I first heard the songwriting of Yuki Kajiura through the soundtrack to Koichi Mashimo’s Noir but for me her style became intrinsically linked to a certain visual aesthetic after the haunting Portrait de Petit Cossette. Kalafina, her current project, is best known as the vocal group behind the soundtrack to the Kara no Kyoukai films; my love for that series aside, the ‘Kalafina sound’ is instantly recognisable yet hard to categorise.

The fact that so many of their tracks are tie-ins to films and TV shows does carry an associated burden if you want to appreciate them on their own: the first LP, Seventh Heaven, is and always will be the Kara no Kyoukai vocal album to me but Red Moon follows a mere year behind with more album-only numbers in comparison. While it doesn’t quite scale the heights of, say, Oblivious or Aria, it’s still Kalafina. And these three girls can still sure as hell sing.

The title track is a bold, dramatic opening statement (its title sounds like a Tsukihime remake or something…now there’s a thought! ^_^) that ably introduces the unique blend of opera, film score-sized orchestral arrangements and guitar/synth-driven pop. 光の旋律 (Hikari no Senritsu), the opening theme for Sora no Woto, taps into their more jovial and folk-influenced side; it brings the voices of the three vocalists up clearer in the mix with the electric guitars low in volume and a buoyant flute keeping the tempo brisk and bright.

テトテトメトメ (Te to Te to Me to Me) carries on the folk feel but also has a very Middle Eastern/Asian dance atmosphere with up-tempo percussion and swaying strings; the distinctive twang of a sitar is joined by a jangling guitar to give the most geographically-evocative track on the album. It’s unusual even by Kalafina’s standards and prevents the tracklisting getting stuck too deep in its (albeit elegantly beautiful) groove. Fantasia is one of their pulsating electropop tunes that uses the soaring operatic vocals to give more brooding verses in between the upbeat, dance-y refrains. The ‘gothic’ aspect of the songwriting gives a more intriguing and darker edge to what would otherwise be more conventional electronic Jpop; I find it to be a perfect accompaniment to a long nighttime drive.

Perhaps intentionally 春は黄金の夢の中 (Haru Wo Kagane no Yume no Naka) could not be more different: the instrumentation is sparse with piano and restrained background strings taking back seat to the vocals. The fan appeal is no doubt aimed at Wakana, Keiko and Hikaru and the way in which their differing ranges and timbres harmonise together: with such a slow and introspective feel this is a good example. I even get the impression that their pitch control and performance as an ensemble have improved since their last record.

Kyrie takes things back into the insistent electronica territory but despite being so familiar with how this aspect of the group sounds, it’s one of the more effective: the drum loop sets the pace and the vocal acrobatics of this one never fail to move me. Amongst the throb of synthesised percussion and squeal of guitars there’s that angelic, reverb-drenched choral sound that reaches out and winds the tension and feeling to…um, excessive critical hyperbole. It’s another good ‘un for keeping you alert on those long dark evenings.

闇の唄 (Yami no Uta) feels like the dramatic cinematic score style that brought the group into being – the orchestral instrumentation evokes images of enormous opulent ballrooms, star-crossed romance, Shakespearean tragedy…it’s truly epic and wonderfully atmospheric, which is what draws me to Kalafina: their style is both old and new, emotive yet hard to place; a heady concoction. 星の謡 (Hoshi no Uta) keeps up the continuing shift in mood between tracks: the flute and percussion is this time decidedly Oriental in nature and the pace picks up again.

Storia is one of my recent favourites of theirs, and was written for Rekishi Hiwa Historia, an NHK TV show I believe. Perhaps because I’ve never watched it I can appreciate this on its own – the vocal parts pretty much carry the whole song. intermezzo, as its name suggests, forms an intermission between this and the song that follows. I can’t say much about it because it’s a fairly short piece but I like the restful feel; it’s a lullaby with a sweet “kiss me” sung in clear English at the coda. Aww~.

Progressive was originally a stand-alone single and, after at least two of their dance-orientated tunes already on the album, its impact as an individual number is lessened. It’s not a sub-par example of Kalafina in electro mode, mind: the violin and guitar, panned across the two speakers with drum loops and the three girls’ choral chant tearing through the centre soundstage, liven it up but despite its energetic rock vibe I can’t call it the best when it’s in such fine company. They’re setting themselves high standards more than anything.

My only criticism of Seventh Heaven was “b-b-but…what about Lacrimosa?” Well, here it is: the full version of the Kuroshitsuji (Black Butler) opening theme in its full violin-tinged, operatic grandeur. I can’t remember if the choral chant just before the final chorus made it onto the TV edit (I only watched a few episodes, I’m afraid) so in case you missed out then, enjoy it here and turn it up. It’s one that begs to be played loud because the harmonising of the three vocalists is at its most powerful here.

I have a dream is I think intended for the upcoming Eve no Jikan (Time of Eve) movie but doesn’t have much in common with what I’ve come to associate with the group’s recordings so far: the guitar- and piano-driven sound is this time in a more mainstream ‘movie theme tune’ vein with only the vocals giving the game away. The flute enters partway through but beyond merely saying I like it, I’m still not yet completely won over. Perhaps it’s best enjoyed as part of the production it’s written for (complete with Manly Tears of admiration on my part as the ending credits roll, I expect) but on its own it feels like a low-key ending to the record given the gamut of emotions and moods that precede it. Seventh Heaven worked better as a ballad-style closing track, but then I would say that, wouldn’t I?

Overall my concerns over Kalafina releasing another album after only a year were allayed by the fact that Red Moon delivers both more of the same – which is no bad thing really – but offers a few refreshing departures from the usual mix of electronica, symphonic pop and the range of other disparate influences that fans have become familiar with. I have to be mindful of the fact that it hasn’t had nearly as long to grow on me as the standout moments of Seventh Heaven did, and there is of course the association with the superlative Kara no Kyoukai to take into account there too.

Kalafina are very different from any other contemporary music I’ve yet heard and both their music and their distinctive gothic lolita on-stage image set them apart. The appeal then is their ability to take the listener into a world all unto itself but this does create a sensation of over-familiarity within this discrete world of theirs; it doesn’t become samey or wearing but the very intensity of the experience means that I find myself being critical of their less-than-outstanding songs, which are of course outstanding by the standards of rival artists.

As a record then it’s eclectic, atmospheric and really quite beautiful. As a Kalafina album it’s merely more of that eclectic, atmospheric beauty and even if it doesn’t stand up to the heights of the first album it’s still worth every minute. The limited edition is selling fast – at the time of writing CDJapan are already out of stock so I’m glad I grabbed my copy when I did. That’s one for the completists but it features a photo booklet, (non-subtitled) interview and tour footage of their Boston visit and live videos of four of the tracks from the main disc to make it worth our while.

Track listing

1. red moon
2. 光の旋律 (Melody of Light)
3. テトテトメトメ (Hand in Hand and Eye to Eye)
4. fantasia
5. 春は黄金の夢の中 (Spring Is In a Golden Dream)
6. Kyrie
7. 闇の唄 (Song of Darkness)
8. 星の謡 (Chant of the Stars)
9. storia
10. intermezzo
11. progressive
12. Lacrimosa
13. I have a dream

Bonus DVD (Limited Ed. only)

1. Lacrimosa @ Shibuya O-East
2. storia @ Shibuya O-East
3. progressive @ Yokohama Blitz
4. 光の旋律 @ Yokohama Blitz
5. Kalafina Note ~5 Days in Boston~