Top 5 Greatest Anime Soundtracks!

Top 5 Greatest Anime Soundtracks!:

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Welcome back to the Top 5, Vice-squad. This week, I’m
tackling every otaku’s secret obsession - - the anime OST. If you watch Japanese
cartoons with any kind of regularity, then you’re sure to have noticed the
music. And if your heart’s not made of stone, then you probably have an opinion
about 'em!
Even my shriveled black heart doubles in size when I hear
the FIST OF THE NORTH STAR theme…

This is not the Top 5 of theme songs, though! Those
heartless devils at the VICE PIT already covered that one. No no, we’re talking
about albums here - - music that supports, enriches, or defines the feel and tone
of an anime. Albums I might even listen to if I didn’t like the show
they’re associated with...
HONORABLE MENTION == BIG O

This soundtrack could have made this list on the merits of
the insane Queen-take-off theme song alone - - but the rest of the album is pretty
damn solid, as well!
There’s the expected bombast of a giant-robot-show, but also
plenty of moody, spooky and haunting songs to fill to out the track list. The show is half-mystery, after all, and the album reflects that. In fact, I’d argue
that the more pensive and somber tracks actually steal the show some!

Plenty of memorable songs, and a tone that manages to
effortlessly cover epic robot fights and foggy memories of a mysterious past, make this a real winner.
NUMBER FIVE == NEON GENESIS EVANGELION

I’ve ranted before about my feelings for this show, but there's no denying the power and
success of its music. The theme song is recognizable from the first note and
catchier than a bad cold on an airplane. Despite all the poppy melodies, the hilarious synth-horn-section and
upbeat tempo, there’s a fair amount of sadness in the vocals. That sadness
hints just a bit at what you’re in for with this emotional rollercoaster of
cartoon.
This soundtrack is all about melodrama on an almost operatic
scale. The mood bounces back and forth between somber and panicked, with some
really epic moments and spirited climaxes. For the most part, this music lurks,
creeps and smolders; such that when the big horns and more aggressive melodies do
arrive, it all feels especially gigantic.

“Rei I” is full
of sweet, lilting melodies played over sparse piano and strings, while “EVA 00”
opens immediately with tense stabbing staccato strings before introducing
ominous swelling horns and some nasty guitar.
“Marking Time Waiting for Death”
uses a pounding, clicking rhythm that suggests both a ticking clock and a
beating heart. The track builds steadily until reaching its climax in a heap of
horns. And of course, there’s the triumphant swell of “A Decisive Battle” and
the shuffle of “NERV” which has a bit of a spaghetti western vibe to it.

These songs and themes are absolutely memorable and the
grandiose horns make a lot of sense with the enormous robots, monsters and big, big
feelings of the show. The performances are all dead-on... with the possible
exception of what sounds to me like a flub towards the end of “Tokyo-3" (or is not there, and I'm just crazy?).
NUMBER FOUR == FLCL

Almost on the opposite spectrum from EVA, here's non-stop, messy, garage energy - - with tons of gems by J-rock superstars, the Pillows. I have to admit, I’m not usually into J-rock outside of the context of
anime, but these guys totally won me over. “Ride on Shooting Star” is
undeniable and infectious. The cutting twang of that guitar fits so nicely next
to the slight sneer of the vocals, and the drummer knows exactly when to
let the song breath...

The songs without vocals tend to work just as well,
balancing between screeching, fuzzed-out guitar, and a refreshingly raw drum
sound. Songs like “Rush” and “Advice” set a somewhat aggressive tone, but the grunge and fuzz always give way
in time for an optimistic or triumphant melody to poke through. Despite being
so loud and aggressive, these songs are never overbearing or gloomy.
This is a case where the whole feel of the show is so dependent on the music that this soundtrack feels completely indispensable.
FLCL just wouldn’t be as good with a more traditional, reserved, or less
aggressive soundtrack. It supports the style of storytelling and the manic nature of the characters, as well as just sounding damn nice.
If this soundtrack stumbles at all, it’s in the slower,
quieter moments. These feel a bit more like padding, less memorable, and less
interesting than their more boisterous counterparts. Honestly, I think the Pillows are just more comfortable playing loud and messy, and it shows.

This is absolutely an album I would listen to if I’d never
seen FLCL (or even if I hated anime). It fits alongside albums by
Yuck, Sonic Youth, Wavves, or even Boris. And if you’re familiar with any of these
bands, you know what a compliment that is!
NUMBER THREE == VISION OF ESCAFLOWNE 1 + 2

This is an example of music that works less in individual albums, but perfectly as support for a show. The music itself is often
subtle, airy and sparse (though there are definitely some heavy-hitters),
designed to fit behind the action of a scene. This is a collection of very well-composed music that anchors the show and defines the setting.

Yoko Kanno, once again proving she’s capable of anything,
composes a score of sweeping and epic classical arrangements. Of all the albums
on this list, this actually feels the most like a traditional Hollywood movie
score like LORD OF THE RINGS or HARRY POTTER.
And then there’s that theme song... that big softie Tom's favorite...
This is about as bubbly as
I’m comfortable getting. To be honest, this is pushing it a little bit, but
yeah, I can’t resist. I’m not made of stone, OK? The driving piano that
introduces the song, the deep bell hits that accents the rhythm, and those
unrelentingly peppy vocals force their way into your heart and never,ever back down...

