How well this album fits its anime counterpart - almost to a fault. Anime soundtracks usually contain the same mood or style as the animation, as well as the requisite opening and/or ending theme, but this album, formally called Gasaraki Densyo Ongaku I, attempts with ferocity to loyally convey certain themes of the series to the listener. And it does succeed - it will make you feel the orchestrated theater of events, war-driven conflicts, and intense relationships - which, while certainly beneficial to the anime, doesn't imbue the music with the, for lack of a better word, charm one will find with lighter titles. Be prepared for a heavy trip.

Just as Gasaraki has several themes flowing through it, the soundtrack uses a few different styles to represent those themes. Most prevalent, and probably most intriguing, is the use of Noh music, Nohgaku. The Ceremony of Gasaraki, as seen throughout the series, is clearly meant to emulate, and then add modern influcences to the traditional Japanese theater style of Noh, down to the highly stylized music that accompanies the drama. The Utai (the intracately innotated singing) portion is the most compelling portion of the music, strongly done by the deep-voiced Koji Ishiahra, and very much kept in the traditional fashion. The music, though, while often including the traditional instruments, also adds modern adaptation with the use of more complex and driving electronic beats (Oroshi, Tie) or an ambient noise and rising synth track (Densho). These additions to the classical theater music are quite well done, and make the music easier to wrap oneself around (including, to be blunt, to more western-tuned ears). As used in the Noh-styled song Densho, quieter sounds such as ambient noise (prevailing in a song like Kryptic) and a woman's low humming (Miharu) are a well felt force on the album. While this is, again, fitting with the melodramatic undertones of the anime, it can be rather tiresome. It is not that they can't have a certain grace of their own, but they do tend to give the album a disjointed or faltering pace to it, especially considering the faster pace of the final major theme of the album, the militaristic. War is dominate practice for those involved with the Gasaraki, and it is well represented on the album through use of symphony orchestrations, which are heavy on piercing brass and driving percussion leads. And the album doesn't just limit the martial songs to the standard marches, but also to tension-raising pre-battle hymns (Armaments) or midst-battle echoes of war (Scramble). The selections on the album are among some of the best military themed songs I've come across, and the best picks out of all the orchestral songs from the series.

As one would expect, the opening and ending themes, Message #9 and Love Song (respectively), are included to round out the album. Written and performed by exceedingly talented Tomoko Tane, these songs are absolutely gorgeous, as anyone who has seen the anime will know. Unlike the opening and ending of the anime, though, this soundtrack includes the extended, or rather the full, versions of the normally truncated themes. The full versions of these songs alone warrant a purchase, in my opinion. I don't have the words to do justice to these, the passionate ballad and enigmatic enchantment, but I presume you have either watched the anime, or can listen to the samples provided here to get a taste of the songs.

In the end, the first Gasaraki OST is a wonderful tribute to traditional Noh music with a refreshing and well executed modern take to much of it, a collection of above-average militaristic themes, and home to two beautifully haunting vocal songs. As stated, certain quiet tracks give a dragging feeling when listening to the album straight through, but overall it is a great compilation and a perfect compliment to its series. Any fan of Gasaraki should view this as a must own, though those unfamilar with the series will merely find an above average, though with a very unique personality, and extremly dark anime soundtrack.