mix of ages, from teens to middle-age (I belonged to the latter category sadly). Many were at the make-shift merchandise store, but the store was not as packed as I had imagined. I bought myself the obligatory T-shirt and went over to a group of SLAVES that had brought a massive red flag to welcome the band to their first-ever Singapore performance. They invited me to write a note for the band, which I did, and I was very bemused at the level of fandom shown here. This feeling of bemusement stayed with me as my friends and I made our way into the theatre and found our seats. We waited.

And as we waited, our anticipation grew until it blossomed into full-on excitement as the seconds ticked down.

Then, the lights went off. More than three thousand fans got to their feet. They screamed. I screamed. LUNA SEA walked onto the stage to their respective instruments – Jun ‘J’ Onose on bass, Inoue ‘Inoran’ Kiyonobu on guitar, Sugizo on his triple-axe guitar and Shinya Yamada on drums. Frontman Ryuichi Kawamura got to the microphone, looked at the audience, and said one word: “Love”.

The opening strains of Loveless came in, and while not a fast piece, it’s LUNA SEA’s everlasting starter and the crowd loved it. Once Sugizo’s guitar wails faded away at the end of the song, the band shifted gear and threw themselves into power-hits Deja Vu and G, ordering us to scream. We obeyed with wild abandon. Singapore had waited a long time for this and LUNA SEA delivered with stunning showmanship. While the band played hit after hit, Inoran ran around the stage with guitar in hand, even spinning in circles at times; Shinya matched that energy and threw his sticks after every song; J kept rousing the crowd with his antics; Ryuichi and his sonorous, silky voice was the epitome of cool; and Sugizo had sex with his guitar. Yes, you read me right. It’s hard to explain, but the man just oozes sex, and shows it in his playing. He was on his knees, jumping in the air, hands sidling up and down the guitar neck. The music his guitar made reverberated throughout the crowd and we screamed his name many a time. When Ryuichi rubbed Sugizo’s body in a blatant show of fan-service, well, the resulting squeals could match the music for volume. Sugizo also showed off his violin skills during the popular ballad, Providence. He made his violin sing with his tender ministrations, played it up for the crowd, and we loved it.

LUNA SEA delights!

The sounds of Sugizo’s guitar

Fan Service

While LUNA SEA played most of their backlist such as the sublimely desperate Gravity and the high-octane Storm (a personal favourite), they also showcased two songs from their latest single, The End of the Dream. Rouge and The End of the Dream both had much heavier riffs than their older pieces and allowed for very fun head-banging. They were rawer, had a less-pop-more-rock feel about them and I am quite looking forward to the new album.

After a blistering bass solo by J and an awe-inspiring Shinya drum solo, after the wild Rosier (where J threw a microphone stand off the stage) and the perennial favourite Tonight, the set alas, was over. The band members took a bow and walked off the stage. We of course, wanted our encore, and demanded their return. The SLAVES started singing the bridge for Love Song and got the whole theatre going. The sing-along turned into cheers as the band returned to the stage. They had changed into their Singapore LUNA SEA fan T-shirts, and Sugizo was wearing a special one the SLAVES had made for him. Ryuichi thanked the crowd for their support in Japanese, and broke into LUNA SEA’s most famous ballad – I For You. This was followed by Believe before Ryuichi began an introduction of the band members, all of whom did a cheeky solo to the crowd’s adulation. All too soon, the members were thanking us all for coming, telling us how much they loved us, and that they would be back soon. Definitely.

Their last song, Wish, was an apt one to end the night. It sang of longing and looking towards tomorrow. We embraced the song and sang along. We shouted out their names as the band members took their final bows of appreciation. We tried for another encore after they’d left the stage but the lights came up and like a dream, it was all over.

Sugizo promises to come back.

I looked at my friends. We were exhausted. My feet had blisters on them and my neck ached and would ache more the next day. My ears were ringing and I was sure I had lost my voice somewhere. My friends were in the same sort of pain, but we also shared a common thought. We had just witnessed one of the greatest Jrock bands perform live in front of us. And as we trudged back home, as I took the next plane back to Melbourne, I knew that this wasn’t the End of the Dream for LUNA SEA, nor was it just a fulfilment of one, but the beginning of a fantastically new one.

