 | Album Title: Ar tonelico II Hymmnos Concert Side Blue -Waterway Mio- |
| Record Label: HATS Unlimited | |
| Catalog No.: HUCD-10032 | |
| Release Date: October 24, 2007 | |
| Purchase: Buy at CDJapan |
Overview
Ar tonelico II Hymmnos Concert Side Blue -Waterway Mio- is one of two vocal albums that accompany the Ar tonelico II -The Girls’ Metafalica That Echoes to the World- Original Soundtrack. Unlike the Hymmnos albums for the first Ar tonelico, this album places a greater focus on vocal themes and the majority of this album features vocal compositions by the Gust Sound Team and Akiko Shikata. How does this album enhance the original soundtrack, and more importantly, does it succeed in living up to its predecessor?
Body
Unlike Ar tonelico Hymmnos Concert Side Blue -Hoshiyomi-, there is only one instrumental theme this time. Composed by Ken Nakagawa, “Opening – Resonance Reaction” is an ethereal theme that features some vocal samples. Overall, it’s a short opener to the album that doesn’t really stand out.
Like the previous Hymmnos set, this album also features compositions mainly by the Gust Sound Team and Akiko Shikata. “Singing Hills -Harmonics FRELIA-,” composed and arranged by Akira Tsuchiya, features Akiko Shikata on vocals. Similar to “Singing Hills -Harmonics EOLIA-,” this theme is a very powerful theme. The exotic percussion and string work is a thing of beauty and Akiko Shikata really brings the melody to life as well. Unfortunately, I think the composition behind it is a bit weaker than in “Singing Hills -Harmonics EOLIA-,” but it’s still a beautiful theme. Ken Nakagawa contributes one vocal theme, “Reisha’s Lullaby,” to the album and Yuko Ishibashi reprises her role as one of the vocalists. As before, her vocals have a delicate air to them and, unlike Akiko Shikata, take on a more traditional approach to the music. There are, however, parts that feature Shikata-like vocals, but they aren’t the focus of this song. The accompaniment features those staple Nakagawa elements, such as the use of unusual instruments. The atmosphere of this theme is a bit of a mix between Celtic and Asian, with a Japanese influence. The melody itself isn’t bad either and it helps to cement the delicate nature of the instrumentation.
The majority of the Gust Sound Team vocals, though, are composed by Takeshige Inagaki and all feature Yuko Ishibashi as the vocalist. In “Eternally Bonded,” Yuko Ishibashi’s vocals offer a delicate touch to an equally delicate theme. This theme also takes on an Asian vibe. As for the music, the accompaniment is definitely subtle. Harp, strings, and light percussion help provide a fitting match to the melody. Overall, this is one of those pieces that conveys a powerful melody, but at the same time, drags on just a bit. Now, if I thought “Eternally Bonded” dragged on, I was definitely not expecting this next one, “EXEC_HAIBANATION/.,” to go on for just over 14 minutes! The music is very simplistic, ranging from dark organ to plucked strings and harp to some more militaristic styles (mainly for dramatic effect). It provides a minimalist approach to the varied vocals that, at times, take on a more traditional ballad style, more operatic styles, and some Akiko Shikata-like vocals. To be fair though, when the music does pick up and become quite dark, it does help draw me back in. It’s just a song that is extremely long and can be very hard to digest in one sitting. Not a weak song by any means, just a bit misguided. Lastly, “Bonds – KIZNA,” unlike Inagaki’s Asian-inspired compositions, is definitely more like a ballad. Beautiful piano and strings dominate the instrumental portion of the song. There is a bit of a playful air about it, but at the same time there also seems to be an element of sadness. The vocals also take a more traditional approach, although the layered vocal accompaniment adds majesty of sorts to the melody.
The last Gust Sound Team contribution, to which the album also derives its name, is “Waterway – MIO.” Unlike the other Gust Sound Team contributions, this one is co-composed and co-arranged by Akira Tsuchiya and Akiko Shikata. The vocals in this one take a more traditional approach. Much of the verse melodies are sung by a lead vocal with some vocal layering, whereas the chorus echoes this. The music, on the other hand, has an inherent Celtic sound. The woodwind accents, the string work, and the inclusion of violin, especially the solo accompaniment, complement the vocals.
