Kamisama no Inai Nichiyoubi: OST

Kamisama Inai OST

Disc 1
01. Lost World; 02. Transfiguration; 03. Impatience; 04. Melancholic; 05. Loneliness; 06. Ortus; 07. Valley of Death; 08. Conflict; 09. Fate; 10. Mystery Place; 11. Warmth, 12. Rhythm of a Blue Sky; 13. Late Riser; 14. Pleasure, 15. Sulk; 16. Reminiscence, 17. Farewell; 18. Calmly; 19. Death and Despair; 20. Gloomy Secret; 21. Undertaker; 22. Dampish; 23. Pressure; 24. Shock; 25. Dread; 26. Ominous Premonition; 27. Dark of Valley; 28. Battle; 29. Tense Atmosphere; 30. Transitoriness; 31. Utopia; 32. Solvation; 33. Future World; 34. Blessing
Disc 2
01. 微笑みの雨; 02. 微笑みの雨 (Insrumental)

Title: Kamisama no Inai Nichiyoubi OST Requiem
Composer: Mizutani Hiromi ☆ 水谷宏美

Enchanting, mystical and magical. One listen to Kamisama no Inai Nichiyoubi OST Requiem instantly transported me into the world that god had abandoned on Sunday; a world of gravekeepers and the undead. Composed by Mizutani Hiromi, who also did an amazing job with the Jigoku Shoujo OST btw, the beauty of the animation was further accentuated by loveliness of the music.     

While the series itself was visually stunning, the equally breathtaking music was what really drew me in. Timed to perfection, the coupling of the music with the prevailing scenes gave even more depth to the story telling. The music added that extra dimension, without which the series surely would not have been able to leave me with the feeling of bittersweet melancholy and hopeful emptiness that it did as I watched the final scenes unfold.

The following are some of my favourites tracks from the OST, which I highly recommend.

♪ 1. Lost World

This was the main theme of the series and one look at the title would tell you why. More importantly though, this stunning piece of music was very deserving of being the main theme. As the first few notes are played, already a sense of uncertainty and loneliness is evoked. The different instruments which were made to sustain, together with the voice that comes floating in about 20 seconds in give off a very airy, wispy and otherworldly aura – I actually did feel like I was transported into a lost world.

The piano was used as the main instrument in the first half of this track, with the accompaniment of strings in the background. Long notes played by the strings dragged the chords out and this emphasised the feeling of uncertainty. The use of the piano was also very apt, especially the downward broken chords immediately followed by upward running notes at about 1:21-1:26. This led to a high point, and we are greeted with chant-like voices, before the main theme greets us again, with a heightened sense of grandeur and opulence as the instruments blend to produce a rich texture.

As the running notes the piano led up to the culmination of the revisited main theme, the same running notes are then employed at the end of the track to bring us to a quiet resolution.

♪ 6. Ortus

The theme for the city of the undead. The strong quality of folk music shone through in this particular track, giving off a warm and homely vibe. The melody, rhythm and articulation made for a very lively piece. The violin was the main instrument for this track, and the exemplary use of slurs gave the piece a very light and playful atmosphere. I thought Ortus a very apt piece.

The track was very spirited, which suited the bustling city to a tee. Hearing this piece, I could very well imagine the undead roaming the streets, running here and there, going about their happy day. As seen in the series, the city of Ortus would light up at nightfall and be covered in bright and shining lights. In a sense, the bells jingling in the background of this track was akin to the city lights for me. It was as if every time a bell chimed, more lights were turned on.

But, definitely the strong point for this track was the rhythm. It was the driving force for the piece; it was what pushed it through. And I found myself tapping along to the beat every time I listened to this.

♪ 20. Gloomy secret

This track was warped, eerie, hazy and I could feel the doom and gloom creeping in every time it was played. While the melody was not overtly complicated, it was the arrangement of the instruments and the dynamics that really added to the sinister effect. In particular, the music would crescendo at the right moment, creating an even bigger impact on the listener during the highpoints.

Additionally, I love string instruments and this track reminded me of that. This was a brilliant example of string instruments blending together so effortlessly and harmoniously. The piece started off with trepidation, but became filled with grandeur midway. Towards the later half of the piece, the detached playing of the strings in the background created a sense of anxiety. Contrast that with the smooth and flowing manner in which the strings were playing the melody in the foreground, coupled with the obviously minor key that they were playing in, and what resulted was something so exquisitely foreboding that I couldn’t help but be in awe when I listened to it.

♪ 27. Dark of Valley

As the name reads, this track gave off a dark and ominous aura. The melody as well as the use of heavy beats of the percussion instruments really grounded this piece. In addition, the voices that came in about a minute into the piece really added to the sense of foreboding.

I think what really created so much tension in this piece was the use of diminished chords. Often avoided due to the unstable nature and tendency to produce a dissonant effect, the extensive use of diminished chords in this instant achieved the desired sinister effect. And what resulted was a haunting piece of music that went very well with scenes of conflict or impending doom/disaster.

♪ 30. Transitoriness

I do not have much to say about this particular track, but I thought to give it special mention as I thought this to be the optimal example of how a title of the piece fully represents the piece itself. In some ways, I guess this track parallels Ai’s journey – in perpetual transit, trying to find a place where she could belong (at least, that is my inference from watching the series).

With regard to the arrangement of this track, it might be the 4 recurring notes that the piano plays in the background. Or the volatile and fleeting voices that show up for an instant then disappear, only to be heard again a while later. Whatever the reason might be, it exuded serenity and tranquillity – a pleasingly pastoral piece.

♪ 34. Blessing

By far my favourite track of the entire OST. This piece had it right in every aspect. The harp (is it? can’t really tell. In any case, I’m referring to the plucking strings in the background) in the background evoked a sense of calm. The exquisitely ethereal voice that was floating throughout was key to making the piece so heavenly, with a touch of divine quality.

The use of the sustained string accompaniment in the background once again had the same tension-providing effect. And then there is the use of the flute. I don’t know what it is about flutes, but they have that airy-fairy magical touch, which was definitely ideal to carry across the mystical quality of this piece, and in turn the series (every time this piece was played).

To say that the OST was beautiful simply would not be doing it justice. It was magnificently beautiful and so much more. The combination of the slower, more emotional tracks with the contrasting playful and livelier tracks made for a very well rounded OST. Not only was it lovely hearing it in the series, but is also one of the OSTs that I frequent. This is an especially good listen when you’re in the mood for something calm and relaxing.

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