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translationandbetrayals · 3 years

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Junnosuke Miyamoto and the Evil Line of Music Production

What’s the role of a producer? The answer to this question might depend on the field we’re approaching or the scope of the work itself, but for the purpose of anime analysis, as in most forms of artistic media, we could broadly say a producer is the person in charge of making the connections and agreements required to keep a project ongoing. At first glance, the job of producer might not seem like the most interesting or creative role in artistic production, but I have a counterargument in the form of a name: Junnosuke Miyamoto. Never heard of him? Let’s see what the deal is with this man.

The cute Miyamoto

Junnosuke Miyamoto’s longtime relationship with anime production started in 2007, when he was working as an employee for the now defunct Starchild. Starchild was a sub label of the music firm King Records, one of the biggest in Japan. It was specifically made to produce anime and its soundtracks, contemplating both scores and associated music (such as OPs, EDs, insert songs, and even promotional or image songs). Though merely starting as an assistant producer, Miyamoto quickly rose in importance within Starchild, becoming one of the head producers until 2014, year in which he became head of the newly founded Evil Line Records sub label, another subdivision of King Records that we’ll address later.

During that time, Miyamoto cultivated a sort of authorship or artistic character, as the work he produced shared certain characteristics and differentiated itself from most of the anime music of those years. The truth is, Junnosuke Miyamoto brought total weirdos to the anime sphere, artists who nobody would’ve thought to pair with that market, and formed partnerships that not only brought a breath of fresh air to the scene, but matched perfectly the kind of works Starchild was producing. It was an era of experimentation within the anime industry, and anime music was getting a bit behind. Miyamoto broke that comfort zone.

We might start reviewing what was the first anime Miyamoto worked on. Sayonara Zetsubou Sensei, in which Miyamoto was assistant producer, is one of the first (of many) Shaft masterpieces, and the first example of the prolific relationship Miyamoto would have with the studio, followed by almost every collaboration between Starchild and Shaft until their partnership was dropped (we don’t know the details, but perhaps it was due to the success of Madoka and Monogatari Series, both produced by Sony’s Aniplex).

Zetsubou Sensei is relevant to Miyamoto’s career for a number of reasons. Namely, it was one of the first contacts made in anime between artists that would later become staples of Starchild and even Miyamoto’s own Evil Line. The first OP of the series, Hito Toshite Jiku ga Bureteiru, is easily one of the most memorable OPs in anime history to this date, both in its intriguing visuals directed by Shaft’s Tatsuya Oishi and the crazy song that accompanied them. Sung by an unexpected combination, the unit was composed by the already legendary rock and metal singer Kenji Ohtsuki, best known by his classic band Kinniku Shoujo Tai or King-Show, but also famous on his own; in addition to the female seiyuu of the series.

Bure bure bure bure

But this mixture of moe vocals and metal vocals wasn’t casual, as it had a precedent in one of the players at hand. Narasaki, composer and arranger of the song, was already known in the alternative music scene through his band Coaltar of the Deepers, which mixed shoegaze, metal, punk, electronic, and pop influences, often alternating between harsh and soft vocals. They were backed by Tokusatsu, a band formed by Ohtsuki (in vocals) and Narasaki (in guitar), as well as Arimatsu as drummer and King-Show’s Satoshi Mishiba as keyboardist. Tokusatsu would later become part of the Evil Line Records repertoire, and while this is outside the anime sphere, Miyamoto also produced the film Nuigulumar Z, based on a novel written by Ohtsuki and musicalized by Tokusatsu. And the title might also be related to a fixation with the letter Z in Miyamoto that we’ll discuss later.

Miyamoto would continue to work as an assistant producer in the 2nd season of Zetsubou Sensei, and, finally, in 2009, he was assigned main production roles for the 3rd season of the series. Both featured Kenji Ohtsuki and the Zetsubou girls with the Tokusatsu backing band as well, with the theme of the last season being Ringo Mogire Beam, a now classic OP. He repeated his role as a producer in 2011 for Katte ni Kaizou, another Shaft adaptation of Koji Kumeta, the author of Zetsubou Sensei. The OP, surprising nobody, was done by Tokusatsu, but this time it also featured the legendary anison singer Ichiro Mizuki, also known as Aniki (big bro). Mizuki sang many classic anime and tokusatsu OPs, including the original Mazinger Z theme. In that way, Miyamoto brought the nerdy spirits of Tokusatsu, Mizuki, Kumeta, and Shaft together. The OP animation, just like anything from Kumeta, is full of references to anime and tokusatsu, and the song even has a choir of children that’s reminiscent of the themes from the ‘70s and ‘60s.

