{single} Hikita Kaori – Egao no Wake

February 1, 2010 at 2:44 pm | Posted in Hikita Kaori, Kajiura Yuki, Music | Leave a comment

Hikita Kaori – Egao no Wake
引田香織 – 笑顔の訳

(released October 25th, 2006)

1. 笑顔の訳 [Egao no Wake]
2. 笑顔の訳 (karaoke)

Hikita Kaori’s 2nd single. This song is Shounen Onmyouji’s opening, and is composed by Kajiura Yuki.

I was seriously not expecting Hikita to pull off a song like Egao no Wake – compared to her debut, it’s a lot more rockish and hard-hitting. I will admit that some of her belting on the higher notes in the chorus felt a bit forced, but I loved her overall energy. I think she did a much better job on the verse, keeping that sense of tension in her voice without overdoing it. Egao no Wake’s melody is not particularly catchy, but still rather addicting. Trust Kajiura Yuki to pull another one on us, I loved Kajiura’s mix of electronica (this is how you do beats properly in anison!) and the hint of traditional Japanese elements. I’m not too fond of the guitar solo though, it’s a bit generic. However, the part with Hikita singing the chorus and the Kajiuran choir harmonizing was gorgeous.

Overall Grade: A-


{single} Okina Reika & Hikita Kaori – Tsuki no Curse/Michiyuki

December 11, 2009 at 12:39 am | Posted in Hikita Kaori, Kajiura Yuki, Music, Okina Reika | 2 Comments

Okina Reika & Hikita Kaori – Tsuki no Curse/Michiyuki
翁鈴佳 & 引田香織 – 月の呪縛(カース)/みちゆき

(released May 25th, 2005)

1. 月の呪縛(カース) [Tsuki no Curse]
2. みちゆき [Michiyuki]
3. 月の呪縛(カース) (karaoke)
4. みちゆき (karaoke)

Okina Reika’s first (and only) single and Hikita Kaori’s debut single. Both songs were used in the anime Loveless (Tsuki no Curse as the opening, Michiyuki as the ending) and both were composed by Kajiura Yuki.

I’m not making fun of Okina Reika when I say she’s a one-hit wonder since she literally hasn’t done anything else. Tsuki no Curse opens with Okina singing slowly, then the guitars rev up and the song really starts. The melody is catchy, and while I found Okina’s belting a bit too nasal for my liking upon first listen, it’s grown on me and I can’t imagine anyone else singing it. I think the best parts of the song take place near the end – the bridge section with all the Kajiuran backing vocals taking the spotlight (I liked them throughout the entire song, actually), the guitar solo, then Okina coming back with subdued accompaniment before the final chorus. I also like the lyrics Kajiura wrote – they’re beautiful in a dark, isolated way (they almost seem to be from Soubi’s perspective). My favorite part (translated) is “in a world without words, we speak of love”.

Hikita Kaori’s Michiyuki is a gentle ballad, with lyrics (again by Kajiura) about finding love in a cruel world (they fit the nature of Soubi and Ritsuka’s relationship very well). They’ve got even more impact than Tsuki no Curse’s due to the Hikita’s vocal delivery. She doesn’t have a very powerful or distinct voice, but it’s warm and soothing and covers the dynamics in the song well. I love the lilt she does during the chorus peak the most – it almost sounds like she’s crying, but oh so quietly…Arrangement-wise, I prefer the piano and strings in this to the guitars in the A-side, and I’m glad that the echoes and choir vocals aren’t overdone here. Michiyuki also ends beautifully – Kajiura’s opted to wind the song down and use the verse melody, then the song’s string intro, and finally only piano at the end – the song closes as it has opened, giving the listener the impression of a dream.

Overall Grade: A

{single} Chiba Saeko – Sayonara Solitia

October 27, 2009 at 10:49 am | Posted in Chiba Saeko, Kajiura Yuki, Music | Leave a comment

Chiba Saeko – Sayonara Solitia
千葉紗子 – さよならソリティア

(released January 21st, 2004)

1. さよならソリティア [Sayonara Solitia]
2. here we stand in the morning dew
3. さよならソリティア (instrumental)
4. here we stand in the morning dew (instrumental)

Chiba Saeko’s 9th single. The A-side is used as the ending theme for the series Chrono Crusade, in which Chiba also voices the character Azmaria Hendric. Both songs were composed by Kajiura Yuki.

