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An analysis of Fate/Zero's OST in comparison to Kajiura's other works! AKA I gotta comment on the perception that Yuki Kajiura's music all sounds the same...

Saw the discussion in the composer announcement thread for Heaven's Feel today and felt compelled to respond.

Allright, so I realize that nobody is saying that Kajiura’s tracks ALL literally sound EXACTLY the same. People’s opinions range from “Her style has a fairly similar sound from work to work and I wish she’d experiment” to “Madoka, KnK, F/Z, SAO, etc… all basically self-plagarize the same themes with minor differences.”

I’ll start out by saying that while I disagree strongly, I can certainly see the basis for such a perspective. A lot of Kajiura’s music employs the same core elements, instruments, style of vocals, and so forth. As it so happens, a lot of her more well-known work has also fallen into similar genres—her discography includes a lot of fantasy/supernatural-themed series with high-paced action and tragedy, so in many cases the mood she is trying to create is very similar from work to work.

To the average listener, a good deal of it might “sound” the same for those reasons. But when I’ve seen people rip into Kajiura’s composing on /r/anime or elsewhere, their charge and evidence for why everything sounds identical would apply equally well—and wrongfully—to the work of famous musicians and composers from Mozart to Dave Brubeck. So she uses the same instruments, loves to lay it on thick with percussion, and often employs a chanting vocal chorus. So what? A classical symphony has fairly well-established conventions with regard to its structure and the composition of the orchestra, and at a certain level they all “sound” similar, but the musical ideas being presented can be worlds apart from piece to piece.

I want to be very clear. Just because a composer has a recognizable, trademark style does NOT mean that all of their music is just cloned with small variations. As is often the case for Kajiura’s compositions, there is a lot more going on under the surface than meets the eye. As a music lover, I’m actually quite impressed with the breadth and versatility of Kajiura’s ability. Could she do something as radically departed from her past work as Cowboy Bebop’s OST? I’m not sure, and while I wouldn’t bet on it personally, I also wouldn’t be surprised.

Let’s analyze Fate/Zero’s soundtracks a bit.

At first glance, we have sweeping, dramatic orchestral pieces built around vibrant strings, strong syncopated percussion, brass highlights, and a unified male/female choir. We have soft sad piano melodies. We have ominous percussion and electronics-driven tracks to accompany the urban game of cat and mouse on the screen. The main action soundtracks are built around electronic rock pieces with a complex, aggressive tempo, electric guitar solos, a chorus, and soaring strings.

These are the memorable pieces, the tracks we associate with dramatic moments in the story or stunning action sequences. What goes unnoticed however, is the sheer variety in some of the compositions. The tools used may be similar, but they are employed imaginatively—and the OST also contains many pieces quite unlike the others.

Days Gone By, for instance, is a largely synthesized piece that accompanies Kiritsugu’s late childhood spent with Natalia. Acoustic and electric guitar riffs and a strong bass line set the mood--yet notice how unstructured the music is. There is no recurring chorus or prominent Kajiura-trademarked leitmotif… the rolling guitar solo feels improvised, and the wandering nature of the track perfectly evokes the hazy passage of time as young Kiritsugu and Natalia spend several years together. It’s a modest, understated piece, yet perfect for the purpose in question and a great example of Kajiura’s versatility.

The entire Alimango Island flashback to Kiritsugu’s dark origin story also features music quite unlike anything else featured in the series. Burning Village might feed off of the usual booming Kajiura drums, but the influence in this case is decidedly Asian. The usual strings and vocal chorus are entirely absent—the tone of horror is created entirely by the dueling flutists. My ears aren’t good enough to tell, but it feels as though a different musical scale is in use here, creating the exotic, eerie melody.

Now take Let the Stars Fall Down. This is Irisviel’s theme, a lively, idealistic dance piece reminiscent of European folk music. The time signature is written in 6/8, giving the music a light, asymmetric air. Again, completely different from anything else on the soundtrack.

Did you listen to all three pieces? Now listen to them all again, and then play Point Zero. There you have it. Four pieces with completely distinct themes, at least three different cultural influences, two different time signatures, and featuring four wholly dissimilar arrangements of instruments.

As a whole, further consider just how thematically coherent the soundtrack is. Irisviel’s theme might recur in Manten and The Dream Fades Before Dawn, but it the former it has lost much of its innocence, becoming a lament for Kiritsugu’s loss and suffering. In the latter, it has been wholly corrupted—contrast the eerie synth xylophone of Irisviel’s last moments inside the Grail with the defiance of her battle theme.

