Juuni Kokki - Juuni Genmu Kumikyoku
Anime: The Twelve Kingdoms
Album: Juuni Kokki - Juuni Genmu Kumikyoku
Musicians: Kunihiko Ryo, Arisaka Mika
Composer/Lyricist: Kunihiko Ryo
Release Date: 23 Apr 2003
| Juuni Kokki - Juuni Genmu Kumikyoku - Kunihiko Ryo Tracklisting:Â Â Â 01. Juunigenmukyoku (Full Version) *Bold titles - recommended listening. |
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OVERVIEW
Juuni Genmu Kumikyoku is a beautiful soundtrack, featuring a number of Chinese instruments that give the music a distinctly Asian feel. Composed for the excellent anime The Twelve Kingdoms by the underrated composer Kunihiko Ryo, the pieces on this soundtrack perfectly capture the fantastical and epic feel of the series while still being able to stand on their own.
THE GOOD
Juunigenmukyoku (Full Version)
This full-length version of the opening theme is the highlight of this entire soundtrack. From its soft and gentle opening, it swells into a faster pace with the deep strings and violins creating a sense of urgency. The middle of the piece, however, is like the eye of a storm; glissandos dominate this calm section, like the musical equivalent of ripples through a still pond. That soon develops into a very epic and triumphant theme. The only fault I can find is that it is too short, leaving me longing for more. “Juunigenmukyoku” is a gorgeously orchestrated composition that expresses the fantastical spirit of The Twelve Kingdoms, but it also can be detached from its anime origins and considered on its own as a beautiful and well-written piece of music.
Juunikokugenei
“Juunikokugenei” begins with an ominous buildup by the strings, which leaps into a pulse-quickening theme. The melody played on the violins and then the flute sounds almost sinister, with a heavy bass sound as a counterpoint. This was a theme played often during fight sequences, yet I can’t classify it as merely fight scene background noise. It is too well-written for that.
Fuushun
“Fuushun” is my personal favorite on this soundtrack. This short piece has a light, swaying sound, created with only a few key instruments. Acoustic guitars pull the listener in at the beginning with rapid notes that flutter through the melody. The recorders that eventually take up the melody play in an interesting way that flows and blends together, creating some intentional discord. A violin adds the dancing countermelody, intertwining with the recorders and guitars. This is one of the shortest pieces on this soundtrack, but it is very beautiful and atmospheric.
Tabiji-Hasuyamaenkei
This piece is also very atmospheric, with a sparse, gradual melody that has the same somber dignity of the inside of a cathedral or a deep forest. Percussion instruments take up a beat halfway through that provides a backbone for the melody. This is not the typical song I would place in the Good section, but somehow it works here. The very spare melody builds up into an undercurrent of feeling and sensation that sinks into your gut rather than attacking with emotion.
Getsumeifuuei
“Getsumeifuuei,” the only vocal track on the soundtrack, is an acoustic version of the ending theme. A slower pace and the lack of electric guitars and drums turn this energetic song into a lullaby instead, which works surprisingly well. Arisaka Mika’s voice blends perfectly with the piano and guitar that support her. This is a very soft and beautiful song.
Juunigenmukyoku (Piano Version)
“Juunigenmukyoku” is a reprisal of the first theme from the opening. Unsupported by other instruments, the piano brings the mournful melody to life. Added touches make this version different from both the original and from the acoustic version performed by the guitars. This is a beautiful way to close out the soundtrack, bringing it full-circle to a gentle and contemplative end.
THE BAD
Shuurai
“Shuurai” sounds like something that Hirasawa Susumu wrote, only with more of a rock sound. This isn’t a bad thing in and of itself, but on this soundtrack of purely instrumental music, this heavy techno song sticks out like a sore thumb. “Shuurai” features a lot of synthesizer, and distorted electric guitars. I don’t find this song bad per se, but its stark difference does break up the feelings created through prior pieces.
The Rating: 9
Reviewed by: dheu
