Japanese composer Yuki Kajiura founded the wonderful music group Kalafina in 2007 when she recruited Keiko Kubota and Wakana Otaki (both previously from another project called FictionJunction) to perform the theme songs for the Animé adaptation series of a novel called "Kara No Kyoukai" (translated in English as "The Garden Of Sinners"). One might wonder what the group's name, "Kalafina", signifies but Yuki has stated in interviews that there is no actual meaning behind it. According to her, it is simply a self-invented term derived from "the image of the music". Anyway, it was in January of 2008 Kalafina when released their first single, "Oblivious". The lead track became an instant hit in Japan as it made its way into the top 10 rankings (position #8 to be exact) of the Oricon music charts. A short EP titled "Re/Oblivious" (which contained remixes of the aforementioned single and other newer material) was released three months later in April. Sony Music Entertainment and the composer then decided to hold an auditioning contest in an effort to discover more potential talent for Kalafina. Among the thirty thousand participants, the ones selected to join the group were Hikaru Masai and Maya Toyoshima. The "Sprinter/Aria" single was recorded around July with these two new members. However, Maya soon dropped out of the group for reasons not really clarified (some rumors speculate that it was because she was forced by her parents to stay in school and finish her education). The group then went from being a foursome to a trio. In December of the same year, Kalafina put out the "Fairytale" single. According to Yuki, it took quite awhile to produce the first, full-length studio album, but "Seventh Heaven" was finally released in March 2009 (alongside the single of "Lacrimosa"). At sixty-six minutes in length with fourteen tracks, this album is a dazzling, eclectic fusion of genres and styles (a sonic melting pot, if you will). Kalafina graciously blends J-Pop with Classical, Electronic, Rock and Folk music. All of this diversity helps to keep "Seventh Heaven" fresh and exciting. The three charismatic singers are also integral to the music. The eldest member, Keiko Kutoba, sings alto and has a low, sultry voice that doesn't seem to be very common for J-Pop. Wakana Otaki sings soprano. Her voice is a beautiful and soulful one (Wakana certainly has one of the best voices that I've heard from Japan). Hikaru Masai sings mezzo-soprano and is the youngest of the three. She is the one who has the highest-pitched, most saccharine voice (which is actually similar to that of Yuuka Nanri, Kaori Mochida and especially Shizuka Kudo). Even though Maya Toyoshima doesn't appear much on this album, she should probably still be mentioned. Her voice is lovely as well, and it's a shame she couldn't stick around. Yuki Kajiura may be the one who controls the direction of the music, but no vocalist here is limited or constricted to particular roles: Keiko, Wakana and Hikaru all take turns singing leads and choruses on the compositions. The three members have stated that there is always a "good tension" and a "mixture feeling of fun and nervousness" when working with the composer. Concerning the production of "Seventh Heaven", it's crystal-clear and pristine (just the way it should be on albums such as this). As for the lyrics, they are primarily written and sung in Kalafina's native language of Japanese, with some minimal, occasional lines sung in English (also "Kajiurago", which supposedly are words and phrases that have no meaning, just made up by Yuki herself). While I currently do not understand Japanese, I don't feel as if I really need to, as I have always believed that music has the amazing ability to transcend language barriers. Even if one cannot understand what is being sung, the passion, emotion and melody of the compositions can still be felt and cherished (but I must say that I was fortunate enough to discover some English translations of the songs. If those translations were accurate, and I believe they were, then the lyrics are quite poetic and interesting). "Seventh Heaven" begins with "Overture", an ethereal prelude that features harpsichord, disembodied female vocalizations and subtly mesmerizing soundscapes (which conjure thoughts of being by an ocean on a lonesome night, gazing at the bright stars or moon while listening to the waves as they gently collide against the damp shore). This may only be an introduction to the album, but it is just so beautiful and pleasant (yet somber and haunting also). The dramatic Techno-fashioned single, "Oblivious", became Kalafina's first hit when it was released back in early 2008 (as previously mentioned). It is not difficult to understand why. The pulsing beats, electric guitar, nocturnal atmosphere and Wakana Otaki's sorrowful, soulful voice are what makes "Oblivious" such a fabulous song. This is also known as the theme from "Kara No Kyoukai: Fukan Fukei". According to Yuki, all of the themes on this album are inspired from the original novel, so there is definitely a story behind each one. However, you do not really need to be familiar with this novel or the Animé in order to enjoy the music, as it is truly able to stand alone all by itself. "Love Come Down" has a closer affinity to Eurobeat music. The kaleidoscopic synthesizers and the gratuitous amount of BPM give it a charismatic and highly danceable quality. Upon the beginning, "Love Come Down" sounds like a generic, fruity Pop tune (one that at times reminds me of cherries and strawberries or pink, red and purple colors, for some reason. Perhaps it's my synesthesia acting up?), but that changes when the Middle Eastern-tinged harmonies flourish. As a result, it develops into something much more "exotic" (a concise but intense guitar solo is also featured). A