Arrangement/Performance: Boom Boom Satellites
Arrangement/Performance: Boom Boom Satellites
What’s black and white and red all over? The OP to Rakudai Kishi no Cavalry, accompanied by a jazzy number called “Identity” by Mikio Sakai.
To be honest, my favorite part of the newest Gundam’s OP is the first five seconds, which suggest a more soaring orchestral theme than the rock number we get, and “Raise Your Flag” by MAN WITH A MISSION isn’t anywhere near as stirringly awesome or operatic as “Daybreak’s Bell” (the 00 theme) by L’Arc-en-Ciel. But it is hella catchy and is quickly growing on me. There’s nothing in the gritty visuals to complain about, either.
Zane started off the week with an ED (one I agree is probably the best ED of the season, at least music-wise), so I’m ending it with an OP, specifically, the OP of Subete ga F ni Naru: The Perfect Insider.
The highly catchy, danceable theme song is “Talking” by Kana-Boon, and the visuals, consisting of animated “gesture drawings” of the characters, well, dancing. They’re faceless, but you know pretty much instantly who they are: Saikawa, Moe, and Shiki.
They’re not just “regular person” dancing, either, but more like professional dancing, perfectly in time with the beat and with lots of spins and lifts and hip-throwing. I wonder if the live-action version of this included dancing?
I’ll admit the OP is not quite on the same wavelength as the show proper, but that’s not that big of a deal, and in any case, it does what any good OP should: get you pumped up to watch the show.
Finally, there’s a nice symbolism to their dance, as the three literally circle each other and feel each other out, which is what they’re figuratively doing in the show.
“Decent Black” by Meg Rock
This opening starts out very dark and foreboding, as befits a “final showdown” or “last level.” There’s a palpable “This Is It” aura to it. Then it the music gets a little more lighthearted as Oshino Ougi dances around in her Oshino Ougi way, before getting a little darker in tone again towards the end.
There’s still nothing that can touch Koimonogatari’s sublime retro/modern OP (IMO one of the best openings ever…I WILL FIGHT YOU), but this is still one of the more solid Monogatari OPs.
(Sorry for the chipmunk effect from the higher-pitched music and lack of subtitles in the video above; it’s not our video.)
Gonzo’s Sore ga Seiyuu! may not be the Summer’s most popular anime (or even the seventeenth most popular), but it does have one of the stronger OPs of the season, for three main reasons:
A.) It’s extemely on-point, as the lyrics were written specifically for the show, and it’s sung by all three titular seiyu whose lives the show follows;
B.) It’s extremely fun and catchy, starting out cutesy, but quickly taking on the verve and vigor of an action-paced shounen (or in this case, shoujo) anime; and
C.) features the three seiyu reciting the Japanese tongue twister about plums and peaches, “sumomo mo momo mo momo no uchi!” The visuals, in which the three girls describe their lives and then embody the characters they voice.
Here’s the full-length live-action music video:
P.A. Works kinda has a knack for great OPs and EDs as far as we’re concerned, from Canaan and Angel Beats to Nagi no Asukara. Good to see Charlotte keeping up that tradition with very good opening and closing sequences full of bittersweet longing and hope.
OP – “Bravely You” by Lia
ED – “The Wings that Won’t Be Burned Down” by Tada Aoi
Opening Theme: “X.U.” performed by SawanoHiroyuki[nZk]:Gemie
Ending Theme: “scaPEGoat” performed by SawanoHiroyuki[nZk]:Yosh
Song: “Anata o Tomatsu Mono” (あなたを保つもの, “Things to Keep You”) by Sakamoto Maaya (Music by Cornelius)
Song: “Ano Mori de Matteru” (あの森で待ってる; I’ve Been Waiting in That Forest) by Bonjour Suzuki
A clarion chorus, breathy, sensual vocals, and lush, crisp visuals of girls in various states of undress or bear-dress nuzzling and licking one another: it’s like being slowly lowered into a bathtub full of honey in a forest; something admittedly not everyone would want done to them! But while it is on the cutesy/suggestive side, it’s pretty much a pitch-perfect start to the show. Like that honey bath, it’s best to take it slow.
Be that as it may, Love Bullet Yurikuma Arashi’s OP is probably as polarizing as the show itself. However, if you like what you’ve seen so far and are still a little lost, I recommend this essay written by Gabriella Ekens over at ANN, which provides some satisfying, stick-to-your-ribs analysis and poining out several references I missed initially (and kudos to commenter Tausif for sharing that link).
Now this is how it’s done.
Song: Shinjitsu no Mokushiroku (真実の黙示録; “Truth of Revelation”) by Takahashi Yoko
It took twenty-six years for the Kodansha manga Parasyte to get an anime, and its theme has a defiant “FINALLY” sound about it. I’m not talking about its opening theme (by Fear, and Loathing in Las Vegas) but its orchestral theme, composed by Sato Naoki. He also composed the music to Blood-C, and has a good ear for epic horror. The video above is an abridged version much like the one used for next episode previews, which give me goosebumps every time I see them.
The four-note leitmotif is generally associated with scenes of the parasytes doing parasyte shit, but also when things start getting intense for Shinichi, such as when he has to fight his former mother and Shimada, and when this music starts to rise, my adrenaline rises with it.
I want to say the chorus is singing something in Latin, but I haven’t been able to find anything about what they’re saying, in truth. Nevertheless, its music that lends the show a lot of its gravitas, and along with the D&B and dubstep pieces, make Parasyte’s one of the better soundtracks of the Fall.