I’ve waited a long time for this

Written and published at: Anime Instrumentality Blog

Tracklist

[[Visit blog to check out this spoiler]]

Review: The ferocity of fisticuffs flailing forth from forces fair and foul fill this fixating feature. JoJo’s Bizarre Adventure encompasses all of that as it takes great delight in detailing the conflict between Jonathan Joestar and Dio Brando, all done with the subtlety and earnestness of a berserk warrior with a sledgehammer. The presentation is over-the-top, but it remains entertaining all the while. In contrast, Hayato Matsuo’s music for Phantom Blood, the first arc of JoJo, while as brash as the action and drama it accompanies, does not entertain. Sure, the music accentuates Jonathan Joestar’s nobility and brings out Dio Brando’s grim, twisted ambitions in an arena where their destinies collide, but it’s overmuch in its execution, sacrificing subtlety for a grandiosity that’s ironically plain.

The subtlety that I prefer is illustrated in “Stone Mask ~Prologue~,” which features an ominous motive borne by the cello to instill a sense of fear and dread within you. The melody progresses slowly, amplifying the creepy aura with every passing measure and lacing it with an imminent tragedy that never gets in your face. And when the crescendo comes, things take a grimmer turn as the cello thunders forth before letting the creepy motive resume. There is a light moment when the violins lay off a whiff of hope, but even that is ephemeral as the stark situation stands forth and in listening to this, you find yourself drawn into this grand tale.

Stone Mask ~Prologue~

[Audio clip: view full post to listen]
The next track, “Destinies Brought Together,” is by far my favorite. Its introduction is exuberant as the violins unleash a bright and bouncy air that’s a marked contrast to the dark tone in the first track; in doing so it captures the life of privilege that Jonathan Joestar was blessed with. But then, Dio’s wretched beginnings come in, as the strings shift to a melancholy sound that is more empathetic than ominous. The piece grows quieter and colder in this transition, painting an image of someone biding his time as he methodically calculates the next step. This back and forth continues with the carefree, upbeat parts and the grim, scheming segments swapping in and out, and this dynamic is very engaging as one sees how different Jonathan Joestar and Dio Brando are and how their conflict materializes, as the second half of the track brings a tittering suspense as it builds into a tragic hero’s theme.

Destinies Brought Together

[Audio clip: view full post to listen]
With that, the tension rises significantly as Matsuo’s compositions reflect the state of the conflict. “Intertwined Destinies’” rhythm is heavy as the strings weave a compelling melody to reflect an epic journey. But given what the story has in mind, the mood becomes more sobering, and the soundtrack offers such fare in “Parting Regrets” which features a downcast track that signals impending misfortunes, especially when the violins play out a sorrowful, melancholy air that is effective in conveying that sense of loss.

Intertwined Destinies

[Audio clip: view full post to listen]
Up to this point, JoJo’s soundtrack still remains enjoyable as it draws you into the story. Once you approach the middle of the album, the music takes a turn for the worse with a pair of annoying tracks. “Strutting The Ogre Street” tosses a foreboding synth introduction which segues into a scraping segment that is as irritating as someone scratching a chalkboard. Granted, the track was trying to weave a disjointed, chaotic aura with its dissonance and eerie piano melody, but its use of synth is annoying as it removes you from the suspenseful atmosphere. “A Fine Fellow Shows Up” is even worse as a bland grinding synth makes way for a wailing blare that’s only interrupted by dreary piano measures that go nowhere.

A Fine Fellow Shows Up

[Audio clip: view full post to listen]
The tension-filled tracks are much more bearable in comparison, but even then, Matsuo’s execution makes them tedious listening as they rain doom and gloom into your ears repeatedly. “A Superhuman Reborn” exemplifies this as the lower brass and percussion let fly with every bit of dissonance for what it’s worth. After that, the track as a whole, with the strings’ skittering sound to back up the frenetic, menacing brass lines, gives you the sense that Matsuo went overboard in depicting Dio’s evil ways, erasing the subtlety that would effectively express the horror of what Dio has done to himself in his mad grab for power. Then there’s “Determination,” which initially impresses with its morose atmosphere, but falls apart as the despair floods in, carried by the strings and lower brass to heighten the tension but done in a way that leaves little to the imagination. Even with the scattershot of heroic struggles amidst the ominous overtones, its overall execution feels heavy-handed. Perhaps the track that squanders its introduction most is “A Duo of Courage” which belts out a heroic theme, but quickly leaves it in favor of a rhythm-heavy section with a static, ominous theme that captures the suspense of battle without the dynamic structure that would vividly evoke its ebb and flow.

