Kurenai Original Sound Track
Anime: Kure-nai
Album: Kurenai Original Sound Track
Musicians: Muramatsu Ken
Composer/Lyricist: Muramatsu Ken
Release Date: 25 June 2008
| Kurenai Original Sound Track - Muramatsu Ken Tracklisting: CD 1 - Emotional Side CD 2 - Swingin’ Side *Bold titles - recommended listening. |
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OVERVIEW
One of the qualities that stood out while watching Kure-nai(1,2) was its soundtrack, which consists of a masterful blend of traditional Japanese music and modern jazz and succeeds at complementing Kure-nai’s primary conflict between traditionalism and modernism. Muramatsu Ken, who had previously worked on the Sketchbook ~full color’S~ soundtrack, demonstrates his ability to be able to compose subtle pieces that accentuate the mood and atmosphere of the anime without overpowering it. That said, on its own, Kure-nai’s soundtrack offers a mixed listening experience. It isn’t quite as enjoyable as Sketchbook’s because many of Kure-nai’s pieces are forgettable, especially on the first CD (called the “Emotional Side”) and had Muramatsu taken the time to develop some of the shorter pieces beyond the simple, subtle piano melodies that he employs, the soundtrack could have been much more fulfilling. Thankfully, most of these problems are isolated to the first CD and the second CD (called the “Swingin’ Side”) makes up for it and then some through its more energetic pieces with its catchy melodies.
THE GOOD
Inori Tsudzukeru
If any piece can be said to sum up practically the entirety of the disc upon which it resides, “Inori Tsudzukeru” would be it. The piece’s tempo is really slow and creates a sense of despair, albeit in Muramatsu’s subtle style as he paradoxically makes the tone feel ponderous and heavy without it actually being so. What this piece does so well is convey the tone and atmosphere of the trials and tribulations that the characters must face. Although it does make a few reaches out at hope with a few uplifting passages, it ultimately falls back to its melancholy state as it channels the mournful mood well enough to immerse the listener.
Ameagari wo Arukeba
This track opens up the second disc which works to snap the listener out of the duller, melancholy tracks from the first disc. Clocking at just over a minute, this piece makes the most of its duration with an upbeat opening that really isn’t all too complex, but it’s an enjoyable ditty nonetheless with its bouncy rhythm and melody.
Surf song ~ Oikaze wo Ukete
The upbeat nature that this track provides grabs the listener right off the bat with its jazzy melody that gives off a celebratory atmosphere which becomes even more enhanced as the tempo moves faster. As you listen to this particular track, you can definitely feel the sense of joy and excitement build up. Although it does get a bit repetitive, it is short enough that it does not overstay its welcome. That said, the ending trails off without giving the piece a proper sense of closure, so it falls short in the way it executes its ending.
Suiheisen no Mukou ni
Most people are going to recognize this track as the instrumental version of the musical that the characters enacted in episode six and it sounds just as wonderful here as in the original vocal version. Everything about this track just puts the listener into that moment. From the onset, its piano melody gives off a yearning feeling and as the track progresses, it makes a move towards the bittersweet, pouring out its emotion all the while. Though there are some moments during this track that are truly uplifting, the moments are short-lived as it reverts back to the yearning feeling. The emotions that this piece draws forth are what make it memorable, making it stand out as the best piece in this entire soundtrack.
THE BAD
Ending ~ Kirenai Wakare
By the time you reach this track on the first disc, all of the pieces are going to meld together to the point where there isn’t a single melody that really stands out. And that’s really where the first disc can be faulted upon: the tracks in and of themselves are fairly decent on their own, but the way the tracks are arranged results in them blending together, rendering a large portion of them forgettable. It also doesn’t help that the melodies are repetitive and that while there’s nothing totally wrong with having repetitive melodies, the pain of listening to the tracks is increased when you are listening to a dull, repetitive melody. Even worse if it’s a melody you’ve already listened to on the disc. This particular track takes its theme from “Inori Tsudzukeru” except the quiet segment in the middle and its atmosphere, which is even more somber than the original version, makes this piece a chore to listen to. While I do understand the need for soundtracks to adopt a book cover approach (where the first and final tracks have the same theme and the latter is an arrangement of the former), this track doesn’t make any attempt at improving upon the original, making it a reprise that you should probably just skip since you’ve heard a better version.
Mori ni Hisomu Mono
This piece isn’t necessarily bad, but its unconventional style will cause some listeners to pass over this one. The piano starts this piece with a discordant melody that leaves the listener on somewhat of an edge. A flute comes in and though it complements the piano, it’s hard to appreciate what the piece is trying to accomplish when it feels so chaotic. Its presence on the soundtrack does make for a nice diversion now and then if the listener needs a break from the upbeat jazz on the second disc, but it’s not going to be one that people will turn to often.
Nigerarenai Mono ~ Jaki
Now here’s a perfect example of a track that manages to capture almost all the elements that make this album a bit of a chore to listen to. The repetitive nature of the piano work becomes grating in light of the track’s syncopation which borders on the chaotic to the point that it’s not all too enjoyable simply because the direction isn’t there. While I’m all for composers taking an experimental route to their music, there should be some structure left so that the listener can get into the groove, as it were. Unlike “Mori ni Hisomu Mono,” one can’t even say that the wind instrument that enters 20 seconds into the piece complements the piano’s harmony, leading to a rather discordant track that, as experimental as it’s trying to be, doesn’t succeed at being all too listenable.
The Rating: 7
Reviewed by: zzeroparticle
