1/20/2024 0 Comments Best anime composersSahashi has proven himself as a good composer, but he doesn't seem to display much potential for being a great composer. It's not consistent, but when it works, it tends to be beautiful. ![]() Maeda Jun/Orito Shinji/Togoshi Magome: It's Key music. Were Tenmon to leave his small zone of comfort, he would perhaps grow to be a great composer, but until then his music continues gives off the impression of reluctance to expand outside of the context of ef or Shinkai's works, Tenmon's music would do little.ĩ. Arnalds, however, chooses to experiment heavily with his sound (a trait common amongst modern Icelandic musicians), incorporating elements of serialism, post-rock, and electronic music into his minimalist sound. I like to compare him to Iceland's Ólafur Arnalds, as they seem to espouse the same basic approach to minimalist composition. However, it might be too distinct, as his work seems to occupy a very small and restricted gamut of the musical spectrum he works too often with the same instruments - strings, piano, guitar - and the same sound - those lush strings and heartbreaking piano pieces we associate with Shinkai works. Tenmon: To be honest, I wanted to rank him much higher, because among modern composers, he carries a particularly distinct sound (partly due to his lack of instrumentation). Otani Koh: I have a tough time placing him above Sagasu, but the fact that he can adapt so well to different moods places him above Sagasu's otherwise more honed composition technique and skill.Ĩ. Gurren Lagann is more similar to his typical style, at which he excels, but Tsuiokuhen was certainly something else.Ħ. Iwasaki Taku: I actually consider Tsuiokuhen's soundtrack his best work to date. ![]() Composing and orchestrating a good baroque pop album - much less two - is very difficult considering Japan's current pop music 'scene'.ĥ. ![]() Her work with Kalafina, I might add, is particularly impressive. Kajiura Yuki: Kajiura's biggest strength is that she learns so well each of her soundtracks is better than the last. Kawai Kenji: Particularly excellent in his creation of soundscapes suitable for any setting (no one will argue that Ghost in the Shell, Gundam 00, and Seirei no Moribito have similar atmospheres).Ĥ. She also displays much of her talent in writing song alongside her incidental music Arai Akino's 'Voices', Sakamoto Maaya's 'Yakusoku wa Iranai', and the music of Macross Frontier are all showcases of Kanno's talent in pop composition.ģ. Typical of modern composers of incidental music, she has displayed talent in many styles of both popular and art music, wherein her talent is most noticeable. Kanno Yoko: Perhaps the most iconic composer in the world of 'otaku' anime. ![]() On the other hand, his work with Mononoke and Spirited Away is special in that it draws heavily upon Eastern classical music while making use of modern orchestration, allowing for the emotional intensity of the large Western orchestra and the intimacy - at least for Japanese viewers - of traditional Eastern musics.Ģ. Okuribito would perhaps be a better example of Hisaishi's live-action scoring, but even then it is still rather subdued and more typical of Japanese melodrama background music. Only in certain moments is Hisaishi allowed to use music as a valid means of expression rather than as background ambience to Kitano's direction, as in the closing scenes of Sonatine. His soundtracks for the Kitano films don't compare to his work for Mononoke or Spirited Away because as he is simply establishing the sombre mood Kitano's films require, Hisaishi is very restrained in his composition. Hisaishi's scores for live action films (Kitano) are better than the ones for Miyazaki.
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