It’s even cooler with Aniki

Other important works by Miyamoto during that era include Toradora, in which he directly worked as music manager, and A&R director (artists and repertoire, a job which mostly contemplates scouting and guidance of the artists). Toradora is characteristic for being the first show to be scored by Yukari Hashimoto, who would go on to have an amazing and prolific career in anime, including two works produced by Miyamoto. Hashimoto was already known as a composer and arranger of anime themes, such as the EDs for Shaft’s Tsukuyomi Moon Phase and Sayonara Zetsubou Sensei, but this brought her career to a different level, proving she was more than capable of handling an entire score by herself.

Toradora also features what are, in my (not so) humble opinion, some of the best, most memorable, and emotional themes in all of anime history. All four of the original songs that work as OP and ED for Toradora are each a masterpiece in their own right, so much that it almost feels like cheating to put all of them in the same show. That feeling right there is something you will often get if you check any of the anime Miyamoto produced. The Toradora OPs were composed by the veterans Kaoru Okubo (in the 1st) and Miki Fujisue (in the 2nd), but it’s perhaps the EDs that carry the most power themselves. They were each composed by one of the members of the duo Funta, forerunners of the denpa style, that also had its roots in some of the King-Show music. Take note of that denpa thing because we’ll return to that later. Orange might be my favorite of the 4, and that one was specifically also arranged by Hashimoto.

So sweet

In 2009, after Toradora ended, Miyamoto moved on to his next project, now consolidated as a lead producer in Starchild. Again in Shaft, it would be Natsu no Arashi!, an adaptation of the manga by Jin Kobayashi, also author of School Rumble. This time, he brought a band that had never been featured in anime before, and wouldn’t appear again either. As a sort of oddity within the anime song records, Omokage Lucky Hole’s Atashi Dake ni Kakete brought the funky fusion style of this alternative band to anime, in a song that while having a retro feel to it also predated the similarly styled Kaguya-sama’s themes by nearly a decade. Now part of this is lost in translation, but OLH is a band that’s characterized by their acid and sometimes vulgar lyrics, so it was quite brave of the production staff to even contact such a band for an anime tie-in, and we probably can thank Miyamoto for that. As a side note, the animation is again flexing the level of culture at Shaft by being entirely composed by references to classic Japanese cover arts.

This is not casual

Now there’s a link that we will discuss further as we advance through Miyamoto’s work, but it’s relevant to note there was another feature in Arashi’s OP, albeit minor. It’s the voice of Mariko Goto, who sings the chorus and even screams a little at the end of the song. And this right here is a connection that blew my mind, because when I found out about the credits I already knew about Goto. I knew her very well. Starting in the band Usagi, her career took a spike when she formed Midori in 2003. A very eclectic project, Midori fused punk, jazz, and some traces of metal to form a completely unique and original sound that became a success within the alternative scene, even inspiring other female fronted groups to come out with similar styles, such as 385 and Bokutachi no Iru Tokoro. After 7 intense years of playing, Midori disbanded in 2010, not without releasing a farewell album, a bit tamer than their usual style but reaching new levels of subtlety while also being quite emotional. In a way, the style of Shinsekai (their final album) would be an anticipation of the following steps in Mariko’s career: her first solo run. And we’ll let the rest in suspense, as her way would cross with Miyamoto’s again.

The second season of Natsu no Arashi! was also released in 2009, with Miyamoto returning as producer. It was quite the landmark, as that was the first time Etsuko Yakushimaru had a part in anime, performing the OP theme in what would be her debut single as a solo artist, Oyasumi Paradox. For those who don’t know Yakushimaru’s career, she first made a name out of herself as the lead vocalist in the band Soutaiseiriron, an amazing band in its own right, but the scope of her career is much wider: aside from her solo career and her band, she has recorded poetry readings and recitation, presented art installations, and even created her own original instruments, which she sometimes uses in her music. In 2017, her song “I’m Humanity” won the international STARTS Prize for Artistic Exploration between science and technology. It was the first song to be converted to DNA and reproduced through a microorganism, in a complete innovation for recorded media and music history. And it’s a freaking great song as well. I’m nuts for Etsuko and I’m not ashamed to admit my bias here. Since the first time I heard her music I immediately fell in love with her. But while Oyasumi Paradox is a good theme, it wasn’t personally my first.

An I’m Humanity exhibit

That moment would come with a later show, whose music coincidentally (or not) was produced by Miyamoto. I would argue it’s also a turning point in Miyamoto’s career, as it’s placed in between his initial Shaft years and the subsequent Evil Line era. It was also a point of reunion between some of the actors we’ve mentioned so far.