Sayonara Solitia started so calm and plain that I wasn’t exactly sure if this was even a Kajiura Yuki work – until the backing vocals came in, and even those are rather low key. I believe Chiba Saeko is singing as herself in this song, and not in character as Azmaria, since her voice isn’t high and cutesy in this song. At first listen, she does sound a little happy for a song like this, but there’s a subtle hint of grief in it that’s perfect. I’m fond of the contrast – the sparse synthesizer and bass during the verses and the fuller arrangement during the choruses. The ending was beautiful – Chiba sang the verse lines and there’s a brief moment where she’s singing a capella, a pause, then the instrumentals and choir finish the song.

here we stand in the morning dew speeds things up with a pounding beat, and is reminiscent of the Kajiura’s more dance-like tracks. I like the rhythm of the song, and it’s hard to explain how, but the music really fits the title – I think it’s because of the backing vocals giving this whole “misty morning” feel. I used to like this far more than Sayonara Solitia when I heard the pair of songs years ago, but since my taste has leaned more toward songs of emotional resonance of late…this B-side is a great track but doesn’t really stir anything within me. Chiba’s quite the versatile vocalist though, and pulls off both slow and fast styles with ease.

Overall Grade: A

{soundtrack} Pandora Hearts OST 1

September 4, 2009 at 6:49 pm | Posted in FictionJunction, Kajiura Yuki, Music, Ohmi Tomoe, savage genius | Leave a comment

Pandora Hearts Original Soundtrack 1
all music composed by Kajiura Yuki (except track #24)

(released July 8th, 2009)

*I may reference anime moments from time to time, but forgive me if I refer the wrong track to the wrong moment – my memory is not perfect, and I am merely going to bring up which moments the piece REMINDS me of, not the exact time the music was played.

1. Pandora hearts
2. Foretaste
3. Parallel Hearts TV-Size
4. Garden
5. Misgiving
6. Crush
7. Tea saloon
8. Another dimension
9. Ghost Blood
10. Bloody rabbit
11. Lost child
12. Possess
13. Alone
14. Contractor
15. Will
16. Daydream
17. Reminiscence
18. Skip
19. Parting song
20. Stealthily
21. Preparation
22. Darkness moon
23. Relief
24. Maze TV-Size
25. Turn
26. Melody

The soundtrack opens with Pandora hearts – the main theme used in the official trailer and also in random moments in the series when a battle is about to start. There’s some mysterious noise, then electric guitar line and percussion jump in with Wakana and Kaida Yuriko singing and harmonizing in some pseudo Latin. The music keeps building up as strings join in and then fades out quickly after the melody peaks. It’s a fast-paced, addictive, ear-catching main theme, but it was way too short. I wish there would be some extended version on the OST, but I guess they left it at the original 1 min cut.

Ah, yes. Foretaste gives us the whole “something evil is afoot” theme. It starts off with that same mysterious noise in Pandora hearts, and then a solo cello meanders its way in, later bringing the rest of the strings. It’s mainly a string piece, but that beat in the background (that makes me think of a dark cellar) was a nice touch. I love the ending the most, where the strings are at their most frantic, and then the energy dissipates.

There’s not much to be said about the TV size of Parallel Hearts, except this cut is really good – I think the first verse + chorus were used, as opposed to some anime songs that are cut using second/final choruses to the first verse to get more relevant lyrics, etc. I like how this version ended the music slightly before the vocals, so you get Wakana’s vibrato sticking out a bit at the end.

We get a cheery track with Garden. It opens with a sprightly flute solo, then the melody repeats with percussion added, some other woodwind playing a counter-melody. It’s lively and reminds me of a dance at a village fair. I don’t remember exactly when this was used in the anime, but I can imagine Oz chasing young Gil around outside. Pity there isn’t a longer version/fuller arrangement of this piece.

Misgiving is a very atmospheric track and meant more to be in the background than listened to as a standalone. It sounds exactly like what the title implies – it makes the listener uneasy because something bad will happen soon. Musically, it’s just percussion (the light chimes in the background were the best), and the rest is most likely synthesized.

With sweeping strings and a rather staccato guitar part, Crush seems to be using the meaning of having a crush on someone instead of someone getting crushed (perhaps Oz and his little crush on Sharon in the beginning, but that’s a bit too silly for this track). The violins in the beginning remind me of a rosy sunset, and the guitar and harp make me think of nervous heartbeats. There’s also a lovely flute solo in the middle that has a bit of a fae/elven quality to it. The music for the most part is happy but there’s a slightly darker undertone.

