Unless you have been completely oblivious to the latest popular anime titles, you have likely heard at least one See-Saw song, and probably do not require any further convincing to pick up their latest record, Dream Field. For the contemporarily challenged and those still unsure, allow me to tell you of the ecstasy that is See-Saw...

For the uninitiated, See-Saw is a duo comprised of vocalist Chiaki Ishikawa and premier composer Yuki Kajiura. Dream Field is the group's third full album, though it is largely a compilation of the various singles they have been crafting for several anime series, with two brand new inclusions. For reference, See-Saw hasn't released a full album since 1994, and just started working on new material in 2001. A second compilation album was released the same day as Dream Field, entitled Early Best, which gathered select songs from See-Saw's earlier albums and singles.

The openings and ending of the .hack OVA, Liminality, were the first things I was attracted to upon first listening to the album. I had not yet had the pleasure of hearing them, seeing as Bandai is only releasing the show with the respective volumes of the PS2 game, and was categorically floored by them. The opening song, "Kimi ga Ita Monogatari" (the opening to the third episode of Liminality), had me enraptured within a matter of seconds. The song, like much of the album, has such marvelous intensity seamlessly blended with sheer beauty, in the brisk union of voice and rhythm. Both the opening song and the Liminality ending theme, "Tasogare no Umi," exemplified a powerful aspect of Chiaki's talent - her incredible range. She has the capacity to sound perfectly at home next to the excellent electric guitar and drum set work in these two songs and just as lovely singing the more emotive pieces seen later on the album. She can sound just as vital and innocent as the youngest J-Pop idols or exercise a maturity beyond her years as needed.

"Chiya Ichiya," the opening to the second Liminality episode, is a bit of an odd assortment of a march beat, fluid strings and an almost comical piano refrain, in addition to vocals on the forceful side. I falter in trying to describe in any other way than as the oddball of the record. (Though, I feel it is no less potent than the rest of the record, due largely to Ishikawa.) See-Saw continues to engage me, laying out something rather unexpected, even after I would have thought myself familar with their styles to know I could expect. I love the unexepected.

The final Liminality opening (for the fourth episode - the first was not included, in case you have not noticed), "Kioku," an unusually dark piece, is another example of the single greatest strength I see again and again in Kajiura's work - her ability to meld traditional instruments - tribal drums, violins, cellos - with her modern techniques - keyboards - into a single composition of consequence. In this, if nothing else, she is unrivaled in her field.

The .hack//SIGN opening and ending, "Obsession" and "Yasashii Yoake," are apt to be the two songs on the record that most people should recognize straight off. Both of the songs are the full versions, fleshed out to five minutes a piece. "Obsession" takes the vigorous elements seen in much of the Liminality music to the nth degree, pulling you along with it. Even if the lyrics are entirely incomprehensible - yes, they are in the liner notes - the ethereal quality they give the song is incredibly easy to lose yourself in. The full version of "Yasashii Yoake," however, is a thing to behold, with extensions and variations beyond the mere snippet that the ending theme has become in my mind. You think you have heard this song from the anime? Believe me, you haven't. I would go so far as to compare it to having only viewed photographs of a sunset and saying you have seen one, when you could not possibly fathom the beauty in one. Pure, uninhibited beauty.

"Emerald Green," the lone piece from .hack//Tasogare no Udewa, was far more mild than majority of the vocal music from the other .hack animations. I did not find myself as enchanted by this half-lilting half-light rock ending theme as much as I was by the harder styles seen above, but I can certainly appreciate the ever-present beauty.

The two selections from Noir, "Love" and "Indio," were included on the previously released albums Blanc Dans Noir and the second original soundtrack, respectively. I have already touched on both songs in my previous reviews for those albums, but to reiterate, they are fairly typical love ballads. There is nothing extraordinary to find, but they are lovely songs nonetheless and worthy additions. (To be perfectly honest, though, I may have been more satisfied with the album as a whole were it to continue with one presiding flow, and not brought down by the slower pieces, despite their obvious quality.)

The latest Gundam manifestation, SEED, received the See-Saw treatment as well. Though the show has had several openings come and go, the ending song remains constant. "Anna ni Issho Dattano ni," whether it is meant to or not, seems greatly reminiscent of a stylistic quality anime and anime-related music has commonly proffered up. (The first thing to enter my thoughts was the uncanny similarity the song bears to at least one theme from Sakura Taisen, among others.) Regardless, the song pelts the listener with a barrage of melodies that may be familiar in style, but they are quite fresh in execution. If the album has a climax to the satisfaction I derive from See-Saw's musical hue and Kajiura's compositional prowess, ignoring the fact that this song appears in the middle of the track list, this is it.

"Tsuki Hitotsu" is another of the slower songs, composed for Gundam SEED, though it is more of a power ballad than the Noir singles. It uses relaxing percussion and a free-form acoustic guitar complimenting Ishikawa's voice, which is soothing but far from subdued, at its usual talent.

As mentioned, there are a couple of new songs on Dream Field, the first of which the listener will encounter is "Natsu no Tegami." Though the piece may tread a few clichés, it is nothing less than a song to fall in love to, with the vocals bordering most innocently on the alluring. The other original song, "Jumping Fish," is the one instance I felt Ishikawa's usually superbly passionate performance may have been a bit much, as the only instrumentation in the song is Kajiura on a lovely piano melody. She dominates when she should be working in accord with the peaceful music.

This is an easy recommendation for anyone who has heard one or more of their songs and liked them, but doesn't want to go and track down all of the albums and various singles that See-Saw's songs appear on. For those who haven't heard of them or their music (in which case, you need to get out from under your rock), it would be more than worth your time to look into this deservedly popular duo. In short, this is undoubtedly a contender for the best album I will likely hear this year, in any genre.

Though Animenation does not carry the CD, you can purchase it at CDJapan. Anyone interested in learning more about See-Saw should visit their official site, Fiction Junction, though it is only in Japanese.