The anime is Mawaru Penguindrum. And I will disclose, it’s my favorite anime, though regardless of any bias I might have, I think the merits of its music speak for themselves. After all, it was precisely through the music of the show that I was initially captivated and brought to the side of the director Kunihiko Ikuhara, now an idol of mine. The score was composed by Yukari Hashimoto, who we already reviewed by her work in Toradora, and it’s here where, to my view, she steps up her act, going from being a good composer to becoming one of the best in the entire anime scene. In fact, her soundtrack in Penguindrum was so fitting that Ikuhara has continued to work with her since, with the scores to the follow ups Yuri Kuma Arashi and Sarazanmai being just as good. Her work in Sangatsu no Lion, one of the Shaft adaptations in the last decade, is also worth noting, even though that title bears no relationship to Miyamoto whatsoever, nor do the rest of Ikuhara works.

This was a one time occasion, but Miyamoto exploited it to the max, helping this become a landmark in anime production. Because the charm of the music wasn’t only on Hashimoto’s. The themes of the series are just as memorable and special, and perhaps even more. The two opening themes are both by Etsuko Yakushimaru, this time under the name of Etsuko Yakushimaru Orchestra. And it’s not an exaggeration, as an actual orchestra was recorded to accompany the magnificent Etsuko vocal performances, which in both OPs, Nornir and Boys, Come Back to Me, are just some of her best. And we can be sure Miyamoto had a hand on that, as he’s even credited in the CD as A&R director for King Records.

I get chills everytime

The ED, on the other hand, is handled by another character we’ve discussed before, Narasaki from Coaltar of the Deepers, who for the first and only time had his own band perform an anime theme. It was also special for the band, because for a long time it was the only song they released in years. Since their album Yukari Telepath in 2007, the band took a break from publishing with sporadic live shows, until returning in 2018 with their long anticipated Rabbit EP. The Penguindrum ED Dear Future, released in 2011, was the only recording of the band during that time. Just as in the OP single, Miyamoto held the role of A&R in representation of King Records, which specially published the band even though they were then signed to the independent label Music Mine (which has totally cool artists that you should check).

But that was not all of Penguindrum’s music. If you’re anywhere familiar with Ikuhara’s body of work you might be aware that Penguindrum was his first directed series in some time, more than a decade after finishing his latest, Shoujo Kakumei Utena. And one thing that characterized Utena was its music. It combined a traditional score by Shinkichi Mitsumune with fusion pieces of choral music for the duels, which featured a new theme in almost every episode. That part of the soundtrack was composed by J. A. Seazer, a renowned Japanese prog extraordinaire, who was part of the avant-garde and revolutionary counterculture of the ‘60s and ‘70s, and musicalized the films of the influential film and theatre director Shuji Terayama, a marked influence in Ikuhara himself.

So, what would replace the charge of Seazer? The shoes from Ikuhara’s latest work would prove hard to fill, but one solution was found. Perhaps not in such a revolutionary character, but adequate enough for the kind of work Penguindrum presented, and an update to modern styles of music. They resolved to provide cover versions of the rock band ARB, mostly popular during the ‘70s, ‘80s and ‘90s. The interesting part is that they would be rearranged by the composer Yukari Hashimoto, and sung by a seiyuu unit. The idea was to create a fictional group within the show, Double H (once being triple), that would sing the themes.

Himari on her Triple H outfit

Some of them were featured as insert songs, such as the unforgettable Rock Over Japan, that played over the transformation sequences in the Crystal World. But most of the songs were used as additional ED themes, each of them being assigned to a specific episode. This structure mimicked that of the duels in Utena and gave an extra element of engagement while maintaining the EDs fresh, also creating some of the most memorable moments in the show through the juxtaposition within the music and the scenes. I think of episodes such as 10, 15, 20, and 23 with special regard, and this is partly because of the way music is used to enhance them (I know for sure I will never forget the saa omoidashite…).

It has recently been confirmed that Penguindrum will indeed return for a cinematographic project, but it’s unlikely Miyamoto or Evil Line will participate. Ikuhara has stopped working with King Records in his last few projects, and he seems pretty comfortable with the group of people he’s working with since the creation of his own studio Lapin Track. Regardless of what happens, the mark Penguindrum left for both will never be erased. That project was the representation of a perfect time and space synchronicity, and we must be grateful it happened. Of course, here’s hoping for the best for the individual projects of the two of them, who gladly haven’t stopped, and still have lots to offer.