Manten might be a fairly standard polyphonic Kalafina ballad, but The Dream Fades Before Dawn is another excellent example of Kajiura’s breadth… a dragging, almost musical-box-like tempo, strings that give way to piano and finally to… xylophone? I mean, that’s the creepiest xylophone tune ever, and it’s all rooted in precisely the same Irisviel theme we are already familiar with. Listen to the piece (no link on YT, sorry), and see for yourself how excellently it evokes the image of drowning in black mud.

The rest of the Fate/Zero soundtrack may be more conventional, but I challenge you to listen to it and realize for yourselves how much variety lies within the themes you’re more familiar with. On The Battlefield, This Day and Never Again, and Fate to Zero all employ the usual Kajiura elements, but these are once again three distinct battle themes. They draw on some of the character leitmotifs that we are well familiar with, but listen to each individual musical part. The strings are staccato and piercing in On the Battlefield, largely employed as percussion in the intro to This Day and Never Again, and are carrying the melody fluidly during the peak of Fate to Zero.

Now listen closer. Notice how Iskandar’s pieces employ a clear marching pace and military horns, while Berserker’s themes are dominated by chaotic guitar riffs and high tension. Admire for yourselves how musical thoughts are traded between the chorus and strings or between the electric guitar and strings over the course of some of the battle/action compositions.

Satisfied with Fate/Zero? Well we’re not done yet.

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Now listen to this. Sis Puella Magica!. This is a mournful, yet innocent-sounding piece with a lot of Kajiura hallmarks including prominent polyphonic vocals carrying the melody and a strong percussive beat in the latter half.

If you have learned anything from the listening exercise we performed earlier, this piece should feel as if you’ve stepped onto a completely different planet. Gone is the piano and string support. You can make out a cello, but the primary instrumentals are a tambourine, acoustic guitar, flute, and open-bottomed hand drums. The piece is profoundly childlike yet haunting, a world away from the epic dramatic quality to Fate/Zero’s score.

Now listen to Inevitablis. In terms of the concept, it’s identical to, say, Grief from the Fate/Zero OST… It’s a sad piano piece, delivered as a solo. Yet hear for yourselves how radically different the mood is between the two compositions. Some of the deafer people reading this might point and say “AHA, these are super similar!”

Listen to Grief. Pick out what the left and right hand piano parts are playing. Now listen to Inevitablis and repeat the exercise. Couldn't be more different. Inevitablis is light and ephemeral, childlike once again. Grief is heavier, with a more substantive melody appropriate for the fantasy setting.

Now, just to hammer home my point, listen to Magia, the ED theme to Puella Magi Magicka Madoka.

Now listen to Heavenly Blue (super sorry I don’t have the full version), the OP theme to Aldnoah.Zero.

There are literally thousands of bands in the world that would murder to be able to have this kind of breadth in terms of sound and originality.

Are the components the same? Sure. But hopefully you now agree with me that Kajiura employs her favorite tools with awesome creativity, and isn't at a loss in the slightest when the situation calls for something different.

So to Kajiura critics, I really mean this in the most polite way when I ask—do you feel stupid yet??

Now rejoice, youths. Heaven's Feel is coming.

Okay, so things I won't address:

• 'Oh noes, hiring Kajiura means that they won't use any VN tracks!'

Obviously we have no way of knowing how ufotable plans to instruct Kajiura to compose, so anything I say on this is just speculation. I find this possibility highly unlikely, however. Fate/Zero, remember, was kind of a prequel spin-off, so it wasn't surprising that the music didn't draw heavily from the VN--and she still ended up remixing Sword of Promised Victory for the show. I personally find it highly doubtful that famous VN tracks won't be featured.

• 'Yuki Kajiura is overrated!'

This is, of course, a matter of opinion almost by definition. Nothing productive to say here, as all that matters is whether or not you think she's as good as people say she is or not.

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If you ask me, she be damn good.

Transcription of 'Tragedy and Fate' by Yuki Kajiura, as heard in Gen Urobuchi's Fate Zero.
I do not own this music or these images.
'In the battlefield, there is no place for hope. What lies there is only cold despair and a sin called victory, built on the pain of the defeated. All those people who meet there have wholeheartedly admitted the evil and foolishness of this act called war. As long as people don't repent and don't regard it as the most evil taboo, then hell will endlessly reappear in the world.'
—Emiya Kiritsugu
I haven't been able to write anything for a while, and my longer transcriptions just never get finished, so I whipped this together in the past couple of days and decided to just go ahead and post it. Fate Zero is one of my all time favorite animes, and the soundtrack is equally unique and beautiful. Enjoy!
I still can't get used to the string fonts for 2.0; I prefer the slow strings from 1.3. Lot's of invisible dynamics in this one—I did the cresc/dim manually with user velocity.
Here is the original audio I used: https://goo.gl/I2PfcB