It unfortunately lacks a bit of depth and particular oomph, one which is found moreso in the similarly styled "Dumb," thanks to its early MIDI style drums and what I can only describe as pinpricks of noise, that seem randomly placed, but just sensibly enough to detect the hand of a skilled composer behind them. "Return to Ashes" is faux serious, establishing itself as a rollicking ride with slightly over the top instrumentation and melody. The xylophone in "A Couple of Idiots" quickly establishes the piece's silly tone, which might get grating quickly considering the piece's short length and jumpiness. "Like the Wind" is fun and peppy, with an enjoyable beat, and surprisingly complex melody. Similar to Togoshi, most of Shinji Orito's works on the first disc are of a lighthearted variety. A bagpipe is introduced for a short enjoyable instrumental interlude, oddly reminiscent of Gust's works. Togoshi also composed an ending theme, "-Two Shadows-." The piece is rather happy, though not peppy, featuring a lush, rich sound, helped by singer riya's vocals. The dongs of the bell seem to herald an unfortunate event, and are perfectly times with the sadder change in tone. Togoshi composed "Summertime" in a similar style, yet the sadness in this piece is far more explicit. The piece develops quite nicely during its extended playtime. "Shining in the Sky" is another hopeful yet sad composition, this one more orchestral in nature. This piece is one of the few to not loop, and features a fine ending on piano. The synth-heavy "TOE" is hopeful, yet tinges of sadness can be heard. The soothing guitar placates the somewhat sharp synth, forming a balanced, gentle piece. "Existence" starts a trend of sadder, more emotional pieces by the composer. "Hurry, Starfish" is similarly silly at its outset, and rather uninteresting overall, until the melody becomes richer about a minute in, at which point Togoshi plays with key and instrumental changes, creating a piece that, just like the preceding, is balanced perfectly well between childishness and complexity. The choice of instrumentation makes an otherwise mature composition sound childish, though not in a negative way.
Togoshi returns to more traditional musical styles for "Étude pour les petites supercordes," a silly piece utilizing strings, a triangle, recorder and accordion in a classical vein. While it isn't inherently interesting, the elements work, and the melody, though slow and drawn out, begins to take focus. "Illusions," Togoshi's oddest theme on the album, utilizes rather curious synth and the sound of crickets to create an austere soundscape. It's enjoyable, but its unassuming nature and relative lack of development makes it a bit tedious to listen to. "Country Lane" is quite laidback, using an amusing guitar motif repeated to introduce the piece, which then segues nicely into the melody proper. Some enjoyable key changes are present as well, making for a listen that always keeps one's attention rapt. Appropriate for a bishoujo game, "Her Determination" has a bit of a spunky atmosphere to it thanks to the breathy synth and electric guitar. What it lacks in complexity or length it makes up for in raw emotion, serving as a fitting introduction.
Magome Togoshi opens the soundtrack with "Ushio," a gentle piano solo. How does the soundtrack stack up on its own merits? Body The music featured here was originally written for the game, but most pieces made their way to the anime too.
CLANNAD MOVIE SOUNDTRACK DOWNLOAD PLUS
The work also featured Key's largest soundtrack till Rewrite, with three major composers writing for two discs of music, plus a third mostly bonus disc. Released to an awaiting audience in 2004, this was their first release to proudly sport an all-ages label and also inspired an anime adaptation. Visual novel company Key's third major title, Clannad, was both a commercial and critical success.
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