I don’t know how many of you are familiar with the concept of denpa. I mentioned it earlier in relation to Funta, which was one of the kickstarters of denpa music. However, denpa is more than a music genre. It’s perhaps better described as a social category, such as otaku or weirdo. It refers to the idea of paranoid and schizophrenic people imagining they’re being controlled by electromagnetic waves.

This notion was massified by the precedent of a murderer, Kawamata Gunji, who in 1981 killed 4 random bystanders, injuring many others. In court he claimed he was being controlled by electromagnetic waves during the murders. Curiously, Kinniku Shoujo Tai, the Kenji Ohtsuki band, made songs about the incident, and some assert those are some of the first examples of denpa music. In general, denpa is associated with mental illness, psychosis, a psychedelic state or just plain weird or strange behavior. It’s a word that, just like otaku, might have different connotations depending on who’s using it. During the 2000s, the wave of denpa music acts such as Funta, Under17 or Mosaic.wav associated denpa with otaku subculture, sometimes even separating it from its original psychotic meaning.

Denpa Onna to Seishun Otoko, a 2011 light novel adaptation by Shaft, is in the middle of both sides. On one hand, it displays the delusions of a teenage girl who claims that she’s an alien, isolating herself from the external world. On the other hand, it’s also pretty lighthearted, and in the end, the characters learn to integrate themselves to the world around them. It might be better described as a coming of age drama with romance and comedy elements.

The music, however, is pretty crazy, at the very least in its OP (The ED is by Etsuko, representing the softer side of the series and the moe in the protagonist Erio). I think it’s one of the OP songs that really broke the mold of what was supposed to play on television. And this is almost 100% due to the band behind it: Shinsei Kamattechan. Now they are popular worldwide thanks to the Youtube algorithm and their Shingeki no Kyojin themes, but back in 2011 they were still a new band that had just signed with a major label. They found unprecedented success however, and the songs from their debut EP quickly became standards of Japanese rock. It was around this time that they held a double concert with Midori, right in time before the disbandment. There was a serious craze about Kamattechan, very much so that their label, WMG, basically let them do what they wanted, putting out truly noisy and hysterical music to disc. And it worked fantastically. So it just made sense to feature them in anime. The song wasn’t performed by their main vocalist Noko, however, but it did feature the manic band that accompanied and Noko’s crazy compositions, along with his voice as chorus for the vocalist Asuka Ogame, the seiyuu that voices the main protagonist of the series. She sounds pretty crazy to be a professional seiyuu, so the loss of Noko isn’t that sad. Her high pitched voice fits the song and even adds to the feeling of it. For this recording, Miyamoto reprised the role of A&R.

It looks as good as it sounds

What follows might just be the weirdest I’ve encountered in anime music. It’s not bad at all, actually, it’s quite great, but I’m perplexed at how the producers allowed it. Perhaps, it’s due to the nature of the show itself, which ended up alienating a lot of viewers through its rather ugly style. I see it as an artistic choice, but it’s odd nonetheless. Anyway, the series is Aku no Hana, an adaptation of the manga by Shuzo Ozimi that was characterized by using rotoscoping, in a rather disturbing way (probably intentionally so). Miyamoto was again involved in music production, specifically the theme songs. Aku no Hana has four opening themes, all of them being backed by the band Uchuujin, that would become part of the Evil Line label for a brief period of time. They would dissolve in 2014, the same year the label was founded. A special thing about the OP themes is that each featured a different singer. The first one was Noko, the vocalist from Shinsei Kamattechan that we mentioned earlier. The second one was Mariko Goto, and this was significant. We already talked about her Midori career, and teased about her solo career. That career was started at Defstar, a Sony sublabel, but when Evil Line launched, she switched there. She didn’t last long, however, as she took a break from music in 2015 after her lack of success as a solo artist. She has since come back to music, but only through indie and self published imprints.

The third one is Shiho Nanba, a singer for which I honestly don’t know much about, other than the fact that she sang a Fairy Tail ED. She also performed in 18if, an anime project that didn’t have direct participation of Miyamoto, but was produced by Evil Line. The fourth OP was sung by the vocalist of Uchuujin. The Uchuujin songs are pretty original and unique for anime song standards, they might be melodic but there’s a feeling of borderline mania about to crack out, which is a pretty powerful effect. The EDs are much more overtly avant-garde. they’re seriously the most uncommon tracks I’ve heard as an OP or ED. The songs are not completely new, but rather reinterpretations of Hana, a song released in 2001 by the duo of experimental electronics Asa-Chang & Junray. It would be pointless to try to explain the experience of listening to it, it’s something you have to try for yourself. Even if you end up hating you’ll have to recognize the uniqueness of it.

Pretty haunting huh?

