Spirited Away

Review by Thomas Glorieux:

Composer Joe Hisaishi is becoming a known certitude in the musical genre, with now several scores being released that appear on shelves and in people's home's more and more. Why is not illogical at all, since Hisaishi seems to mingle the best of the Eastern sounds in a Western kind of touch all most. Although it stays remotely Asian sounding, you accept it as a Western kind of score, tone, music, whatever. Spirited Away is one of the scores that received light of day in the best setting possible. The score is one that listens time and time better since it captures not music you instantly like, accept or totally understand of themes, or even ideas. I believe these are the kinds of scores that are the best of its sorts. But Spirited Away is also a score which style you have to like, basically by your nature or style in which you like your scores the most. That is why I appreciate Spirited Away very much but I can't listen to it like I would do a normal soundtrack, simply of the tone its having and the style it exhibits. But don't get me wrong since the soundtrack is a piece of art on its own terms, with techniques that we don't hear often in the usual score, with themes that speak more intriguing qualities then enjoyable words and a tone overall that you accept no matter if you like it so much or not. In that case is Spirited Away a score for many, but perhaps a score you listen to less for few. Hisaishi handles the concept rather dark but he puts in every track a piece of intriguing finesse which makes the score a joy on its musical qualities, making it also a joyous inspection after a while.

The score has many themes, but just a few return and the most reoccurring one and most recognized of all is the piano theme which listens better and better the more you hear it. 'One Summer's Day' is portraying it first when strings carry it further until some darker material is briefly introduced. And the style shifts with ideas frequently, 'Nighttime Coming' covers some faster material with even some brass laden action material. 'It's Hard Work' covers a fun flute waltz like playfulness which is not out of tone with the rest of the score and brings the right kind of diversity to the whole proceeding and a true total cacophony of orchestral power is unleashed in 'Kaonashi (Faceless)', which puts also the orchestral carnage to an utmost delight since it puts various themes through each other. There are of course some outstanding highlights, such as 'Procession of the Gods' which mixes everything that is good about music into one design, with a mix of orchestral music and solo instruments together into a waltz like flavor, moving from vocals to peculiar instrumentation to a magical surrounding overall. The same for, 'The Stink God', opening very weird with stomping percussion leading to a fanfare laden variation on the piano theme, in magical ways being transformed to the end. 'Reprise ...' also brings the sign of emotional and uplifting music with a finale bringing the best of lovely optimism, at times it even reminds me of Pleasantville which says a lot. The score however isn't over yet in showing the goods since that is the ultimate sign of a good soundtrack staying in the same style, but bringing so much ideas you can't stop but to think, where it is all hidden?

Other parts which speak clear intriguing qualities are 'The Dragon Boy', with its typical release of those Japanese sounding strings, 'Sootballs' throwing in a piano adding the playful effect to a next level which works well and 'Yubaba' and 'Yubaba's Panic' showing some added signs of dark choir, giving this score more its heavier edge then before. 'The Return' begins with amazing energy and a terrific abundance of brilliance before the piano theme returns to finish it in style. The song at the end isn't totally satisfying but it supports the lovely theme of track 19 and at least fits in with the style of the score. Hisaishi's work has several things which you must consider. Its a different style then the soundtrack we often hear, a different tone of sound, instrumentation, themes, its all basically non film music like. But its the winning attitude of intriguingly good constructed themes with a mesmerizing mix of orchestral compositions which makes Spirited Away so rewarding. Yes, its dark in a way but the sudden burst of emotion, energy or power is what makes its charm so undeniably attractive. Hisaishi's music in a way isn't the music I hum through and through but its music that leaves an effect on me, because its more intriguing and more intelligent then the normal brass fanfare of other composers, no matter how each one enthralls the senses. Consider Spirited Away a Chinese / Japanese sounding album, but with the class that it exhibits music which intrigues, surprises, enjoys and whispers you away, in the good film music sense of the word.

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Tracks

Single Disc

1. One Summer's Day (3.08)

2. A Road To Somewhere (2.05)

3. The Empty Restaurant (3.13)

4. Nighttime Coming (1.58)

5. The Dragon Boy (2.11)

6. Sootballs (2.31)

7. Procession Of The Gods (2.59) Excellent Track

8. Yubaba (3.28)

9. Bathhouse Morning (2.02)

10. Day Of The River (3.12)

11. It's Hard Work (2.25)

12. The Stink God (4.01) Excellent Track

13. Sen's Courage (2.44)

14. The Bottomless Pit (1.17)

15. Kaonashi (Faceless) (3.44)

16. The Sixth Station (3.36)

17. Yubaba's Panic (1.37)

18. The House At Swamp Bottom (1.27)

19. Reprise ... (4.50) Excellent Track

20. The Return (3.15) Excellent Track

21. Always With Me: Youmi Kimura (3.35)

Total Length: 60.02

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=== Link to Composer Site: Joe Hisaishi ===