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Fate/Zero

KP-X

I have reached Yuki nirvana
Yeah, I read the comments about the music some pages back so I'm sure I'll dig these Tokyo Konsei songs.

And it's exactly because she has been working in similar projects that I've lost my interest in her. They have similarities but they are also vastly different, and what I see is her treating all of them as if they were the same thing most of the time, with some few songs here and there that differ. Not to mention I also consider Xenosaga to be similar to those works. Thus, I'm really not willing to watch a tv series solely for her. Until she proves me wrong with consistency, I'll commit myself to follow her from afar.
 

george1234

Moderator
@rishi: You have put the PV music twice, and you have forgotten to add one of the music that were in the drama CDs, with the drums and the flute during the Kiritsugu and Irisviel talk.

Also all this music cant fit in 1 CD, they will surely cut 1/3 of it and leave it unreleased or save it for a collection release or something
 

grunty

I have reached Yuki nirvana
Re:

george1234 said:
[[KnK, Madoka, and F/Z all are quite dark so you should expect some of their music to have similar style, but even with these there are still unique tracks to each project (like Salve terrae magicae, Pugna cum maga, Numquam vincar, the fast piano unreleased track from F/Z [track 8 in rishi's archive] or the M19+20 in KnK]] so I still respect her, and follow her.
I don't really buy that. The 2nd half of My-HiME was full of despair and I thought the OST was still very fitting, involving and exciting despite the reuse of earlier themes.
 

alarictay

7 billion humans. She must know I exist
Yes Yuki has lost some of her ability to create completely different music within 1 ost (like it happened in .hack, Madlax, Elcazador, Tsubasa) and has remained to shorter number of styles, the last few years, but this might be due to the nature of her projects [[KnK, Madoka, and F/Z all are quite dark so you should expect some of their music to have similar style, but even with these there are still unique tracks to each project (like Salve terrae magicae, Pugna cum maga, Numquam vincar, the fast piano unreleased track from F/Z [track 8 in rishi's archive] or the M19+20 in KnK]] so I still respect her, and follow her.

I'm sure SAO will be lighter than Fate/Zero, so we will get hear happier music from Yuki (kinda like in Pandora Hearts) and she will have the chance to try different styles. The director is different too.
I completely agree with George
Composition for commercial purpose is based on what the company demands and not what Yuki sama wants...if the company wants something, Yuki sama has to deliver it.
I study movie and sound-tracking composition in my school and i have composed several tracks for local dramas and TV programs and competition. I always have to adhere to what my teacher/producer wants...my most recent project was to compose for a local drama about broken relationships due to teenage pregnancy... and i haven't even fallen in love once in life :uh..: but still i have to churn out my project someway or another...

But i don't think Yuki sama has lost her ability to compose something different, rather its the limited opportunity given to her...
Kalafina's latest Moonfesta is a good example of something completely nice and fresh and then immediately we have Distance by FJ that sounds closely similar to Manten...
Yuki needs to meet a producer/director who is willing to allow her to express her aesthetic freedom, only then i feel, she can come out with something beyond our expectations...(Not every producer is like Mashimo-Noir-who is willing to let yuki compose anything she wants or set boundaries)
 

KP-X

I have reached Yuki nirvana
Personally, I think this idea of producer/director is a bit of an excuse. Sure, she has to abide to what he or she tells her to do, but I wonder to what extent the director limits her that much. Not to mention other composers go through the same thing, and not necessarily all of them have been "recycling" the same style over and over. Mashimo may have let her do as she pleased, but that's not common nor can she depend on someone like him forever.
 

grunty

I have reached Yuki nirvana
Considering they actually let her score several scenes (this is not common in TV animu at all) I don't think she had restrictions. She also said in interviews that after scoring those scenes she herself scrapped half of what she already had composed.
 

grunty

I have reached Yuki nirvana
She explained - she didn't think the tracks were fitting for the show after seeing the pacing of scenes she was scoring. Congratulations - the OST is fitting for the bland show.
 

alarictay

7 billion humans. She must know I exist
I'm just gonna have faith in her :shy:
I believe she will have a break through in her music :ohoho:
(she was the one who invoked my interest in music composition 7 years ago!)
Come one Sword Art Online! :waii: :waii: :waii:
 

Nick Hunter

I have reached Yuki nirvana
I think there are two factors interlacing: producers' demands (based on the show and their understanding of "Kajiura sound" they brought Yuki in for) and Yuki's own aspirations, preferations and vision of what music befits the show. How much they interlace, how much freedom leave, how much creativeness and urge to do new things they cause - it all differs from project to project, I assume. Bad news is, what WE want is NOWHERE among these factors. :TdT: you can always "give up and approach her from afar", or you can write some kind of petition, though I believe the only surefire algorythm is to become a big producer in Japan oneself, launch an animu, lure Yuki in and tell her in person with all the weight of the words one's authority entitles to: "More of this, less of that, try something fresh here, and don't even DREAM of using that Kaori/Wakana combo in the OP this time". :ohoho:

Otherwise, we can only trust Yuki in what she does, hope for new tracks to hook us and rant/grunt/yawn/nod in mild approval about those that didn't. I guess that's what any fandom's fate is about, huh? :XD:

Although as natural as it is, I do admit I still have two issues with the complaints around our community:
1) demanding a new trend COUPLED with ruling out old ones (a.k.a. "mo more Emily/Hikaru/Wakana/Tokyo Konsei/flute/eerie sfx/insert something that bores you here"

2) being seemingly less than wary of the possibility that a fresh pattern/arrangement/vocalist may not be exactly to one's liking (see: In Your Eyes, Clara Kennedy, Haruna Luna... Yep, Moonfesta, too, if I may recall Kazado's reaction :psst: ).

That aside, I come to realize we're pretty much an ordinary fandom. :tea: :XD:

Concerning style-abundant OSTs, I agree with George, though I must add that there are always RHH OSTs to show off Yuki's ability in that field, and Madoka OSTs are comparatively motley enough, too, if to a lesser extent. That's regardless of the tracks themselves appealing to anyone or using fresh or familiar recipes. :ayashii: Of course, one can't eternally ignore the fact that her creative force is not a perpetuum mobile (something she herself acknowledged). And yet, hope and trust (or give up and stop caring, for that matter) is pretty much all we can do when we expect new surprises to come. Actually, the general vector of Yuki's music seemed to change every four years or so, as far as I can observe, so maybe this year IS holding some aces up its sleeve for us? Or maybe better luck next year? Or later? Only time will tell. Just - I feel like saying it again - be prepared to face even those surprises that may NOT be your cup of tea, lol. :XD:
 

KP-X

I have reached Yuki nirvana
I'd prefer if you stopped quoting me in a more than ironic manner with lots of onions to seemingly hide it. Thank you.
 

Kazado

Dripping with Kajiura
I spotted my username in Nick's post but I didn't understand, so just in case of...

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to the beginning piano + kajiurago, the best music of the whole series season 2. Ok, also Point Zero II from episode 23 and 24, but it hasnt that oldKaji-feeling.

grunty said:
she herself scrapped half of what she already had composed.
I bet I would have loved those scrapped compositions.

The actual score is so good and the studio knew how to use it, but I miss the old Kajiura. And I'm sure she won't be back at SAO.
 

Attachments

Nick Hunter

I have reached Yuki nirvana
At least, I'm positive we won't get any Celtic flavours just because of the plot bearing a slight semblance to .hack//SIGN. Which is sad indeed. :wai:
Old Kajiura, huh... I wouldn't mind hearing some of old trends either. So far the closest we got was RHH2 with probably the first comeback of "acoustic guitar flute violin" set since Tsubasa Chronicle. :dote: Of course, some things go forever (like Gin no Hashi - in Yuki's opinion, she couldn't possibly write something like that nowadays). But seeing as her latest years as an anime BGM composer were full of plots with varying grimness, one can't but wonder sometimes how would Yuki approach the task if she signed up for a more light-hearted show? :ayashii: :XD:
Then again, has she got a lot of those in her career anyway? Kimagure and Erementar Gerad are pretty much the only works that come to mind, plus Tsubasa Chronicle to a CERTAIN extent, and speaking about "light-hearted" elements in PH or El Cazador would probably be facepalm-inducing. Yuki herself seems to prefer more dramatic plots. :XD: then again, evn indulging into a light-hearted show doesn't guarantee any bangs from the past.
And so far I don't suspect any callbacks in SAO either - judging by its "heroic cyberfantasy" setting and the bits we've heard from the trailer, the music might well be in the vein of Fate/Zero... To joy or dismay of fellow CPMers... :psst:
 

alarictay

7 billion humans. She must know I exist
the music might well be in the vein of Fate/Zero... To joy or dismay of fellow CPMers...
Joy!!! :sohappy: :sohappy: :sohappy:

I hope her next project after SOA would be some light-hearted ecchi fanservice anime!!! (but most unlikely :uh..: )
 

murrue02

I have reached Yuki nirvana
alarictay said:
But i don't think Yuki sama has lost her ability to compose something different, rather its the limited opportunity given to her...
Kalafina's latest Moonfesta is a good example of something completely nice and fresh and then immediately we have Distance by FJ that sounds closely similar to Manten...
Yuki needs to meet a producer/director who is willing to allow her to express her aesthetic freedom, only then i feel, she can come out with something beyond our expectations...(Not every producer is like Mashimo-Noir-who is willing to let yuki compose anything she wants or set boundaries)
Our opinion about this matter is the same. ^_^ Ofcourse, it's business, and she has to comply with the requirements.
 
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