Dragon Crisis, released in 2010, is relevant for two reasons. First, the OP, sung by Yui Horie. Horie, a seiyuu and singer, was already a King Records star by the time Dragon Crisis came out. She had performed amazing themes such as the Love Hina Again OP, in my registered opinion even better than the first one, and the first School Rumble OP (remember the Arashi author?). In fact, Horie was one of the voices behind the already praised themes of Toradora, singing by herself the first ED and the second OP, and getting by herself pretty well. But while those songs were good, the Dragon Crisis OP was at another level, perhaps not necessarily in composition but definitely in arrangements and sophistication. It sounds experimental and artistic, even though it’s a commissioned work to tie in a voice actress with a theme song. That sort of innovation is always welcomed, and the explanation to this phenomena would be in the name of the composer: Ryuujin Kiyoshi, aided by King Record’s Go Takahashi.

I didn’t watch this

The authorship of Kiyoshi can be attributed to the fact it was his first participation in anime music, while Takahashi was a veteran and had a different, already established style. But this track was something unheard of even within King Records, which by that time was already somewhat more experimental and daring. And this would be confirmed by following participations of Kiyoshi in anime music, most of them being collaborations with Horie, who became sort of an art pop star through his help. The latest proof of this is in the recent Shaman King ED sung by Horie, and produced of course by Ryuujin. Even more than a decade after Immoralist, Kiyoshi’s style hasn’t grown stale, and he will hopefully continue exploring new territories along with Horie, as they definitely make a great duo. Another example of the pairing, a little older, and unrelated to Miyamoto whatsoever, but nonetheless outstanding, would be the 2nd Golden Time OP, one of the heaviest pop songs I’ve heard that never stops being pop, albeit a carefully crafted one. Hearing it makes me feel goosebumps to this day.

That was the OP. Now on the ED there runs a deeper relationship with Miyamoto that goes through his past and future work. On one hand, the ED, Mirai Bowl, is arranged by Miyamoto’s now longtime collaborator Narasaki, but on the other, perhaps more important side, it was performed by the idol group then known as Momoiro Clover (without the Z, we will soon get to that), which Miyamoto started producing that very year. As a part of the Momoiro Clover staff, he also participated as A&R in the recording of the Yosuga no Sora ED Pinky Jones, composed and arranged by Narasaki, though for whatever reason he wasn’t credited in the production of the anime.

Something for sure is that Momoiro Clover had weird music, more so for a group of idols, which are supposed to have a clean or safe sound. It’s also important to note this was before the success of groups such as Babymetal and BiS, so there wasn’t a clear alt-idol scene formed yet, at least within the mainstream and major labels. This was helped by the fact that they often collaborated with out there composers such as the all so mentioned Narasaki and also by Kenichi Maeyamada, also known as Hyadain and someone I hadn’t had the opportunity to address yet, as his collaboration with Miyamoto would increase in the following years. In fact, it was Hyadain who composed Mirai Bowl, alongside Tomotaka Osumi. The presence of so many people in only one song really makes itself feel, as the song constantly switches styles. But that instability isn’t an issue but rather a strength of Momoiro Clover as a group, who prove themselves gracefully managing the style changes.

Them on the Mirai Bowl times

However, with the departure of member Akari Hayami, Momoiro Clover would end. And by that, I mean the first formation of the group. It would reform with the remaining members with a different name. And this time, their name was suggested by none other than our own Junnosuke Miyamoto: Momoiro Clover Z. Perhaps in a remembrance of classic anime such as Dragon Ball Z, Gundam Z, and Mazinger Z, Miyamoto wasn’t mistaken by renaming the group. It gave Momoclo an edge that allowed them to grow even more, as they developed their distinct personality, inspired by tokusatsu and action shows. In fact, they would do a theme song for a Dragon Ball film, composed by would-you-guess-who (it starts with an N and it ends with arasaki...). This advancement of the Momoclo brand and Miyamoto’s growth in importance within the management of the group, further advanced him towards his own label and perhaps his most successful times.

In 2014, Junnosuke produced the music of the new Sailor Moon adaptation, Sailor Moon Crystal, which, of course, featured his star group Momoclo. In fact, this is technically the first Evil Line production, as the label had just been founded by the time Crystal’s 1st season was released. The OP theme, Moon Pride, was this time composed by Revo of Sound Horizon and mostly Linked Horizon fame. As a curiosity, it even featured the ex-Megadeth Marty Friedman on guitar. This was not the first collaboration between Marty and Momoclo, as he also provided guitars for the Mouretsu Pirates OP performed by them. But the flirtings between Momoclo and hard rock/metal don’t end there. They would also famously collaborate with Kiss, the union being immortalized by a great video animated by Trigger. And this is relevant to our assessment of Miyamoto’s career, as it was through him that the contact between Kiss and Momoclo was done. In fact, it was Kiss management that approached him, recognizing the similarities between Kiss’ and Momoclo’s staging.