Tea saloon, a clarinet and harpsichord track, reminds of the scene when Oz first meets Sharon in the sitting room. It also has a bit of an afternoon tea party or court dance kind of feel. I like the harpsichord part especially because it gave the piece an ‘old’ feel.

Tea time is over because we get thrown into the Abyss, or at least Oz’s daydream of it, with Another dimension. There’s an ear-wrenching scratching noise and some lazy female vocals (they were kind of creepy, like some spell or chant). I liked the music box part the best. The strings were great, but I prefer the ones in the previous tracks more.

Yet another string laden track comes our way – Ghost blood. The percussion and some of the random weird noises make me think of some jungle or forest, but other than that this pretty much blends into the other ‘string sounds of doom.’

Wakana and Yuriko return to provide vocals for Bloody rabbit over rapid techno beats. I believe this is the track that plays when Alice appears in her B-Rabbit form. All I can say is, frantic, frantic, frantic. It’s definitely one of the battle themes – it’s even got the formula (holy-sounding choir vocals + all those fast blips).

Lost child is another creepy track. It’s mainly just beats and scratches. It kind of grates on my ears a bit and I wouldn’t listen to it normally, but it does give a good impression of being disoriented.

Oh dear god, I remember Possess way too well – especially during the scene when Alice killed the chain. The brass melody and the wailing guitar just sound kind of at odds with the series. The beginning kind of made me laugh a bit – it sounded like a scratchy TV that was about to die. This melody is more like something that would be put in a series about the mafia or something because brass just sounds kind of…sleazy. And all the electronic elements would fit better in a mecha anime.

Thankfully, we have the emotional Alone right after. Itou Eri sings on this track, which opens with bells. This song captures Alice’s loneliness and nostalgia perfectly. I absolutely love Itou Eri’s clear voice, and the harmonies are even better. The delicate flute solo and strings in the instrumental bridge are beautiful as well. Random, but Alone sounds a bit like the song Obsession from .hack//SIGN, one of Kajiura’s other works.

Contractor, I can assume, is probably when Alice and Oz are trying to escape the Abyss. I assumed it would be one of the more generic string tracks, but the melody is quite memorable. This piece has also got Itou Eri’s operatic vocals, which is a plus. What prevents Contractor from making my regular playlist would be the excessive techno – sure, I can understand wanting to create more of a sense of urgency in the song, but it would be much better if the beats were toned down and the rapid piano was brought out more.

Will has arguably one of the best violin themes in this entire soundtrack – it’s the nostalgic one about Alice is searching for her memories. I guess it’s in part to my love of the anime, but the emotion is just so clear in this one…there’s this strong sense of yearning. What I like best here is the arrangement –  it consists only (or at least, mostly) of ‘real instruments’  The piano, guitar, and percussion are a welcome reprieve from the electronic beat assault in the previous track.

I just love the echoes in Daydream. I think of the vast, empty, watery realm that Jack lives in when I hear this one. The sparse bell melody sound like they’re echoing off the icicles in an underwater cave in the winter. The second half adds piano, which makes the track sound warmer. I love Kajiura’s simple BGMs – she needs to do more of this type!

And yes, Kajiura answers my request with the even sparser music-box-only Reminiscence. It’s not as catchy as the main music box theme, but it’s every bit as pretty. I think of a dark snowy winter night with the small stars not shining, but faintly twinkling when I hear this.

Silly Skip is next to lighten the mood. This fluttery flute and marimba dance shows off the comedic side of Pandora Hearts, and would most likely be Xerxes Break’s theme song…or Oz’s more whimsical moments XD

Parting song sounds more like a song about sad, forgotten memories since there’s more of a resigned loneliness than the emotional impact of parting ways. There’s just a quiet piano solo with a little bit of cello. It also makes me think of a child waiting by a window for someone to return but they never do.

Man, does Stealthily evoke detective cartoons or what? This percussion track reminds me of one of those silly “sneaking around and trying not to get caught but doing it badly” scenes used in anime for comedic effect. It’s the opposite of stealthy, and brings to mind Break’s ‘awesome ninjutsu’ in that one episode where he was trying to sneak up on Alice.

