Best Score
Honourable mention has to go to Sarazanmai (2019), composed by Yukari Hashimoto, with the added factor that it is also a musical. Yes, there are repeated songs, but they are good so there is nothing to complain about.
5) How strange is it that Zaion: I Wish You Were Here (2001) is both on the Most Disappointing list but also this one? This has happened entirely because you hired Kenji Kawai, regular collaborator with Mamoru Oshii, and his New Age infused score pulls this disappointing GONZO production to something which has an aspect to fondly remember.
4) Continuing the electronic based scores is Night on the Galactic Railroad (1985), which is of note as, when last time legendary composer Ryuichi Sakamoto was mentioned, another member of the seminal band Yellow Magic Orchestra, its leader Haruomi Hosono, is nodded to this time as he composed this sombre film's sombre music. Of the era but suitably ethereal for this unique production, it adds to such a beautifully haunting film.
3) In contrast, Tekkonkinkreet (2006), a very idiosyncratic work adapted from a Taiyō Matsumoto manga, choose a soundtrack appropriate for its distinct art style in its energy and sense of bounce. Also befitting the production, the first with Michael Arias to be directed by a non-Japanese anime director, the composers are an English duo Plaid, adding a nice international flavour, especially as the film in its clear influence from Japanese crime films is taking their influence of their "borderless" aesthetics.
2) For distinct music, obviously Adolescence of Utena (1999) has to be mentioned, following on from the groundwork laid, and iconic, in the original 1997 television series. Alongside the pieces by Shinkichi Mitsumune, both the series and the film are of note for their songs by J.A. Seazer. Seazer, a theatre and film music composer, had only worked on one other anime, the notorious ero-guro independent production Midori (1992), and it is of note that one of his famous collaborators, the avant-garde filmmaker and polymath Shuji Terayama, was a huge influence on Kunihiko Ikuhara, making their collaboration symbolic. Mitsumune's music is exceptional but Seazer's - rock opera crossed with theatrical choral voices - is the magnum opus of the "cherry on top" for any production.
1) But...if I did not have Panty & Stocking with Garterbelt (2010) win the award, I would be an idiot. For a very odd production from studio Gainax and Hiroyuki Imaishi, the music is the one thing that even those who hated the show should have adored. So much music was created per episode by Taku Takahashi (M-Flo) and TCY Crew (TeddyLoid) which is admirable within itself, but the tracks which are repeated stick in the mind and add such a huge part of the show's personality.
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Best Song
A trademark for anime productions, especially television series, is that they have opening and ending theme songs or music. Usually they are songs as, not surprisingly, anime has always been a vehicle for promotion as it is an art medium, but the best examples become iconic as their shows are. Even in the less than expected areas, you can find some great music. Honourable mentions go to two instrumental tracks for example - the spaghetti western theme by way of Japanese instrumentation and manly vocal chanting for Gun x Sword (2005), and the Enya-like track for Luna Legend Tsukihime (2003), which helped bolster a fondness for me for a deeply imperfect series. Whilst none of the songs stand out, I have to admire the ambition and execution for Amagami SS (2010), which had individual end tracks for every female character, sang by their voice actress, for each narrative arch surrounding them.
5) The first is for a pre-existing track, which is less common in anime, but in the case of Serial Experiments Lain (1998) made an obscure song by British band Bôa become iconic in its connection to this legendary series. Normally I am not a fan of indie rock, but Duvet became an iconic aspect of the series' reputation, something I am sure the band were gland to be historically linked to.
4) Full Metal Panic Fumoffu (2003) has evidence that, whilst I actually find most J-pop songs in anime bland, add a Santana approved guitar lick and strong vocals, and Kimi ni fuku kaze ("The Wind Blows to You") by Mikuni Shimokawa is a gem. The end credits to Fumoffu stayed with me over the years, simple with its chibi (diminutive) versions of the characters marching along happily with this delightful song playing over, the combination perfectly suiting a comedy spin-off to an action franchise, one which is loved by some fans more than even the main series.
3) On the opposite spectrum, when requiring a heart pumping track, say for a giant robot show, I see why JAM Project can sustain a career as an "anison" (anime) theme band, as for the first series of Gravion (2002) they provide a great opening song. To the Gravion franchise's credit, whilst lyrically having nothing to do with the show, the pop punk show for the second series' end credits is also great, La♪La♪Bye by Honey Bee, but Nageki no Rosario is the kind of over-the-top and bombastic piece from this collective of a band that gets the blood pumping. Sadly, JAM Project's second song for the second series, whilst great, does find itself in the shadow of the first. Thankfully they bring it back once for the right dramatic moment possible,
2. There are many candidates from Panty & Stocking with Garterbelt, but it is not the opening and ending songs that became an ear worm, but D City Rock by TeddyLoid with Debra Zeer on vocals, introduced early on but even getting its own music video parody for one of the last episodes. It is the anthem for the show, and yes, it is catchy.
1) But, immediately from the get-go sinking into my heart, it would not be long after hearing Into the Night by Sario Kijima for the first time, for the fascinating OVA obscurity Key the Metal Idol (1994-7), I was enraptured by the song. A moody, jazz and electronica driven pop song of melancholia and desiring love, it fits the fact that, initially presuming this would be a quirky nineties production about a robot girl wanting to become an idol singer, I ended up instead with a structurally ambitious and dark sci-fi drama in its place.
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