picturesque image of a lush, peaceful forest (or some other oasis that one retreats to when the hustle and bustle of life in the city becomes too exhausting) comes to mind whenever I listen to "Natsu No Ringo (Summer Apples)". The musical harvest it brings in is indulging. Tropical music elements such as the congo-styled polyrhythmic percussion are featured. Folk influences are notable as well with the serene flute and acoustic guitar. Just a lovely Folk Pop song perfect for a bright spring day or tranquil, summer night. Yuki has stated before that with Kalafina's music she puts a lot of focus in expressing the "world-view" of the songs. In other words, there is always a picture in her head for each song, and she attempts to reflect that image unto her music. I believe she succeeds, as most of the music on "Seventh Heaven" tends to stimulate my imagination quite a bit. On the dreamy, crystalline ballad of "Fairytale" [Theme from "Kara No Kyoukai: Boukyaku Rokuon"], Kalafina leads us to a realm where the atmosphere is magical yet mournful. Thoughts of Christmas or a "Winter Wonderland" seem to be common occurrences of mine when listening to it. This may be attributed to the ambience/sound effects of tinkling bells and glittering chimes, as well as the xylophon-esque keys (the music video for this song features some grandfather clocks, so it most likely has to do with the matter of time). Wakana and Keiko both perform the vocals here. "Aria" [Theme from "Kara No Kyoukai: Garan No Dou"] was the very first track that was recorded with Hikaru Masai (according to her, this experience made her very nervous, being the shy person that she is). While it might sound a little bit familiar to "Fairytale" at first, it is quite different. "Aria" commences as a futuristic, lullaby-style ballad featuring the sweet, youthful voice of Hikaru. Around the two-minute mark, it becomes invigorated with a passage of tribalistic percussion and funky bass grooves. "Mata Kaze Ga Tsuyoku Natta (The Wind Became Strong Again)" receives the accolade of being the hardest track on "Seventh Heaven". This is an explosive rocker that flirts with Symphonic Metal (it has a "metallic" edge, although vague). The buzzsaw guitar is aggressive and the drums pounce on and on throughout its duration. The semi-operatic chorus here happens to be one of the most memorable parts. Early in her adolescence, Yuki was exposed to Classical music by her parents. Since an early age, she has also played the piano. "Kizuato (Scar)" [Theme from "Kara No Kyoukai: Tsukaku Zanryu"], a sophisticated composition featuring elegant piano, fanciful violins and cello (as well as an endearing duet between Wakana and Keiko Kubota), serves as a reflection of this. Arabian music influences and a sitar are utilized on the exotic and worldly "Serenato". Wakana once stated that it took a long time to properly record this track as she got very emotionally connected to it on account of the lyrical content. While "Serenato" is surely satisfactory, it might still just be one of the weaker tracks on "Seventh Heaven". "Ongaku (Music)" is the personal favorite of Keiko, and it sounds a lot like EDM or light Industrial Rock. Some elements like the hyperactive drum machine and the electric guitar do happen to remind me of Electro-Industrial groups like KMFDM. I could imagine hearing this energetic track playing at some nightclub in Tokyo (it might also be suitable for listening to while driving through a neon sign-laced city at night). Another highlight is the melodic guitar solo present in the middle, which almost sounds like it was stripped from a Queensrÿche album (specifically "Operation: Mindcrime" or "Empire". That may seem like a strange comparison, but I feel it applies here). "Ashita No Keshiki (The Scenery Of Tomorrow)" possesses a bright, majestic aura of enchantment, coupled with acoustic strumming, marching band-style drum snares and flute. "Sprinter" [Theme from "Kara No Kyoukai: Mujun Rasen"] is a breathtaking Alternative Rock song, one that harnesses together both elegance and power. The vocal arrangements are impressive and well-coordinated, with Hikaru, Maya, Wakana and Keiko all singing in mellifluous harmony. This was actually one of the few songs to feature Maya (the fourth original member). Overall, "Sprinter" is an absolute personal favorite of mine, and I would rank it as one of the greatest tracks on "Seventh Heaven". The ballad, "Kimi Ga Hikari Ni Kaete Iku (You Change It Into Light)" [Theme from "Kara No Kyoukai: Satsujin Kosatsu"], comes across as heartfelt and lachrymose. One complaint that some might make towards this album is that it has too many ballads. While it does have about four to five ballads, I personally don't view this as a problem since Yuki composes some tremendous ballads and Kalafina usually always does spectacular work in singing them. "Seventh Heaven" [Theme from "Kara No Kyoukai: Satsujin Kosatsu Part 2"] descends next along with its celestial pulchritude. Keiko, Hikaru and Wakana all give an outstanding performance on this last composition. Their angelic vocalizations and the sorrowful melodies of the orchestral instruments (harpsichord, piano, violin and cello) are genuinely touching. By the time that "Seventh Heaven" finishes it occasionally leaves me feeling a bit saddened, as it tends to remind me that even the most beautiful things in this existence must come to an end. Wrapping things up, Pop music hadn't generally ever been of too much interest to me in the past, but Kalafina definitely managed to win my affection. This group also encouraged me to open my mind up more to this genre and to further explore it (and for that, I am grateful). Ultimately, Kalafina's "Seventh Heaven" is a cherished musical jewel, one that is more than worthy of being crowned a J-Pop masterpiece.