So, are we now making a Preparation for a magic ritual? I see this as a calmer version of Pandora hearts. It’s slow mysterious track and another one of those .hack//-esque ones. The instrumentals aren’t that new (the usual violin solo is still there); Wakana’s vocals are the highlight. She’s singing in a mesmerizing chant, using a lower voice than she usually does (I almost thought she was Keiko for a moment…)

Darkness moon is a spooky cello solo with the  ‘basement noises’ in the background – I remember hearing this theme quite often. The title did give me different impressions (I expected some dark violin & piano piece) but this is yet another good atmosphere track.

After spending time in the creepy cellar, we’re filled with Relief when we come out. Relief’s somewhat of a music box track (I hear a music box, bells, and other stuff I can’t identify…maybe some piano?) but instead of being rather foreboding, it’s gentle, like the melodies that play from nursery mobiles, wishing the infant sweet dreams.

Of course, an OST always has to have the TV-size of the ED (in this case, Maze). Great cut, I’m glad they didn’t end right after the chorus but instead transitioned it out with the background music. I kind of wish they used the second chorus’s lyrics (the ones with “queen of heart”) though.

And Kajiura Yuki gets ready to sign off with Turn, which is the 30-second string theme played in a lot of “next episode” previews – I think she wants us to look forward to the next soundtrack! Turn sounds pretty much like a sped up version of Will, but lacks the feeling of an actual piece, mainly because it’s so short.

I was wondering where Melody went, but you’ve got to save the best for last, I suppose. This is “Lacie,” the music box melody that Oz hears from the pocket watch he picked up at the grave. The melody is very simple and it’s exactly as how the  ‘music box’ in fantasy animes should sound – memorable, lighthearted but associated with darker memories, and nostalgic.

Final Thoughts: The first Pandora Hearts OST is both wonderful and severely lacking at the same time. As a soundtrack, which serves mainly to be background music, it does its job. However, a portion of these tracks don’t even come close to being adequate standalones (I’m looking at you, all you techno-filled ‘pieces’). I know the purpose of these pieces are not to stand out (lest they overpower the actual anime) but some of them even border on being merely sound effects, and don’t even sound like music. It’s a hit-or-miss deal, but on the other hand, the ones that do hit land with a bang. The trademark themes that represent the series make a very strong impression (good hooks, melodies, arrangements). Emotional impact isn’t lacking either where it’s needed. Kajiura’s classical-rock fusion is still going strong, and of course I always welcome the presence of her FictionJunction vocalists on a BGM track instead of having pure instrumental. As for how well the music suits the series itself…it’s not perfect but I attribute the missteps more to the music director’s interpretation than to the composer. In the end, though I’ve definitely heard better from Kajiura before, this is still an enjoyable soundtrack.

Favorite Track(s): Pandora hearts, Garden, Crush, Alone, Will, Parting song, Melody

Overall Grade: B

{single} FictionJunction – Parallel Hearts

August 28, 2009 at 11:49 am | Posted in FictionJunction, Kajiura Yuki, Music | 2 Comments

FictionJunction – Parallel Hearts

(released April 29th, 2009)

1. Parallel Hearts
2. ひとみのちから [Hitomi no Chikara]
3. Parallel Hearts ~instrumental~
4. ひとみのちから ~instrumental~

FictionJunction’s 1st single under this name. Previously, Kajiura Yuki has released FictionJunction material with the name of the vocalist featured (i.e. FictionJunction YUUKA). The main track is the opening theme to Pandora Hearts.

Parallel Hearts utilizes the vocals of four of the FictionJunction girls – Wakana, Keiko, Kaori, and Kaida Yuriko. It’s a dramatic and emotional song, which is not unexpected since it’s an fantasy anime theme. There are the usual Kajiura Yuki stylings in here – the violin solos, vocal harmonies, and rock-classical genre mix but something sets Parallel Hearts apart from Kajiura’s previous works. I can’t exactly pinpoint it (maybe it’s just the overall mood) but she seems to be developing more originality as a songwriter instead of only sticking to her old formulas. I’m still very fond of her tried-and-true methods but Parallel Hearts completely renews my fandom. About the song itself, Wakana’s voice is perfect for the main melody, though I still love Keiko’s alto harmony line the best. The girls all have voices that mesh well. The descending chorus melody gets stuck in your head easily, and the whole bridge section is beautiful. The lyrics/themes are interesting – parallel lines are a metaphor for two people’s hearts, and while they can overlap (when viewed from an angle in three-dimensional space), they will never touch or meet.

