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Soundtrack Review

In listening to Soukyuu no Fafner -No Where- album, you get the feeling that Tsuneyoshi Saito wasn't looking to compose an anime soundtrack because each track transcends the medium to tell an epic filled with struggles, tragedies, and triumphs.  Much of the music is aimed squarely at storytelling; you won't find atmospheric, ambient tracks and this works in the soundtrack's favor because of how well the pieces capture the mood and feelings that are attached to the characters and events.  Saito delivers a commendable effort in composing this orchestral score, demonstrating what can come about if composers discard the conventionality of the anime score in pursuit of something more ambitious.

The first track, "Prologue -Beginning-," encompasses the scope of the anime series through its opening notes, which create a grim atmosphere, foreshadowing the imminent danger that is about to befall the peaceful island community through a suspenseful melody.  Once the brass instruments take charge, the intensity is cranked up a few notches, imparting unto the listener the dire situation brought about by the enemy attack.  The show's emotional aspects are secondary to its depiction of the overarching plot, but it nevertheless delivers a strong first impression.

A brief moment of bliss comes in calm, even uplifting pieces like "False Paradise" and "Comrade" to establish the idyllic setting present at the show's start.  That "False Paradise" is titled as such should be a major hint about how deceptively peaceful things are in Fafner as the flute and violin depicts that relaxing aura.  "Comrade," departs from the serenity by switching to a militaristic air that makes the piece as a whole sound busy.  The staccato melody along with the percussion help create that flurry of activity, as though it was working to capture a squad working on maintaining form so that they can be relied upon to come out at a moment's notice if a disaster were to strike.

And it's only a matter of time too before the calamity hits. "Truth" brings about the imminent feelings of impending disaster through a violin melody that slowly manifests a sense of danger through a crescendo at the very end that heralds the coming of the enemy.  With disaster comes tragedy, and "Anguish's" piano melody fits its title perfectly, painting a stark picture using a repetitive section to create a growing sense of despair as the mood grows heavy.

A respite can be heard in "Flowing Tears," and in "Valkyrie," Saito sets firm the feeling of resolve by using the music to draw a picture that mixes the epic and the majestic.  The emotions that "Valkyrie" succeeds in conveying is one of stubborn resistance.  The unexpected attack might have caused morale to plummet, but they will continue to pour all of their energy to reclaim what is rightfully theirs.

In "Advent," the war drums sound and conflict ensues.  Its heavy percussion-oriented part summons all able-bodied citizens to take up arms and the way the rhythm changes allows one to imagine soldiers scrambling to heed the call.  The unease of battle then comes into play with "Festum -Encroachment" which really plays up the discordance through a grim melody where the strings will pop in at random intervals, telling the listener that a clash is imminent.  

Battle is then joined in "Are You There? -Battle-" which brings forth the brass in all its intense glory, instilling into the listener with its sense of grandiosity, but it does not neglect to touch upon the tragedy.  Indeed, one hears little hope in this and in "Assimilation Crisis" where the repetitive line builds up the tension which does not reach a resolution until the namesake track comes on to bring in a taste of glory to be had in victory.

But to presume that the battle is over is to be over-optimistic.  Saito plunges us back into the plot through "Opening of a Nightmare Gate" which gives us a hint of the scope of the grand adventure, indicating that a greater conflict is about to follow.  Its militaristic melody, while glorious, is tinged with a grim mood that dampens any enthusiasm that these tracks bring out.  From listening to this, one feels as though the brave soldiers who agreed to go upon this mission have signed their death warrant.

With that, the sadness and regret bubbles up in "Blue Sky of Sorrow," which uses a trumpet to play a funeral dirge that oddly reminds me of the theme from "Taps."  However, the best track that plumbs these emotional depths is "-SHOKO-," which draws upon the power of the piano concerto.  Immediately, the piano part plunges the listener into the pits of despair and regret with its melancholy melody, creating a tragic, yet strangely beautiful result.  One of the highlights is hearing the piano plays as a counterpoint to the orchestra, moving exquisitely that one cannot help but feel the pain and sorrow that this piece expresses so well.

"-SHOKO-" effectively serves its role as the emotional climax of the album; things wind down after that.  "TSUBAKI - A lullaby-" isn't as gentle as one might expect since this piece takes the form of a heroic standoff, but looked at from a different angle, one can view the lullaby as the prelude to a more permanent sleep.  "Life's" orchestration is beautiful, mixing both sorrow and hope, but mostly the latter as the reassuring flute part suggests that though the struggle may appear unending, each day is a new day, full of hopes, dreams, and possibilities.  "Prayer" then comes with a chorus part that brings in an air of serenity which "Sky" picks up upon as it harkens to a peaceful era.  The little harp crescendo helps elevate that feeling of hope and assures the listener that the triumph is well-nigh.  Once "FAFNER in the Azure's" fanfare starts, one feels a wave of relief and optimism wash over, making it a great way to end the instrumental part of the album. 

Through it all, Tsuneyoshi Saito draws upon his talents to bring us a majestic soundtrack that is far more ambitious than the usual anime score.  The care that he puts into sculpting each track and the way his music allows us to empathize with the characters cannot be praised enough.  Although it would have been a much easier to write a conventional anime score, by taking the path less-traveled by, Saito succeeds in creating a memorable orchestral work that will leave you in awe at its beauty and majesty.

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