The last work I’ll cover is where I originally thought of starting this post, as one of its themes has become insanely popular in the last months, so much that it surprises me as a longtime fan of it. And it’s from a series that I’ve teased for a while. Joshiraku, a manga written by, take note, the same Koji Kumeta of Sayonara Zetsubou Sensei and Katte ni Kaizou. The art of the manga, however, is not done by Kumeta, but Yasu. And who is that Yasu?, you might be wondering. It’s the illustrator and original character designer of the Toradora novels. So it all circles back yet again. But wait, there’s more. The so popular theme I’ve mentioned before is Nippon Egao Hyakkei, a song performed by none other than the already reformed Momoiro Clover Z, though this time they’re adopting the Momokurotei Ichimon moniker. It is also the work I’ve insisted so much on being retrospectively produced by Evil Line. Joshiraku aired in 2012, 2 years before the label was officially founded, but it still can be found in the Evil Line site and it’s also credited as such in the subsequent BD releases. But let’s talk a bit about this song, shall we? While astonished at its sudden success in platforms such as TikTok, I do understand the reasons behind this. It’s a very unique and fun song, and the mixture of rap and dance music with more traditional Japanese instrumentation, as well as the style of Rakugo, create an effect of fascination, perhaps due to certain exoticism and most precisely, weirdness. Weird things tend to catch our attention, and I think this is why the career of Miyamoto is one of success. He didn’t fear to deal with weirdness but rather embraced it and saw its true potential, and I think that sort of attitude is really what makes a good producer. Someone who’s willing to take risks in order to deliver a new, interesting product. Thankfully, he now runs a full Evil Line of it.

Why is this a meme in tiktok

Salvador González Turrientes

Sources and more!:

A video connecting Narasaki and Ohtsuki with Babymetal (in Spanish)

A blog post about Omokage Lucky Hole (in English)

A video explaining denpa (in Spanish)

The main denpa source (in English)

Explanation of the A&R role by a professional of the field (in Spanish)

Junnosuke Miyamoto's credits in VGMDB

Junnosuke Miyamoto in Discogs

The Momoiro Clover Z own wiki (in English)

The Wiki article for the Momoclo and Kiss collaboration song (in English)

#Anime #Japan #submission

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x0401x · 5 years

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Yuukei Roadshow Reports and Highlights

Compilation of info found on Twitter and Privatter. Many thanks to ayara-resara for indicating them all!

Translations Index || Next Show >>

@taro4oto2:

Me: Jin-san, in your mind, what kind of adult will Kisaragi Shintarou become in the future...? Jin: Ah~! Kisaragi Shintarou, huh; he is who he is~. I’m thinking of writing songs concerning him from now on too. I’m currently 28, and if I think about him at around this age... I guess he’d probably be a teacher or something like it.

@BlueD01:

“Jin-san, what do you think Momo-chan will be in the future?” Jin-san: Let’s see... *thinks a little* An actress, I guess. “‘An actress’?” *thought process stops* Jin-san: She might also go... overseas. (Memory is faint here.) “Ooh.” Jin-san: I want to write these stories about the future next time. (At last.) “Thank you very much!”

@920ms:

My hands were shaking during Jin-san’s autograph session. Hella.

Although it was a commemorative autograph section for the release of MekaRelo, I’d wanted to tell him no matter what that I get strength from listening to Otsukimi Recital when I have to lighten up... So, I told him this, but I accidentally ended up babbling that Hibiya and Momo’s interactions were the most interesting to me and that I liked them a lot. And then Jin-san said, “I like them too! What will happen to them from now on?? I’m really curious!” as if to dig into it.

Of course I knew that he liked Hibiya and Momo’s combo, but the “What will happen to them from now on?” has been echoing in my brain the entire time... I had a bunch of other things to say, like, “The songs of Momo’s friends are also the best” and, “I’d been listening to Mekakucity Days/Records/Reload a~~ll the time coming the way here”, but my attention was drawn too hard by Jin’s words, so I couldn’t do it...

@BrainBurnShout:

Started with an explosive crossfade.

The host was the woman in charge of KADOKAWA’s Mekakucity Talkers (she’s a beauty).

Jin entered the stage slurping the Shissou Word-themed drink like, “I’d wanted to eat the pancakes but they sold out before I got to it.”

