GATCHAMAN CROWDS ORIGINAL SOUNDTRACK

VPCG-84945 | GATCHAMAN CROWDS ORIGINAL SOUNDTRACK – VGMdb (http://vgmdb.net/album/39964)
(http://s455.photobucket.com/user/leatherhead93/media/BookletFront_zpse3a094dc.jpg.html)
Title: GATCHAMAN CROWDS ORIGINAL SOUNDTRACK
Type OST: Anime Soundtrack
Composers: Taku Iwasaki, Yutaka Shinya, WHITE ASH
No. of tracks: 24
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Aug 28, 2013
Size: MP3 194mb/ ALAC 497mb
Host: Mega/MP3 Mega/ALAC

Tracklist
01 Gotchaman ~ In the name of Love
02 The core of Soul
03 Milestone
04 Firebird
05 Tutu
06 Pandaman
07 Music goes on
08 Phenex
09 Un beau l�opard violet
10 Gatchadance
11 Galax
12 The bird can’t fly
13 Are you Gatchaman?
14 Destruction by rumor
15 Why I kissed him?
16 Fat guitar
17 Ziel der Hydra
18 Sacrifice
19 Crowds
20 Unbeatable Network
21 Love
22 INNOCENT NOTE
23 Crowds (TV size)
24 INNOCENT NOTE (TV size)

320 kbs MP3
https://mega.nz/#!SIphiDSa!cCjArFzwelTeJYSzPkpDY06DhbxFbG1BmpwsGncLVqI

ALAC (Loseless)
https://mega.nz/#!TQZRGISJ!b0lHUAE4eaMGvcyL6c4aUCD5sScA-HAuBiDohO5Km1c

Scans are included as always. Sorry about this upload being late. Labor day weekend delayed my shipment sadly http://i455.photobucket.com/albums/qq271/leatherhead93/kucing_hiks_zps430d7f89.gif (http://s455.photobucket.com/user/leatherhead93/media/kucing_hiks_zps430d7f89.gif.html)
Enjoy http://i455.photobucket.com/albums/qq271/leatherhead93/kucing_kagum_zps89401d1f.gif (http://s455.photobucket.com/user/leatherhead93/media/kucing_kagum_zps89401d1f.gif.html)

Here you can follow my future purchases
Thread 126390

M4A ALAC rules! 😉
All lossless uploads are welcome.

Thanks a lot.

Thank you.

The soundtrack was way better then I thought. Taku Iwasaki bitch here talkin. XD I have yet to see a soundtrack where he makes be have a boring time.

Yeah i figured i wouldn’t like it either considering there is dubstep littered all across the ost. But Taku managed to find a way to make it work with great orchestral tunes mixed in-between the abundance of electronic noise. Considering i don’t listen to all that much american music (which abuses the hell out of dubstep) this concept was very refreshing and one of the more unique osts i’ve heard in a while. Only thing i’m disapointed by was the number of tracks (only 22 not counting the op and ed but that’s normal for most of Taku’s scores).

Glad I dont live in America. IN music speaking, they always ABUSE in any music sound because it makes money like crazy ass printer. Comercial american pop music. Worst music you can ever listen.
Keep in mind, that Taku Iwasaki is very experimental. He is always experimenting new stuff, mixing music styles, blend different styles, same times like if he wants to make a newborn style. But he does it in very wonderful way. He does have a touch on it.

I am very pleased with this soundtrack, it felt fresh, something I’ve never heard before. Amazing soundtrack!

Taku Iwasaki’s infatuation with dubstep continues. Huh.

That being said he does use it very well and it integrates into the electronic noise well. We also get some pure orchestral stuff out of it too.

Having not seen much of the show, I was really only here for GATCHAMAAaaAAAaaAAAaaAAAN, but I was pleasantly surprised by this one, too. It’s a little light on theme for my tastes, and it has patches of filler around the middle portion of the disc- common occurrences when Iwasaki works on shorter series. But I actually dig the electronica-heavy portions of the soundtrack way more than the more traditional orchestral fare.

I mean, it’s evident Iwasaki is still trying new things even there. "Why I Kissed Him?" is strikingly Romantic with its keening, overdramtic violin melody, and you’ve got the trademark endcap with "Love"’s tender, sprawling, Hermann-esque lullaby, but a lot of the rest feels like repeated ideas. "Un Beau Leopard Violet" sounds like everything he does with Yuri Kasahara. "The Bird Can’t Fly" hits every Sad Moment Before Strengthening Resolve Scene in movie flicks cliche’ exactly.

Turns out all the best stuff’s crowded in there around the end. For as dubstep-heavy as it is, Ziel der Hydra’s probably even better than Libera me from Hell. There. I said it. The rap parts sounded cheap and thin, miles away from the beats he pumps now, and Kasahara always seemed to be at the wrong pitch or mixed badly or something. Hydra just feels a lot more focused and insane.

