The singers featured add a lot to the overall atmosphere. The heavy, militaristic sounds provide more optimism and resolution to the track and the way that flows makes the initial build up all the sweeter. But after a short period of unsure silence, the drums and electric guitars come in and everything changes. Guitars and other instruments come in one after another to build but dissipate not long after, leaving the piano all alone.
VON ZANKYOU NO TERROR SERIES
In one of my favourite pieces, “nc17”, a piano plays a rhythmic series of notes that sets the backdrop for the piece. “lolol” makes use of strong distortion to open the soundtrack while the penultimate song, “ili lolol,” uses the same distortion but offsets its angry tone with gentle harps to create something more dreamlike. Kanno uses a lot of electric guitar in this soundtrack, mainly to create a harsher sound. The build-up is fantastic and the playing very tight. The piano starts playing fugue-like arpeggios as an electric guitar begins a solo, building on that quick beat before the strings come in to finish the song. “saga” brings in the jazz with pulsating drums and a furious driving bass. For example, “fugl” and “walt” feature a fluttering piano backed by flowing strings which bring a strong poignancy and drama to the pieces – something Kanno excels in conveying. What resulted is something of a hybrid of all things Kanno. To gain inspiration for the soundtrack, Kanno went to Iceland and even recorded at Sigur Rós’s studio. It’s an experiment in design, one that still retains much of what we love about her music. Had Kanno reached a peak?Īfter watching Zankyou no Terror, a Watanabe anime involving two kids’ rebellion against society, and listening to this soundtrack, my answer is a relieved no.
Her music in the much-anticipated Kids on the Slope by Shinichiro Watanabe (of Cowboy Bebop and Samurai Champloo fame) wasn’t fantastic either. The music was fantastic, but it all became a little too homogenized and that carried over to Genesis of Aquarion: Evol. Will the new soundtrack be too different? Isn’t this something I’ve heard many a time before? Yikes, this is way too odd for my liking! And for me, I thought she was recently getting too caught up in the Macross Frontier sound.
That’s always a scary idea for her fans though. From sweeping war pieces ( Turn A Gundam) to digital soundscapes ( Ghost in the Shell: Stand Alone Complex) from rushing jazz beats ( Cowboy Bebop) to idol chart holders ( Macross Frontier), she loves to experiment. Review: One thing I really love about Yoko Kanno’s compositions is just how varied they all are.
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