A Superhuman Reborn

[Audio clip: view full post to listen]

A Duo of Courage

[Audio clip: view full post to listen]
Matsuo’s multitude of music mixes the melancholy amidst misfortunes; mundane it isn’t, but the way some tracks ram its emotions into our ears robs us of the ability to imagine the scenes for ourselves. While soundtracks functionally serve as a backing for a visual medium, it ought to also stir emotions from deep within that allows us to empathize with a character or imagine a majestic or beautiful scene without the need for words. So given the scope of Phantom Blood, Matsuo’s compositions are appropriate as dignity and grace meets with doom and dread. But in terms of remembering and cherishing the melodies that Matsuo serves up? Well, let’s just say I’d sooner lock myself in a bomb-proof coffin to hide out until something better comes along.

Rating: Decent

Written and published at: Anime Instrumentality Blog

Review: In her short stint with Supercell, yanaginagi has gifted us with a great many solid works, from the moving stories of unrequited love in ‘Kimi no Shiranai Monogatari’ and ‘Utakata Hanabi’, the optimistic ‘Perfect Day’, to the bold and energetic ‘Rock’n’Roll Nandesu no’. However, since moving on to her solo career, her works have lost their magic. I found ‘Vidro Moyou’ too plain, ‘Ambivalentidea’s’ melody lines too disjointed, and the awkward incorporation of a jazzy piano in ‘Laterality’ that never quite fit in with anything else rather annoying. Repeated listens may make them grow on me, but I don’t feel any urge to put in that time. ‘Zoetrope’, in returning to the simplicity characterized by her older works, is what manages to pull me back into the fold.

The very beginning of ‘Zoetrope’ brings yanaginagi’s beautiful voice to the fore, expressing a feeling of emptiness. The guitar then picks it up from there, and sets the energy level for the rest of the track. Despite its rather simple structure and lack of anything wildly original, it does an excellent job in merely getting everything just right: yanaginagi’s passionate delivery was spot-on, the dominance of the percussion drives a sense of urgency, and the various instrumental melodies within the piece are all written masterfully, using those instruments for what they do best. For instance, the violin tremolo at 1:34 creates a climax before the next stanza comes in, while the crisp piano segments between various stanzas gracefully link one portion of the song to another. There are many more such instances, be it with the chimes or electric guitar, which would be impossible to list due to sheer quantity. Collectively, the feeling one gets is that every aspect of the song is purposeful and managed, making it an impressive piece in every right.

The two B-sides do not give me as much to write about other than the fact they are pleasant and uplifting, in spite of how similar they are to standard J-pop. I would attribute this largely to yanaginagi’s impeccable ability to deliver optimism and innocence through her songs, creating heartwarming pieces that gently wash over the listener. Among the two, I personally find ‘replica’ more memorable despite its simplicity. Here, yanaginagi is accompanied by just a piano, which allows her delivery to truly shine as she takes the lead, letting her voice guide us as she seeks comfort despite loneliness and uncertainty.

When it comes down to it, this single wins no awards for being novel, though it remains an enjoyable listen. It does not do an awful lot, but what it does it does well.

Rating: Good

Amnesia OP 1 – Zoetrope

Written and published at: Anime Instrumentality Blog

Tracklist

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Review: Underneath the mishmash of electronica and synth that joins the piano, woodwinds, and strings in Yugo Kanno’s score for PSYCHO-PASS, one finds an aura of tragedy that drapes over the anime like a heavy curtain. This stifling image that Kanno evokes through his music aligns well with Gen Urobuchi’s screenplay for the anime which depicts a grim future where the need for societal harmony strips people of the very essence of what it means to be free. Order is enforced through the Sybil System, a sinister AI (or so we are led to believe) which governs nearly every aspect of a person’s existence by scanning and analyzing their state of mind through psychological scanners present at every light pole and street corner.

Within this world, the men and women of the Public Safety Bureau serve as the human face of the Sybil System as well as its chief defenders, capturing those whose psychological imprints suggest they will become criminals. Their actions are amoral, more often than not, but many are driven by the high-minded ideals of an ordered society forged by the System. It’s this ideal that’s set for a fall, and no track captures the impending tragedy in the face of action better than the opening track “PSYCHO-PASS.”