I knew you couldn’t exactly have FictionJunction without Nanri Yuuka (she’s got the most distinct voice out of all the girls), and indeed Hitomi no Chikara is a FictionJunction YUUKA song. I almost expected something powerful like Honoo no Tobira given the title (“power of the eyes”) but we have an exquisite piano ballad. It’s a nice contrast to Parallel Hearts’ full arrangement; Hitomi no Chikara mainly has piano and a light beat. There’s just something so melancholy about the piano line that makes me think of an empty room at the top of a tower with just a small window, with Yuuka singing while gazing outside. Yuuka’s voice is just so pure and lonely-sounding that I almost wanted to cry. Hitomi no Chikara is simplicity at its best and proves Kajiura Yuki’s versatility in songwriting.

Overall Grade: A+

{single} Revo & Kajiura Yuki – Dream Port

August 25, 2009 at 10:12 pm | Posted in Kajiura Yuki, Music, Revo | Leave a comment

Revo & Kajiura Yuki – Dream Port
Revo & 梶浦由記 – Dream Port

(released June 18th, 2008)

1. 砂塵の彼方へ… [Sajin no Kanata e…]
2. sand dream

Kajiura Yuki’s 1st collaboration single with Sound Horizon composer Revo. The song doesn’t seem to have any particular tie-ins except it was used as the ending performance at a joint Kajiura Yuki and Sound Horizon live. Been meaning to review this one for ages, and finally decided that a summary was needed in order to understand the songs…

Warning: really long post for one song. I’ll try to keep the fangirling to a minimum XD

Like most Sound Horizon works, Sajin no Kanata e…seems to tell a story and also has a verbal narrator. “Sajin no Kanata e” means “beyond the sandstorm” and uses the sandstorm metaphor to tell of parting with someone close to the character in the song.  Sajin no Kanata e…begins with light acoustic guitar (played by Revo) and then the orchestra comes in with some English narration. Kasahara Yuri begins the vocal portion with her operatic note and the rest of the girls sing the chorus. When the verses start, the girls alternate on solos – I believe Wakana, Keiko, Kaori (Kajiura’s FictionJunction girls), and either Remi or Yuuki from Sound Horizon get solos throughout both verses. I prefer Keiko’s deep voice to the shriller Sound Horizon girl who sings the same part in the second verse. I kind of wish that Yuuka got more of a solo since her voice would have been wonderful, but I guess since she’s Kajiura’s main vocalist, it’s a chance for the others to shine (probably why Chiaki wasn’t even present…). Structure-wise, it’s chorus-verse-chorus-verse-chorus and the first portion concludes. This first part tells about parting with a close friend, and yearning for their voice, likening the parting journey to searching for an oasis in a sandstorm.

We get a short piano solo performed by Kajiura Yuki herself followed by wispy backing vocals and the narrator saying “dream port”. There’s a small pause, and here’s my favorite part. The vocalists re-enter slowly at first with just acoustic guitar then the music quickly builds up as they overlap each other. This is a bridge linking the more melancholy first part to a happier, major-key melody. The lyrics say that despite what happens, the characters “continue to sing the song of love.” I love the build up of emotion and it’s one of the best transitions I’ve ever heard – I almost wish it was longer, but transitions are meant to be short and sweet. Vocalists and orchestra come back in full blast for the new chorus, which tells of a hopeful “I know we will meet again.” There’s an instrumental bridge with wonderful solos featuring violin, electric guitar, and…either some wind instrument or synth in one part I can’t identify. The music builds up, and then falls away for the real treat – Revo and Kajiura Yuki singing a short solo part with only piano accompaniment. I was rather surprised by Kajiura’s singing voice – it’s light and sweet, not as powerful as the women she writes for, but it’s got this slightly breathy, operatic tone to it that’s really lovely. I always knew she did backup for Chiaki back in her See-Saw days, but I’ve never heard her sing solo before. *ahem* Well, after the solo, the rest of the vocalists just sing the “happy chorus” on “la la la” without any lyrics. Sajin no Kanata e…then closes with the same acoustic guitar solo it opens with.

