Anime OST

tagStarted 1963Peak 1995–2019Last big hit still activeFrom Japan

Located in 1 route

Instrumental score composed expressly for Japanese animation, ranging across full symphonic writing, chamber strings, big-band jazz, ethnic percussion and electronics, usually recorded by Tokyo session orchestras and released as standalone OST albums that chart in their own right. The style leans on strong recurring leitmotifs tied to characters and worlds, emotionally maximal string crescendos, taiko and choral colour, and cues built to under-score dialogue while spiking hard at climactic beats. Production is album-minded from the start, with composers writing insert songs, image songs and score in a single sound-design world. Mood swings from elegiac lyricism to militaristic bombast, and the best scores are as recognisable as the shows themselves.

History

Purpose-written anime scoring dates to Osamu Tezuka's Astro Boy (1963) and the super-robot themes of the 1970s, but the modern OST matured when Joe Hisaishi began scoring Hayao Miyazaki's films from Nausicaä (1984), giving anime a symphonic prestige tradition. Through the 1990s Yoko Kanno (Macross Plus, Cowboy Bebop) and Shiro Sagisu (Neon Genesis Evangelion, 1995) expanded the palette into jazz, rock and electronica, while Kenji Kawai's choral Ghost in the Shell (1995) became internationally iconic. Yuki Kajiura's layered vocal-orchestral sound and Hiroyuki Sawano's hybrid bombast on Attack on Titan (2013) defined the streaming era, and labels such as Flying Dog, Aniplex and Lantis turned OST releases into a major market as global platforms carried the music worldwide.

Defining artists

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Essential listening

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Sources

  • Jonathan Clements, Anime: A History (British Film Institute, 2013)
  • Brian Ruh essays on anime music
  • liner notes to Cowboy Bebop and Attack on Titan OST releases