Things do get pretty dark on these albums, though. There’s a
lot of pretty silly choral chanting of “Escaflowne” throughout, and some really
evocative and somber tracks between all the soaring triumph and giddy J-pop.
“Shadow of Doubt” is a standout with its cascading layers of strings and
syncopated rhythm. I have to admit the choral pieces can also be pretty
beautiful, once you get past the fact that they’re singing the name of a giant
dragon-robot...

Escaflowne has a far sweeter soundtrack than the others on
this list, but the weight of its climactic moments - - and its patient, elegant
approach to themes - - earn it a place on this list, and the distinction of it being
some of Kanno’s best work.
NUMBER 2 == TRIGUN – FIRST DONUTS

This is sort of a no-brainer for anyone who was into anime
in the 90's. Again, I’ll spare you my opinions on Trigun itself and just say
that this soundtrack fits the mood of the show perfectly....
And damn if it doesn’t make my head
nod!
“H.T” charges out of the gate with a dirty, distorted riff that you’d have
to be dead not to love, before the punchy backbeat propels us to a big hook of even more guitar. It’s short, heavy and leaves you wanting more. I also think
it’s a smart decision to go for a kind of “desert rock” vibe with the music. There’s a bit of a winking self-awareness to it, and it promises a
good time.
Plus, are those bongo fills I hear!?

Surprisingly, the rest of the soundtrack is a bit harder to
pin down to one category; though it all feels cohesive and “of the desert.”
Sure, there are the wailing distorted guitars, bongos and funky drums that you
might expect after hearing the theme song, but there’s also a fair amount of
flute, electronic noodling and some really gentle melodies. There’s a wide
range of emotions here, and I actually like the sort of techno-breakbeat-rock
since it hints a bit at the show's sci-fi element.
Album opener “No Beat” is a perfect example of how odd and
awesome this soundtrack is. It’s an immediately challenging song, full of weird
noises, and it does in fact feature a beat that’s a little hard to find at
first. It's surprisingly complex and interesting stuff!
But don’t worry... there are
also plenty of big riffs to come. Not to mention some jangly western guitar, and even a few quieter, jazzy
moments...

Occasionally, FIRST DONUTS does drift off the rails a bit
into cutesy or boring territory. However, while there may be a few stumbles, I
don’t think there’s a true dud on the album. The best moments tend to be the
more ballsy ones, like the soaring guitar in “Blood and Thunder” or the wall of drums in “Yellow Alert.”
It would have been nice to get one more face-melter like
“H.T.,” but there’s a lot to like in what’s here...

This is an album full of impressive musicianship,
interesting and unusual arrangements, and amazing (and surprisingly funky)
drumming. And yes, also big fat
riffs.
NUMBER ONE == COWBOY BEBOP 1

Yoko Kanno seems incapable of making a bad soundtrack and
this is, by my estimation, her greatest triumph. Soundtracks that try to approximate
a certain sound, or genre, often tend to sound false or forced. These songs
feel alive, unique, timeless, and legitimate. I wont pretend that this album
can stand alongside classic jazz albums, but it feels like a loving nod to them
as apposed to a half-assed attempt to replicate.
And that theme song…!
“Tank!” is perfect. I get goose-bumps
every time, and when it’s over I have to fight the urge to hit back and start it
all over again. The feel is perfect for the show, and it’s got an amazing jazzy
swagger that just sounds hip, retro and classy. Like the Lupin III of our generation, COWBOY BEBOP had a lot to offer, and this
theme song made that clear from the very beginning...

Almost unbelievably, the rest of the soundtrack is just
about all on par with the opening theme! This is a rock solid collection of
songs: many you’ll remember from specific episodes, and others you
may have missed the first time through. There’s a mix (unsurprisingly) of
up-tempo jazzy numbers and old west plunking and harmonica, which give the
album a nice variety and pace.
And damn can these guys play!
I was actually a little
shocked to find such a high level of musicianship in all of the soundtracks in
this Top 5, but the Seatbealts blow them all away. They absolutely tear up the
more raucous and energetic tracks, but even the spaced out slow-jams like
“Space-Lion” are pretty flawless (when those vocals creep in at the end, I get
chills!). This album is brimming with heartfelt enthusiasm and confidence.
“Waltz for Zizi” is almost a parody of an old west ballad, but it works because
the band believes in it and they just nail the performance.

This song starts with a pretty awesome cover of Tom Waits' "midtown" before becoming its own thing. Really love that intro (and the original Tom Waits version)!

I suppose my one complaint with this first soundtrack is the
conspicuous absence of “The Real Folk Blues.” I’m betting this was to get
audiences to keep buying the soundtracks (there are a ton of them after all),
but it’s a shame because this would feel like a truly complete collection of Bebop’s “greatest hits” if it had that closing theme.
I must admit, “Memory,”
the song that does closes the album, is also pretty perfect and always leaves
me wanting more...

I’m sure many of you are outraged that you don’t see one of
your favorites on this list.
Well, you know what to do-- leave an inflammatory
comment in the section below! Maybe I’ll even consider making a Part 2…
Alex Eckman-Lawn is an illustrator and comic artists from Philadelphia. Check out his site - -alexeckmanlawn.com - - rumble with his Tumblr - -dudenukem.tumblr.com - - and hit up his Twitter: @alexeckmanlawn