Sajin no Kanata e…is a masterpiece collaboration, in my opinion. I knew both Kajiura Yuki and Revo had very different composing styles despite their similar fantasy-like quality – Kajiura’s more fond of her mysterious anison stuff, and Revo’s works are more theatrical and meant for stage rather than pure audio. I was impressed by how well they mixed their styles – you can hear the Kajiura sound in the violin solo and the vocal parts, but there’s a distinct Sound Horizon flavor in the composition, the way the song progresses, etc. This CD single also came with a DVD of the live performance of Sajin no Kanata e…I’m not going to review the video in great detail, but it’s even more impressive live than in the studio. The energy of the musicians is amazing, and my favorite “transition” part can be heard a lot more clearly (Keiko’s alto line has more power to it) and the harmonies are more prominent. I suggest you all watch the live – it’s on YouTube, for now at least.

And I got so caught up in Sajin no Kanata e…that I almost forgot to review sand dream, which is Kajiura’s own arrangement of the main track. The melody starts out on a flute solo, and then is followed by some percussion. There’s a bit more of an ethnic feel to this version…I can’t pin the exact word down (tribal doesn’t seem to describe it – it reminds me more of some gypsy dance). There are vocals on this track too, but they’re in the trademark “Kajiuran” language (there’s no actual meaning, it just sounds cool) and I believe Kasahara Yuri and Kajiura herself are singing them. The strings, guitar, and vocals also get a chance at the melody. I liked the fact that some of the vocal bits were in a counter melody not featured in the original – the entire tone is different. However, there wasn’t as much transition between the first and second portions of the “story” and Revo’s guitar solo at the end felt a bit out of place but those were minor aspects that didn’t bother me too much. While I still prefer Sajin no Kanata e…due to the magnificent live performance, sand dream is rather heavenly in it’s own way. Both tracks clock in around about seven and a half minutes, and they’re the only songs that long that I can sit through completely almost every time without getting bored. Please collaborate again, both of you!

Overall Grade: without a shadow of a doubt, A+

{single} Inoue Marina – Houseki

June 21, 2009 at 11:55 pm | Posted in Inoue Marina, Kajiura Yuki, Music | 1 Comment

Inoue Marina – Houseki
井上 麻里奈 – 宝石

(released August 11th, 2004)

1. 宝石 [Houseki]
2. Ballad
3. 宝石 (original karaoke)
4. Ballad (original karaoke)

Inoue Marina’s debut J-Pop single and 1st single overall. Both songs were used in the anime OVA Le Portrait de Petite Cossette, in which Inoue Marina also made her seiyuu debut as the title character, Cossette d’Auvergne. Houseki was the ending theme, and Ballad was used as an opening in the last episode. Both songs were composed by the reknowned Kajiura Yuki.

I fell in love with Houseki the moment I heard it and – I’ll be honest here – lot of it has to do with my Kajiura Yuki fandom. With the trademark mysterious string lines, electric guitar solo, skillful blend of haunting background vocals, and “music-box” ending, Kajiura outdoes herself with her classical and rock genre mix. But enough about Kajiura – a good song won’t mean much if there isn’t someone who can step into the spotlight and convey its message successfully. For the soft-voiced Cossette, I didn’t expect Marina’s singing voice to be so deep and rich. Her emotion is wonderful, and her voice flows from one passage to another flawlessly. I assume that Houseki was written with Cossette’s memories as inspiration, and Marina expresses the longing and pain of her character, as well as the hope that Eiri can save her from her curse. While I’m used to the thinner pipes of Chiaki and the bubbly Yuuka for Kajiura’s works – a voice like Marina’s is perfect for a darker work like this.

Ballad shows off Marina’s softer side and is indeed, as the title implies, a ballad but not only in the musical sense. It reminds me of the musical ballads of the past, in which the song’s purpose is to pass on a story. This shows in Marina’s singing style (it’s laidback, almost monotone, as if she is slowly recalling events to the listener) and the chorus melody (it seems to go in a circle…reminds me a bit of the storytelling style in alan’s “Sakura Modern” but with a far different tone). Ballad is a lot barer in composition in contrast to the dramatic Houseki – the vocals are the focal point here. This song also evokes the image of a melancholy winter morning, before the sun has come up. I’m rather impressed by Marina’s versatility as a singer and her ability to channel her acting skills into her songs – I’m definitely hoping she gets that legit record contract someday.

Overall Grade: A+

The Crack Post of Crack Posts

April 17, 2009 at 12:18 am | Posted in Kajiura Yuki, Music, Revo, x_crack_x, _random rants | Leave a comment


And I don’t mean in just the musical sense. I know you think I’m probably crazy, but the more and more I think about it, the more it makes sense.


Continue Reading The Crack Post of Crack Posts…

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