“PSYCHO-PASS” wastes no time in getting under way. The rhythmic blast that marks the track’s beginning races along with an urgent purpose. But just when you think a clash is imminent, the piano’s plaintive layering on top of the rhythm betrays the tragedies that are sure to come, creating an engrossing duality. This lamentation is heightened further by the inclusion of the violin which sighs mournfully, ebbing, flowing, lilting, all to bring out the desperation as the very pillar of societal order shows its weaknesses. So while the forceful electronica dominates the track’s foreground to suggest action, the scant hope, sprinkled in the prominent motif heard in the string and electric guitar duet, brings out the profoundness of the tragedy which envelopes much of the series for all to hear.

PSYCHO-PASS

[Audio clip: view full post to listen]
The second track, “The Gunpoint That Controls The Justice” is as somber as the dissonance leads the way. If the violin motif’s grim upwelling early on isn’t enough to reinforce how ominous the world is, the distant lilt from a singer and the synthy muted blares set the foundation for the uneasy atmosphere. But it’s the strings in the second part of the track where the music becomes poignant as tragedy and hope intermingle. Though not wholly complex, the broad strokes that it paints is engaging, matching the grim setting pound for pound.

The Gunpoint That Controls The Justice

[Audio clip: view full post to listen]
Kanno’s electronica sets the foundation for this dystopian future as it weaves an unsettling fabric that’s slowly fraying in spite of the Sybil System’s raison d’etre. Tracks like “Crime Coefficient” only further the aural setting and the pace of the anime by amplifying the unease into full-blown paranoia. “Crime Coefficient” buzzes with an unwavering resolve, barring a few interruptions including menacing crescendo blasts and ostinatos which heighten the suspense, evoking images of one darting through endless urban alleyways filled with lurking dangers. Although the track is tense, it’s the eerie, disjointed piano segment that cracks the veneer of sanity with lingering tones that agitate listeners. Perhaps the only track more vivid in this spiral towards madness is “Obsession,” which starts out with a few blips and bloops before unleashing a grating, pulsating blare that persists like a jackhammer between one’s temples. While the way it drives on lives up to its track title, “Obsession” is an effective mood-setter that’s unlikely to garner repeat listens.

Obsession

[Audio clip: view full post to listen]
Amidst the electronica, Yugo Kanno proffers some funk and harsher acoustic guitar tones to give PSYCHO-PASS the mood of a modern film noir. “Unit One of the Public Safety Bureau’s Criminal Investigation Division” delivers with a strumming bass to lay out a chaotic air that’s oddly pleasant if less methodical than what one would expect from a government agency. While short, the track’s spontaneity is enjoyable as it tugs listeners along its funky grooves. There’s also “Dominator,” which uses a huffing sound to simulate the tension one might get out of a chase before a stimulating, heavier outlaw-ish country sound takes over, providing the track with much of its energy. The heavy beats continue to run its course, adding an array of electronica to intensify the tension along with a brief segment of silence where the suspense grows.

Unit One of the Public Safety Bureau’s Criminal Investigation Division

[Audio clip: view full post to listen]

Dominator

[Audio clip: view full post to listen]
But as much as the unease dominates the soundtrack, it’s the melodies that bring out the tragedy in such stark terms that stand out the most. In “Human Mind,” the piano comes forth reticently. Though its motif is calming and serene, the way the piano rustles exudes a sense of pain and anguish resulting from the loss of what it means to be human. The soft tone feels muted at times, making it a good reflection of an existence bereft of the ups and downs that encompass life’s joys and sorrows. “The Way of Life” fits the same mold as the slow melody issues forth and unveils a deep mourning within. The sorrow comes out plaintively from both the piano and cello, lamenting for the innocence lost. Hope here is fleeting and the melancholy is sublime amidst the broken backdrop of the anime.

