> Haha, your dislike of 'Surrogate Jiji' is practically a running joke at this point. For what it's worth, I've always found that track charming.

My opinion of it as music hasn't changed - but after finally seeing the film a few weeks ago I became more forgiving of its impact on the score. It almost seems as if it was a challenge to write the silliest piece of source music possible.

Seeing the film opened up some other interesting insights about how Hisaishi approached the film, namely how the more electronic pieces tend to be for sequences involving Tombo and other aspects of modernity (the bike, the car, and such). There's an early scene where Kiki flies that at first seems oddly supported by electronics, but then you realize that Hisaishi isn't as much scoring her flight as he is scoring Tombo's amazement at seeing Kiki soar above the town.