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Best anime composers2/24/2024 In the later half we have some absolutely sublime moments with some of the best orchestral pieces of Iwasaki’s career. There’s a genius moment in “Formidable Enemy” that starts like a modern Blockbuster track but at the end evolves into a majestic SciFi moment. The action is definitely inspired by Dark Knight Rises. His “Gettouka” triumphs over similar efforts, like Kawai’s Ghost in the Shell for example.Īkame ga Kill is a modern action score done right, with unique use of epic choir and e-guitar. A worthy successor of Kenshin with some unique instrumentation choices like Wood/Templeblocks. All in a quite sinister tone that would fit a Tim Burton movie like a glove.ĭespite of having a bit Zimmerian action there’s A LOT of Herrmannesque beauty in Kataganagatri, a rather substantial amount of score with a nine minute concert piece and perhaps his most awesome song, “Peacock blue eyes”. In Black Butler Iwasaki lets his inner maestro loose, delivering hours of opera, marches, waltz, requiem and concerto. It’s as soothing as it is jolly with moments straight out of a ballet or romantic symphony. With Binchou-tan he again demonstrated the same kind of ingenuity with a chamber ensemble, delivering a unique and incredible heartwarming score. Some additional parts are done by a studio ensemble. Lets just say he wrote some true gems as Iwasaki “the artist”.Īgito was the only time in his career working with a worldclass symphony orchestra and I would say he succeeded with flying colors in adapting his orchestral style for a symphonic ensemble. In some cases the orchestral score is even build around this one piece, like Jojo with L’anima or Qualidea Code with Canary. What characterizes both is at least one standout cue in every album, mostly an operatic piece or orchestral song among much electronics, rap or dubstep. It’s born out of his adoration for Rap, Dubstep and Opera. I divided his “Artist” side by two Phases: The first one I call Rapera, his most recent one Dubera. It all comes down to the simple fact that Iwasaki lives and breathes with a classical mind (grounded on classical education) and Zimmer does not or at least never demonstrates it. What I find ironic is that while Iwasaki pays homage to the style, he also puts the original inspiration to shame. But Iwasaki is also very much a fan of Zimmer (mostly his early stuff). Iwasaki appears more confident and sincere in his talent for orchestral writing in the classical phase, often paying homage to the classical repertoire and the Golden Age of Hollywood. “The Composer” can be divided into two phases: One more classically oriented and one on the side of Zimmer and RC. But recently he lets his old self emerge from time-to-time. During the last decade he did mostly wear the mask of the artist while his earlier years were pretty much that of a traditional media composer. His genius comes in the form of a mask with two faces: “The Composer” and “The Artist”. But if there's an area where he is pretty much the king of media composers now, it's in the romantic impressionism departement. You get everything from 1920s galore and Italian opera to Zimmerian action and electronic dubstep. He started as a song arranger for anime and now has become a distinctive and revered voice in the anime scoring world and is one of the few old warriors left (he’s almost 50 now), waving the flag for opera and Broadway song in media scoring. His career has pretty much been anime-only and it seems to stay that way for years to come. Taku Iwasaki is after Tanaka the second most prominent „Anime Composer”, perhaps to even more extremes than the original.
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