The Way of Life

[Audio clip: view full post to listen]
All told, the way Yugo Kanno’s PSYCHO-PASS soundtrack slithers through its digital labyrinths is absorbing as it tells a tale of ideals breaking down in the light of the truth, making the tragedy that unfolds on screen that much more pronounced. For much of the ideals that the characters hold are converted into action to defend the Sybil System from those who would seek to destroy it, and Kanno’s intense electronica evokes the desperation behind the action wonderfully. But it’s the tragedy that shines most, building the emotive foundation for Gen Urobuchi’s dystopia, where, given what happens, the characters have no other suitable recourse than to cry soft, bitter tears as their world altogether crumbles.

Rating: Very Good

Written and published at: Anime Instrumentality Blog

Tracklist

[[Visit blog to check out this spoiler]]

(Note: In contrast to our typical format, song previews are located at the bottom of this review.)

Review: If you’ve never heard of the LeetStreet (er, “L33tStr33t”) Boys before, neither had I. A self-described “anime otaku band,” their popular YouTube video “Yuri The [sic] Only One” is all you need to experience to get a gist of what they’re all about. Despite their relative prominence, my first exposure to them was this newest album of theirs, L3g3nds. Let’s get this out of the way: L3g3nds, at its core, is a genuine, heartfelt work. It’s clear the group is proud of this latest opus, and, considering its indie heritage, every minute of it feels like a labor of love.

Unfortunately, that doesn’t change the fact that the album is actually pretty bad.

If that sounded mean to you (it does to me), you haven’t listened to the album. There’s no need for nuance. The music on this disc is bad. It’s not good. It is unsatisfactory, of poor quality. Insufficient. Substandard. If that’s not the subtlety you expected, this won’t be the review you want to read.

Ok, ok, fine. From a purely philosophical standpoint, I do have a modicum of admiration for what the LeetStreet Boys are doing. Pouring yourself into something and then releasing it for the harsh world to judge is never easy. As something of an amateur musician myself, I get that. But there are aspects of this release that are simply not up to par – by any standards.

The vocals are the main culprit. For the kind of music the group is going for, they needed vocals. But not these vocals. Matt’s voice is thin, tinny, monotonous, auto-tuned, and not very pleasant to listen to. In terms of tone, he sounds like the vocal offspring between a kazoo and a vacuum cleaner, likely the result of extensive pitch-correction. He also seems to be unable to project beyond a moderately quiet inside speaking voice. As the excitement ramps up, his voice doesn’t grow louder so much as it just becomes more irritating. In a genre that lives or dies on its vocals, the LeetStreet Boys give a weak offering, and this inadequacy almost irredeemably brings down the entire album.

But perhaps the band’s appeal lies elsewhere? It certainly isn’t in the lyrics. Though Matt is capable of penning some genuinely good lines at times, the lyrics’ main goal, it seems, is to make you groan and roll your eyes. Littered with dubious slant rhyme, non-stop, cringe-inducing references to anime and video games, and dated, juvenile internet slang, the lyrics are, with rare exception, painful to behold. At times, they just fail to make sense. Here are some excerpts:

From “Sakura:” We triumphed over the dark lord of evil / This is unbelievable (Er, was this supposed to rhyme?)

From “Booth Babe:” But you look so hot with silicone boobs / Cheering me on as I pwn some n00bs (Ugh.)

From “Harajuku Girl:” We’ll ride the catbus / like in Hayao Miyazaki (This makes about as much sense as “we’ll fight some dinosaurs / like in Steven Spielberg.”)

From “Hikikomori:” It’s been 3 days since the con / My cosplay friends are gone (Do hikikomori, famous for being shut-ins and never leaving their home, even attend cons?)

I might have found all of this more palatable had it all been wrapped in some stellar, innovative songwriting, but that’s not the case here. Nearly every song unfolds in the same, insipidly pop-rock way that the entire album meshes together into a goopy, grey mush of flavorless tedium by its conclusion.

The formulaic approach to the music doesn’t help. Background instrumentation always consists of humdrum guitar strumming and root-tone bass plucks supported by a garage-band drum track. Without fail, a screechy, repetitive electronic synth element is included to lead along the chord progression and introduce some much needed movement and variety to the score. This substandard musical effort is a shameless facade to pump out dated anime and video game references, which, whether they meant to or not, comes off as insincere and pandering.

The sole exception to all of this, though, is the guitar. Though generally soulless when it’s a background piece, its solo segments are genuinely impressive. They’re creative, varied, and display a deft virtuosity not found anywhere else in these tracks. The 15 seconds or so dedicated to these solos in each song are refreshing, fleeting moments of musical zen in landscapes of chaotic banality. Whoever wrote and performed them deserves praise (see the “Sampling of Guitar Solos” track at the bottom of this review).