He had his first impression of VOCALOID with “Melt”.

The origin of his conceptualization of “stories told through music” stemmed from Kinniku Shoujo Tai and The Who.

He had planned on the narrative even before Jinzou Enemy, and while gathering up the pattern usage of “a story that ~ the eyes”, the first one he came up with was the one that “locks the eyes”.

One sentence of the initial concept that remained in his PC was: “Medusa does not come out of her house.” (original text)

KagePro is a “curse from his 19-year-old self” because his period of training was long.

He struggles with the consistency of the plot, like, “This and that don’t connect!” and, “That’s my old self~”.

During the innitialization of his PC, he interpreted the “name registration” wrong and accidentally named his PC “Frederica”.

*PC falls down the stairs during moving* Jin: FREDERICAAAAAA!!!!!

He had the ending of the story decided from the beginning.

Due to this, he couldn’t introduce new characters even though he’d always wanted to.

He’s been writing the sequel while thinking that if it turns out impossible to publish, then so be it.

Host: Are you going to make them reincarnate in a parallel world? Jin: That would be a spin-off... like, “Kagerou Quest” or something.

What hides beneath Ayano’s gentleness was something he’d come up with since the initial stages. (He didn’t mention it on Twitter or the like, though.)

[In regards of a question about “becoming an adult”] Jin: Until joining (Edword) Records, I had been in the position of Big Bro, but now I’m a full-fledged Uncle.

Since he’s an adult, he has to pay taxes. He’s been somehow making ends meet with the money that everyone bought the CD with.

[In regards of a question by an Asahiner from the audience about My Funny Weekend] The cheerful verses like the one that goes, “move forward” were said by Hiyori.

The Asahiner who had been waiting all this time for a Hiyori song is overcome with emotion.

The reason why there wasn’t a Hiyori song from the start is that, “If I had included her, everyone’s worries would have been relatively...”

Jin-san: Hiyori-sama.

He has the image of the adult Mekakushi-dan.

It seems Kido will be a caretaker in an orphanage.

When he talked about that image to Sidu-san, the MV’s adult!Kido was suddenly brought up. Jin: Did you turn her into an adult already? Sidu: Should I not have done that?

Hibiya will be an archeologist, and since the Medusa is said to have her roots abroad, he might do a research on that.

Even in Jin-san’s own mind, there are many interpretations: “So and so will get married”, “No, it’ll be so and so”. “The one Shintarou will marry is Haruka!” *audience acclaims*

Jin-san will write the interpretation of the winner of his peerless inner fight.

Haruka is main heroine.

Rather than saying that the albums go from 1st and 2nd to the 3rd, it’s more like the 1st and 2nd are an omnimbus and the 3rd is a backside.

What he depicted with Imaginary Reload was the strength of Mary, who isn’t there just to be protected.

The top was reached by drawing out the 274BPM Konoha~

Remind Blue has parts of Summer Time Record that he hadn’t been able to write about.

It was supposed to be Shintarou’s song, but the lyrics turned out as something that applies to everyone. (Seto has his own Remind Blue and it might be that Kano thinks the same things.)

As a result of Jin-san’s definition of friends, which is “we think alike even without saying anything”, it ended up becoming a song about the whole Mekakushi-dan.

From Jin-san’s childhood experiences, fireworks = summer’s end (an element also used in the novels).

Therefore, the English version of “Wasurete Shimatta Natsu no Owari ni” is “Fireworks in the Summer End”.

@ndfakvnico:

Shissou Word “She’s bad with words, and I’m the same as her, so I made that into a song.”

Additional Memory A song about regret. Jin-san’s grandfather passed away, and for a while upon coming to Tokyo, he hadn’t been able to see him at all. After the funeral, Jin-san found a file with cutouts of himself from magazines that his grandfather had kindly gathered up. He regretted not having been able to convey anything to him.

Lost Day Hour A song about friends. There was a time during middle school in which he found himself unable to go to school. “If you don’t go once, you become less and less able to.” Back then, he encountered wonderful music. A-kun (provisory nickname), who told him that he also liked said music, came around and the two of them formed a band together. Jin became able to attend high school. He didn’t know what a friend was until then, but he thought, “I guess he’s my friend”.

Wasurete Shimatta Natsu no Owari ni A song with the image of summertime fireworks. “Tokachi District holds the second largest fireworks festival of the country. I wonder what being second place is like. Just what are they fighting on this? (laughs)” It’s like the scenery of Gin no Saji; a place with that kind of feeling to it.

Remind Blue “Summer is hot and I don’t like it, but it has its charm. I wonder if I was properly able to make that end of summer into a song.”

