The clock stops at 23:59

The leap in the chorus that caps the short opening run was what got me thinking that Mitsubachi to Kagakusha sounded like something I had heard before, and I eventually narrowed it down. The full length version of MtK creates quiet verses and fuller choruses by adding and subtracting instruments, but Maaya’s voice sounds rather plain, just like in Saigo no Kajitsu. In the context of easy listening, I put less weighting on technique and more on the creation of casual and sunny, the latter being very important considering how this season’s first snowstorm will amplify the terribleness of drivers, with obvious effects on traffic.

Saigo no Kajitsu has grown on me a bit, especially now that the audio is less washy. Maaya still comes off as a bit dry, especially in that supposedly fragile section just before the recapitulation because she breaks her phrases to draw air. Is that where the instrumental layering is supposed to come in? I have no problem with layers – it was the Baroque era’s primary way of creating texture as well as dynamic contrast – but I find that the balance of power is being carried by the accompaniment, masking Maaya’s mostly decent effort (although not against the bar she has set in the past).

Yui Makino’s synchronicity single is the other half of the OP/ED pair, and the title track is typical Yuki Kajiura, who did the composition. An informal rule of thumb is that anything that juxtaposes alto-soprano choir, electronic, rock, and piano is worth consideration. A corollary of this rule is that pretty much everything composed by Yuki Kajiura is worth consideration.

Some pieces are more compelling than others, but the subset of standout vocal tracks are infused with a good dose of the dramatic appropriate of her operatic influences. What sets those apart is really the vocal performance. In short, Yuuka Nanri is a better vocalist than Yui Makino. At first glance, they have a similar sound in this song’s range, and they are both proficient singers, but Yuuka has more depth. The more I think about it (instead of going to bed), the more convinced I am that just slotting in Yuuka would make synchronicity a more nuanced song.

Amrita -Hikigatari- is like the lounge ballad style she employed in her songs for Aria. Nice contrast gliding in and out of the fragile but airy voice to a fuller sound.

Finding synchronicity was really just a coincidence, but given the footprint it leaves, it was a happy coincidence.