To be fair, aside from the vocals and lyrics, it’s never really an issue of outright incompetency within any individual part. The drums? Fine. The bass? Acceptable, sure. Guitar? Often fantastic. It’s just how everything comes together that problems begin to arise. You get the feeling that the band members are like great actors bubbling with potential that were given an amateurish script written by an unqualified director.

In the end, though, I feel the band can do a lot better – they just need a stronger focus on the basics. Lyrics should meaningfully appeal to listeners’ intelligence, not pander to shallow recognition of references. More importantly, lyrics should follow good songwriting; music should not be a vehicle to deliver lyrics, at least in my point of view. Once they have certain priorities in place, a lot of the above complaints just might disappear on their own.

For now, though, I feel compelled to say the following: Friedrich Nietzsche once wrote that ‘what doesn’t kill you makes you stronger.’ I am proud to report that I am currently alive and, indeed, feeling stronger after listening to L3g3nds.

Rating: Bad

Song Previews

Sakura

[Audio clip: view full post to listen]

Otaku Rave

[Audio clip: view full post to listen]

Hikikomori

[Audio clip: view full post to listen]

Harajuku Girl

[Audio clip: view full post to listen]

Final Boss

[Audio clip: view full post to listen]

Booth Babe

[Audio clip: view full post to listen]

A Sampling of Guitar Solos

[Audio clip: view full post to listen]
If the above previews haven’t scared you off, the band has this release available for (an insufferably pompous) $13.37 on their website.

Written and published at: Anime Instrumentality Blog

Review: Shinsekai Yori presents a world as a facade that hides a bloodthirsty history, one that, when uncovered, turns the show’s characters’ world upside down. As their perception of reality falls apart in light of a truth that is revealed little by little, the characters have no choice but to persevere in the face of this knowledge. Given the turmoil and desperation that they experience, Risa Taneda’s performance of “Wareta Ringo,” Shinsekai Yori’s first ending song, is an appropriate reflection of the tense emotions that arise in the course of their plight.

With the opening guitar stutters, a sobering, almost tragic soundscape settles in and is further intensified by the backing vocals which lend an air of sadness through their ethereal quality which contrasts with Risa Taneda’s stirring delivery. Although Taneda’s voice comes in strongly, there’s a subtle sense of desperation that lurks around and the despondent tone persists in spite of her attempts to hide it through her resolute singing during the stanzas, which, in totality, meshes well with what her character experiences in the anime. And as the song continues, the second stanza remains steadfast; she continues on with aplomb after the chorus with nary a pause, soldiering on past the pain.

And that chorus! Taneda’s delivery is captivating as the R&B feel of her singing bonds with the instrumentation. As she holds out each end note, there’s an effortlessness in her performance that transforms the lingering air of sadness into a more tragic aura to sweep listeners along. Even if her voice never falters, the backing vocals succeed in grasping the extent of the pain poignantly in a way that captures the overarching mood of the anime, leaving that lasting imprint after each episode ends.

With such a strong first track, Kana Hanazawa’s performance for the second ending theme, “Yuki ni Saku Hana,” would unfortunately not be able to match the one in “Wareta Ringo” in emotional depth for one main reason: its safe tack makes little effort in stretching Kana Hanazawa’s limited vocal talents. While Shigeo Komori is able to extract a competent effort out of Kana Hanazawa’s singing without imposing a higher level of ability than what Hanazawa is capable of doing, the song’s repetitive structure makes it somewhat boring and its tone is overly conventional, making it less memorable overall.

That said, Kana Hanazawa, to her credit, is able to craft a somber atmosphere during the stanzas while unleashing heartfelt pleas near the end of the chorus to make it the song’s highlight. Her intonation is also much more mature; it’s nice to see her tackle something that’s far from the sort of catchy, bubbly pop music that she’s normally associated with. So although the song won’t eclipse her efforts on the ear-wormy “Renai Circulation,” it’s still decent enough to pass muster even if its enjoyment is dwarfed by the entrancing “Wareta Ringo.”

Rating: Very Good

Shinsekai Yori ED 1 – Wareta Ringo

Written and published at: Anime Instrumentality Blog