The rest of the album is composed, arranged, and sung by Akiko Shikata. In “METHOD_IMPLANTA/.,” Akiko Shikata once again proves she is a diverse singer with a ton of range. Her vocals carry such emotion, regardless of whether her pitch is slightly higher or lower. Her voice here is one of the strongest points about this theme; however, her compositional skills are no slouch either. The accompaniment is both mystifying and powerful, mostly due to the beautiful layering of the strings, woodwinds, percussion, and piano lines. She also manages to throw in some subtle industrial influence, making for a beautiful piece. Continuing with the mystifying beauty present in “METHOD_IMPLANTA/.,” is the next theme, “METHOD_METAFALICA/.” The vocals are extremely angelic in nature and the vocal layering is exquisite. However, as the theme progresses, the vocal layering intensifies and the vocals adopt a darker tone. This, however, is short-lived. Most of the theme features Shikata’s vocals in a more neutral tone. The music, on the other hand, starts out similar to that featured in “METHOD_IMPLANTA/.,” but as it progresses, it takes on a heavier focus on percussion and Celtic influences, with a small hint of the sinister when the vocals become darker. Overall, this is a fantastic theme. Unlike the previous themes, “METHOD_REPLEKIA/.” opens up with a very foreboding atmosphere. The music is full of bombastic percussion, organ lines, and an orchestral accompaniment. The music is quite powerful; however, it would be nothing without the execution of the vocals. They are, to say the least, absolutely perfect. The vocal layering adds so much depth to the melody and the variety in their portrayal, whether featured more like a choir or as a singular entity, keeps the theme quite diverse. However, the nature of this piece, as dark as it is, is surpassed on the album.
The star of the album, however, appears to be the EXEC_over.METHOD_SUBLIMATION/. suite. Opening with “EXEC_over.METHOD_SUBLIMATION/.-lamenza,” it is, hands down, the best thing on the entire soundtrack. The first time I heard this theme, after it finished, I just sat here, mouth agape. Although I think the vocals are hands down the best performance of Akiko Shikata’s entire career, I’ll mention the music first. It’s a very dark, industrial theme with a rock influence. The accompaniment, without a doubt, strengthens Akiko Shikata’s vocal performance and I love how it is portrayed. For the most part, it is a flowing industrial rock theme, but at one point, it transforms into an exquisitely beautiful acoustic guitar and piano section. Slowly, the industrial rock nature returns and really helps climax the entire piece. Dark piano is added, more bass guitar is added to the mix, and there’s even an electric guitar solo as accompaniment. It just feels so much stronger in terms of presence. But enough about the music—the vocals seriously make this song. For example, if I were Akiko Shikata and looking to score a record deal, I would certainly use this theme as my demo tape. It just demonstrates her incredible range as a singer. At times her layered vocals demonstrate power; at others, a delicate air. However, it is after the aforementioned acoustic guitar and piano section that she really shines. Her voice gets so deep and powerful, as if summoning a mystical force from another dimension—I was left shocked to hear it. This is hands down my favorite Akiko Shikata theme ever, whether it is for a game or as a solo album.
The second portion of the suite, “EXEC_over.METHOD_SUBLIMATION/.-ee wassa sos yehar,” opens up with a quick dark atmosphere, some tribal percussion, and some chaotic violin work. I love how much this differs from the previous theme. The tribal nature really sticks out, and I like how some of the industrial rock influence spreads into this theme. As the theme progresses, there are moments of relative calm with some beautiful string work that adopts something of an Irish jig nature. In the end, the music behind this theme is absolutely exquisite, especially the violin. The vocals also serve to accentuate the piece, at times mimicking the tribal percussion, at others carrying a bit of ethnic flair. In the end, this is another successful piece by Akiko Shikata. Lastly, “EXEC_over.METHOD_SUBLIMATION/.-omness chs ciel sos infel” closes the suite and contrasts greatly with the other two themes. Rather than focus on a dark and industrial atmosphere, we are returned to a more organic, elegant theme. The music is absolutely exquisite. Almost angelic in nature, the combination of woodwinds, violin, harp, and marching percussion helps give it a unique texture that borders on Celtic, yet retains a more serious tone. In the end, the composition is quite beautiful and a great way to end the trilogy. As for the vocals, they are a beautiful mix of a single vocal lead, some choral accompaniment, and the vocal layering, as always, is stunning.
Summary
Although it lacks the instrumental themes of its predecessor, this album more than makes up for it with quality vocals throughout. I still find Yuko Ishibashi’s vocal themes to be the weakest, mainly due to the Gust Sound Team’s compositions, but they are still quite exquisite. They do, unfortunately, drag on a bit with their execution, but still manage to provide a pleasing soundscape. Akiko Shikata, on the other hand, manages to provide much-needed energy to the soundtrack. Her EXEC_over.METHOD_SUBLIMATION/. suite is absolutely stunning, especially the first theme, and her vocal range is astounding in terms of dynamics and styles. This manages to surpass the first Hymmnos Blue album with powerful themes from Akiko Shikata and a focused effort by the Gust Sound Team.
