george1234
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"Noir... It is the name of an ancient fate: two maidens who govern death; the peace of the newly born, their black hands protect."
These grim words start off each episode of Noir, and from this passage, one can infer that a lot of the show's content focuses on the action with a plot involving an organization with quasi-religious overtones all wrapped together along with a conspiracy spanning centuries. The series revolves around two gunslingers Mireille Bouquet, whose memory of her parents' brutal murder still haunts her, and Kirika Yuumura, a girl who possesses exceptional athletic abilities, but whose past is fuzzy due to her amnesia. Fate would bring the two together as they face off against a myriad of opponents, from gangs and secret societies, before culminating in a struggle against a mysterious organization known as Les Soldats. With that as the backdrop, it's imperative that the music in this series be versatile enough not only to bring forth the intensity of Noir's many action-packed gunfights, but to also convey the series' European setting as well as its darker aspects.
In this regard, Yuki Kajiura's music succeeds for the most part. Her compositions incorporate that religious aspect by blending both the heavy rhythms together with Latin chants while some of her other pieces do an excellent job of reflecting a Europe seeped in mystery and tradition. It would be difficult to imagine how Noir could have done without Kajiura behind the reins since the appropriateness of the music cannot be understated. By displaying this aptitude for matching the music to what's on screen, Noir is definitely her breakout composition which would boost her stock in such a way as propel her to become one of the better anime composers out there.
For example, the two tracks "Canta Per Me" and "Salva Nos" stand out as pieces that are not only enjoyable to listen, but also bring forth the intensity of the scenes in which they are played. The former uses strings in conjunction with the chorus to elevate the two gunwomen to a peerless position. This isn't the typical action piece marked by a fast, rhythm-heavy melody; rather, the beautiful, slow tempo feels elegant and graceful. Through it, one can picture Mireille and Kirika moving in a manner similar to a slow dance as they rain death upon their foes, who are too entranced by the sight of the two women. "Salva Nos" is probably closer to what one would expect out of an action track. A heavy beat makes its entry early on as the piece builds up to the point at which the chorus part makes its entrance where, combined with the blend of instruments, gives off the impression that the two protagonists are acting on behalf of higher powers as they render heaven's judgment upon their foes. Like with "Canta Per Me," "Salva Nos" definitely has a feeling of gracefulness present, but it's not as strong since the melody carries a lot more of the tension until the piece subsides as it uses a discordant guitar shred to close it out. Together, there is no denying that both pieces are haunting and engaging in a way that will stay in your mind for a good long while.
But those two particular choral tracks alone don't make for an excellent soundtrack; Kajiura is able to display her versatility in sculpting Noir's dark atmosphere. "Les Soldats" carries with it an overbearing atmosphere brought about by its cacophonous melody which uses a low-pitched chant to convey the track's eponymous mysterious organization along with its religious roots. The inevitable feeling of danger brought about by Les Soldats' sinister machinations is heard in "Ode to Power's" ponderous beat that instills a sense of dread. Even "Whispering Hills," a track that one might think reflects a serene countryside, feels fraught with peril by employing a creepy atmosphere complete with animal noises and a lamenting vocal part that leaves one feeling unsettled. And finally, "Melodie's" orgel will serve as a constant reminder of Mireille's parents' death as she experiences flashbacks of that gruesome affair since that piece becomes the predominant theme for said flashbacks.
Amidst the action and the atmosphere, there is still ample time for some pensive moments conveyed through pieces like "Snow" and "Solitude by the Window." The former track's piano melody creates a serene mood that brings to mind the image of a landscape that lies still in the face of a brand new snowfall, filling the world with a blanket of tranquility. The same can be said for "Solitude by the Window" which also uses the piano along with the accordion to create a mood conducive to reminiscing over the distant past as one calms down and ponders while gazing out onto the city streets from a window. That track makes for a nice change of pace as it slows down time, giving Noir's protagonists a breather before the action starts up once more.
Throughout it all, Kajiura's compositions demonstrate a great deal of versatility and for the most part, this album is solid and enjoyable. Even if Noir's soundtrack lacks the refinement of the music she would later use in soundtracks to show's like .hack//SIGN, My-HiME, and the Xenosaga videogame series, it's still worth checking out to appreciate Kajiura's first breakthrough and marvel at how much better she's gotten as a composer. For that matter, when looked within the context of anime music, it's a strong entry all the same with many memorable tunes that are still enjoyable years after the series has aired.
