| Track: | Rating: | ||||
|---|---|---|---|---|---|
| 1. Kaneda | | | | | |
| 2. Battle Against Clown | | | | | |
| 3. Winds Over The Neo-Tokyo | | | | | |
| 4. Tetsuo | | | | | |
| 5. Doll's Polyphony | | | | | |
| 6. Shohmyoh | | | | | |
| 7. Mutation | | | | | |
| 8. Exodus For The Underground Forest | | | | | |
| 9. Illusion | | | | | |
| 10. Requiem | | | | | |
Over 200 singers belong to Geinoh Yamashirogumi, making personal credits somewhat difficult.
This a unique and special album. The soundtrack for the Japanamation film Akira (which I will not pretend to be an expert on) was commissioned to Geinoh Yamashirogumi, a vocal ensemble first organized in Japan in 1953. With this album, their classical/traditional/ experimental stylings were fused with modern electronics ... and the results are quite impressive. Moreover, the album also incorporates quite a bit of a Balinese gamelan influence, thereby causing the merger of styles to become even more pronounced. For those interested in mergers of style, this album is essential.
The songs on the album cover the development of the Akira narrative, wherein the tragic hero, Tetsuo, is transformed into a diabolical monster by the use of mind-altering drugs and various previously latent powers, eventually to to destroyed out of necessity by his former allies. One need not be familiar with this narrative, however, to appreciate the music on the work.
The album begins with "Kaneda", featuring the sound of "deep urban thunder" as the rival factions of Neo-Tokyo prepare for battle. This is followed by a gamelan development, electronic drums, and vocals appearing in chanted form. These vocal lines shifts regularly in a pre-established pattern, creating a curiously balanced approach to the scene at hand. This piece is not very long, however, and is merely a preamble to the primary narrative.
"Battle Against Clown" is very much in the tradition of Balinese gamelan works, featuring very fast percussion merged with martial vocal chants; while this piece was probably intended for visual accompaniment, the music itself is still quite impressive (though not necessarily easy to listen to). The melody which emerges as the piece develops is surprisingly gentle, creating a very unusual contrast to the primary sounds featured around it. Even more curiously, the piece is able to radually and subtly shift to a more atmospheric tone, which eventually comes to dominate the piece -- for such internal diversity at a very high musical level, it would be difficult to grant the work anything other than the highest possible rating.
"Winds Over The Neo-Tokyo" is perhaps the least good track on the album, if only by virtue of being the least developed track on the album. The track begins with an atmospheric introduction, as well some very high notes on the percussive scale; reversed drum sounds soon follow. The intent of this work is obviously to convey a feeling of bleakness, and it quite succeeds -- the only problem is that, from a purely musical standpoint, the stark nature of the piece doesn't allow for terribly much in the way of development. This is still an excellent piece, but not quite as musically impressive as the others.
The same may certainly not be said of "Tetsuo", one of the easy highlights of the album (detailing the protagonist's transformation into the primary antagonist). The track begins with a very unusual percussive lines and "dark-majestic" keyboards in intervals -- the sounds are quite impressive, as is the musical construction around them. Certainly, no fan of progressive music would have too much difficulty with this track. At a certain point, the heavier drums become more prominent; then, some truly frightening voices emerge through the music (even though the lyrics may be only phonetic, they are no less terrifying as such). Following this, a curious detour occurs wherein the music adopts a more peaceful, Javanese style of gamelan music; then, the Balinese theme returns, the voices return, and the music becomes much more intense once again. This is the portrait of a nightmare, and a very successful depiction as such.
"Dolls' Polyphony" is another brief piece, and is mostly a capella. The track begins with mock-children's voices singing in a mock-gentle manner, obviously preparing for the dissonance which is bound to shortly occur. Indeed, when the rather harsh polyphony begins, it is far from surprising; foreboding adult voices soon appear in the foreground to negate the original innocence of the piece. It's a bit too brief to be a complete triumph, but it's still fairly good.
"Syohmyoh" consists of the prayers of Miyako, a new religion of sorts. The chanting is at first somewhat restrained, accompanied by shaker sounds and some horns. Eventually, a polyphonic means of chanting appears in this track as well, and sampled instrument (including keyboards and guitar, the latter of which is responsible for an absolutely incredible section towards the end) take a much stronger role. The effect of this lengthy piece is quite hypnotic when taken as a whole, particularly in the humming sections towards the end. Very well done.
"Mutation" begins with bass voices, accompanied by a very ominous, odd-beat musical line; drums and hypnotic voices quickly come to dominate the piece (reminding one somewhat of "The Promise Of Shadows" from Peter Gabriel's Passion). The demented voices of other characters appear in this song as well; after a period of silence, the initial mode of the song once again returns. Not quite a highlight, but still good.
"Exodus From The Underground Forest" is a more deliberately upbeat number, with higher-end voices dominating (though a few lower lines are thrown in as well, and both vocal lines shift on occasion). The music on the piece features perhaps the most equal balance of eastern and western traditions on the album, sounding rather like an Earthworks number at times despite retaining a consistent gamelan rhythm throughout. The guitar solo is overtly progressive, and the keyboards are quite bizarre; this is a highlight, though mostly for reasons unrelated to the narrative.
The final two tracks are extremely good as well. "Illusion" is constructed in the tradition `Noh' style, a Japanese theatrical structure which in this case sees Tetsuo remembering his earlier life. The work begins with atmospheric keyboards, with the percussion making an eventual appearance as well; the work has a somewhat "misty", maritime feel to it in its early movements. The high flute pitches and vocal appearances are fairly good as well. The fourth section of the work sees the character of Tetsuo describing, in English (??), his transformation; after this, a chanting emerges wherein the other singers lament the destruction of his persona in the transformation. The climax of the work sees all of the instruments involved making an appearance, and is also notable for a very fast, intense tempo. A very dark background sound soon emerges as well.
"Requiem" is perhaps the best composition on the album. It begins with some drum effects, some gamelan background music, and some very quiet chanting, the latter of which very slowly gains in volume. Some truly beautiful vocal harmonies then emerge, and the keyboard presence which emerges performs many of the same melodies as the singers had previously featured, to a great effect. All hyperbole aside, this is a very powerful and moving number, a lament for Tetsuo after his tragic destruction. A series of heavy drums signify the final send-off of the work. This is a very, very strong work, and a perfect manner in which the album to be concluded.
Those progressive fans who wish to expand their horizons could do worse than to check this album out.
(review originally posted to alt.music.yes on 27 August 1997)