anime soundtrack | Through the Shattered Lens

“Information High,” by Yoko Kanno for Macross Plus, is a track that’s as electrifying as it is fitting for the anime’s sleek, futuristic vibe. From the moment it kicks in, you get caught up in its propulsive beat and layered electronic sounds that perfectly capture the sense of speed and technological buzz that define the series. It doesn’t just sit in the background but actively drives the energy forward, mirroring the fast-paced aerial dogfights and the intense emotions swirling underneath the sci-fi setting. There’s a hypnotic quality to it — like the perfect soundtrack for a world where human experience and digital overload collide.

What really strikes about “Information High” is how it balances mechanical precision with a playful, almost funky undertone. It’s not simply cold or robotic; Kanno brings in just enough warmth and groove to humanize the electronic pulse, making the song feel alive and vibrant rather than sterile. This duality works beautifully with Macross Plus’s themes—characters caught between their human desires and the artificial worlds they navigate. The track feels like a bridge between those realities, capturing both the exhilaration and the subtle unease of living in an over-connected, data-saturated future.

Beyond its role as a background piece, “Information High” stands on its own as a distinctive expression of Kanno’s genius. It’s got that catchy, infectious energy that sticks with you, yet never feels repetitive or shallow. It’s clear that Kanno tailored this song to complement not just the visuals but the emotional currents of the show, subtly enhancing moments without overpowering them. For anyone familiar with Kanno’s work, this track is a perfect example of her skill in blending genres and moods into a cohesive whole that elevates the experience of the anime itself.

Information High

You know how to get eternal life
In the center of the lightning-speed waltz
Feel your soul cut by a rusty knife
As you head down for the self-destructive edge

Our satori is just floating in the core
Where we can spiritually go through the door
We’ll know how to get eternal life
While we catch the pulse from unknown satellites

If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we are really free
To fly high
In space

We know how to get eternal high
In the center of the lightning-speed waltz
See our soul struggling to survive
As we head down for the self-destructive edge

Sayonara to intrusive noise
No more childish play and no more toys
We know how to get eternal life
While we feel and sense mother nature’s strong might

If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we’ll feel the info high
If we get the transient facts
Then we are really free
To fly high
In space

I must admit that in 2012 I didn’t get to listen in full many new albums outside of soundtracks. My Fave five of 2012 Songs will reflect this fact, but still with the lack of variety in my past year’s listening habit I thought the songs I came up with for the list I still would’ve put on a much bigger favorite 2012 list if I had need to come up with one. Without further ado he are the Fave Five (though it’s more Fave Six but I decided to combine the first entry’s two as a tie).

The Fave Five starts off with a tie that comes from the same film. Both songs come from the soundtrack to The Hobbit: An Unexpected Journey. While the film may not have been up to some audiences’ high expectations the soundtrack itself by Howard Shore (and for “Song of the Lonely Mountain” as sung by Neill Finn) continued the high-quality of the Tolkien soundtracks which began with the original Lord of the Rings trilogy. “Song of the Lonely Mountain” is a much more folk rock addition to the soundtrack while the “Misty Mountains” was actually part of the film itself when the character of Thorin Oakenshield sings it with his band of dwarfs while at Bilbo Baggin’s hobbit hole in the beginning. Both songs so a great job of telling the story of the quest that begins with this first film in the new trilogy.
The theme song 2012’s Skyfall was a throwback to the classic James Bond theme song’s of the Sean Connery and Roger Moore Bond eras. In fact, I thought it’s one of the best theme songs the long-running spy thriller franchise has had these past 25 years. It helps that you have Adele singing the theme who seems to be able to hit the right proper emotional notes during the song. It’s really hard to think of Skyfall the film being as good as it is without making sure one mentions Adele’s theme for it. I’d take the leap and say that the song itself may even be better than the film itself.
Mass Effect 3 was the epic conclusion to what was this gaming generation’s version of the original Star Wars space opera. It was a story that spanned the galaxy with memorable characters, thrilling action and some very good writing. There will always be the vocal minority who seem to think the ending to the trilogy was bungled by the writers over ta BioWare. That’s a whole different debate altogether. One thing that doesn’t seem to bring out the pitchforks was Clint Mansell’s score work for the game and it all culminates with the song simply titled “An End, Once and For All” which in it’s extended version more than makes up for whatever deficiencies the ending it orchestrally-scored may have had.
Another game’s music makes itself to my Fave Five list and this time it’s my second favorite song for the year of 2012. It’s from Halo 4 and it’s a song that brought new life to the venerable franchise. It didn’t just make the end credits more than just memorable, but also surprised many fans of the franchise’s music since the song wasn’t composed by the franchise’s original music composer, Martin O’Donnell, but by Kazuma Jinnouchi. It’s the one song in 2012 that I must’ve listened to on repeat for hours on end and probably in the high hundreds by now. It’s a song that brings back memories of the scifi soundtracks of the 80’s. It’s a work that I easily can compare to the best that’s ever been composed by luminaries in the genre like John Williams, Alan Silvestri, Michael Giacchino and others.
What can I say. The song speaks for itself. How can one not say this was the best song for 2012.