Then everything after is just smash after smash, all brimming with Iwasaki’s orchestral flavor and voice but layered, with expert precision, with great hooks and effects. He fuses contemporary styles and his affinity with the orchestra to marvelous effect to create this brilliant slice of electroconcertfunk that I really wish he had more room to run with on this project. Maybe we’ll get more on the next one. 🙂

You are both right.
I like dubstep, but at first I was not really … trusted on that style for an anime soundtrack. Taku proved me wrong.
I must say teh best of this year are really Taku releases. Though that Mao Yusha music by Takeshi Hama, was wonderfull too.

Having not seen much of the show, I was really only here for GATCHAMAAaaAAAaaAAAaaAAAN, but I was pleasantly surprised by this one, too. It’s a little light on theme for my tastes, and it has patches of filler around the middle portion of the disc- common occurrences when Iwasaki works on shorter series. But I actually dig the electronica-heavy portions of the soundtrack way more than the more traditional orchestral fare.

I mean, it’s evident Iwasaki is still trying new things even there. "Why I Kissed Him?" is strikingly Romantic with its keening, overdramtic violin melody, and you’ve got the trademark endcap with "Love"’s tender, sprawling, Hermann-esque lullaby, but a lot of the rest feels like repeated ideas. "Un Beau Leopard Violet" sounds like everything he does with Yuri Kasahara. "The Bird Can’t Fly" hits every Sad Moment Before Strengthening Resolve Scene in movie flicks cliche’ exactly.

Turns out all the best stuff’s crowded in there around the end. For as dubstep-heavy as it is, Ziel der Hydra’s probably even better than Libera me from Hell. There. I said it. The rap parts sounded cheap and thin, miles away from the beats he pumps now, and Kasahara always seemed to be at the wrong pitch or mixed badly or something. Hydra just feels a lot more focused and insane.

Then everything after is just smash after smash, all brimming with Iwasaki’s orchestral flavor and voice but layered, with expert precision, with great hooks and effects. He fuses contemporary styles and his affinity with the orchestra to marvelous effect to create this brilliant slice of electroconcertfunk that I really wish he had more room to run with on this project. Maybe we’ll get more on the next one. 🙂

I hope Iwasaki never stops experimenting. His desire to always try new things is part of what makes his scores so interesting to listen to. Yeah, he has a set "orchestral" style which he’s always had since 1999’s Now and Then, Here and There, and his work has always been light on "theme" since R.O.D. the TV. But he’s always trying out new genres and new techniques and seeing what he can do.

One evolution of Iwasaki’s I find interesting from his modern work is his "H.W. Complex" scores, he made six of them, starting with two entries in [C] and ending with "The First Step to Free from Complex" in Jormungand: Perfect Order. They are all action scores and seem to be Iwasaki’s interpretation of Hollywood-style action tracks, each covering a different facet of Hollywood-esque action scores, but they all have that quirky Iwasaki touch to him, they all match his voice. "H.W. Complex no. 3" (from Jormungand), for example, uses a heavy amount of electric guitar deployed in a heavy, distorted fashion much like the way Hans Zimmer typically employs the guitar. The last track of the series, "The First Step to Free from Complex", is also the start of Iwasaki’s infatuation with dubstep, which I guess is his way of "freeing" himself from the Hollywood-esque tracks.

The dubstep influence in the "First Step" track is very basic and generic dubstep, with the drops and wub-wubs that are ubiquitous to the genre. However, Iwasaki shows a much greater skill with dubstep in Gatchaman: Crowds, showing how his experimentation has allowed him to become much more of a master of that kind of music, making it an essential part of the music he composes rather than just a noticeable facet. The crazy experimentation with dubstep in the Jojo’s Bizarre Adventure anime has allowed him to figure out how best to deploy and mix in dubstep in Gatchaman: Crowds, it’s very professional, with all kinds of crazy, creative beats. Also of note is the way Iwasaki’s been experimenting with Auto-Tune on this OST (which also began in Jojo). He’s not just Auto-tuning the vocals to sound cool like he did in Jojo. He’s using Auto-Tune as an instrument in its own right, altering wails and long notes to add a futuristic yet exotic touch to all tracks that feature the Auto-Tuned vocals (like "Music goes on").

This constant experimentation makes Iwasaki unpredictable and allows him to become a truly unique artist. Soon, Iwasaki will be done with dubstep because he’s decided he’s mastered it and will move onto something else. As you pointed out there’s a Romantic flavor to his orchestral work here. Perhaps he will be moving onto that next and experimenting with violin/viola solos.

Thank you very much!

i usually don’t approve of the dirty style stuff but is actually pretty good. i like the OST as a whole.

Apparently this anime was just greenlit for a second season so we can more than likely expect Taku to return and give us more awesome music for this series ^_^.

Thank you Sir

Thanks again, LeatherHead!

Thanks

Thank you.

This OST is awesome, thanks for sharing!

When I try to download it, it says the account was terminated so the file is no longer accessible. Could I bother you to reupload it?