As always, he drank a lot of water. Actually, in addition to the four bottles that were put there, he also brought a lot of water with him.

As he talked about each song, he would play them with his accoustic guitar.

“Such an honestly pretty library. So many books. It’s my first time singing in a place like this, so I’d been wondering if I wouldn’t get chased out if someone like me suddenly showed up and started singing. (laugh)”

By the way, he was indeed wearing a jersey... lol.

He was super cool when he was singing, but during the time of exiting the stage, he made his way out unsteadily while bowing, so he gave off a feeling of ordinary Nii-chan and it was heartwarming.

He’s good at singing. (my childish reaction)

His manner of speech was extremely gentle, and though I really enjoy the excitement of live concerts and the like, that calm atmosphere and his kind way of performing and talking had me going, “Aah, this totally goes well with Jin-san. It totally goes super well with him. Play-and-talk live concerts are the best...”

There were 100 people with regular tickets, lots of others were standing behind them, the costumers of the nearby Starbucks were all looking too, and many people also stood watching in rows at the second floor’s corridors.

The venue was a Jin World.

I’d been reflecting on the meaning of him doing a library live, and I think it’s something amazing. At the end of it, a staff member asked something by requesting people to raise their hands, and turns out that there were mostly middle and high scholars attending. It felt like there were also grade scholars and college students. Is there any other rock musician who would open an event at a middle school or a public library? Well, there might be, but that’s still incredible...

We were told that we couldn’t enter the venue unless we had a regular ticket, that it was okay to enter because it was a public space, that we couldn’t get autographs, that we actually could get them even without the ticket, and, hum, get your information... together... (tiny voice)

He talked a lot more about the songs, but it’s not coming to me... aah.

In one sentence, it was awesome.

@kugamiryou

The moderator this time was the editor of Mekakucity Talkers, and her hairstyle was kind of similar to Azami-san’s.The song order of the rendition was “Shissou Word”, “Additional Memory”, “Lost Day Hour”, “My Funny Weekend” and “Wasurete Shimatta Natsu no Owari ni”... but! Guess what: Jin-san said, “I wanna play them after all” and additionally performed the first part of “Imaginary Reload” and all of “Remind Blue”!! Jin-san’s hopping as he played was cute.

The general course of events was that a teaser movie soon played, then the host came on-stage and called Jin-san over, Jin-san showed up slurping a Shissou Word drink, choked while drinking it, and then performed Shissou Word. After that, it was announced that there would be a lottery and some of the prizes were Jin-san’s personal belongings.

The first corner was “Jin-san Talks About Kagerou Project”. It was a talk about why he started making KagePro. With the trigger being that the band he had in high school broke up, he decided to make stuff on his own, and he started creating a story first from the fact that “There are many depictions of ‘eyes that do ￮￮’, huh!” or something of the sort.

“Locking eyes” ➡ “Medusa” ➡ “This is it!!” ➡ “A Medusa who doesn’t want to lock eyes with anyone won’t come out of her house!” - with this trend, it seems the first thing he planned out was Kuusou Forest.

Apparently, the stories of the novel and manga progressed with him deciding their ending first, and he indeed wants to write the next novel. If he ends up unable to publish it, he’ll write it like, “whatever” and turn it into a book anyway, and he talked about writing something like “Kagerou Quest”, lol.

After he finished performing Additional Memory, he stated that he “couldn’t mention it on Twitter”, but he had wanted to say that “Ayano isn’t just a gentle girl”. From then on, we had a questions-and-answers corner.

Q.: What was the moment in which you thought, “I’ve become an adult”? A.: That’s a theme I want to write about in the next novel. I thought, “I’ve turned into an adult, huh” when I was making Lost Day Hour and suddenly felt like calling my friends. Also, when I started paying taxes.

From someone who’s been an Asahiner for 7 years: I want to know the reason why you made My Funny Weekend. A.: I’d wanted to use Hiyori, but I couldn’t until now. Hiyori is strong, so if I’d used her before, she would make everyone else’s worries dim. It feels like Hiyori made me write the parts that go, “being greedier is just fine”. I’m not the one who came up with them.

From a person who used to stan Shintarou and started stanning Ayano after Additional Memory: Please tell us the reason why you gave Ayano that moment in AddiMemo. A.: It’s the one song in MekaRelo in which someone is dying alone. Sorry for going, “I’m sorry” right after singing, “It’ll surely be an even better day!”. This is actually a story that I wished I had included in the manga.

Q.: I would like to know about the Mekakushi-dan of the early stages. A.: There are parts of the way the loops work that I haven’t written yet. There’s a possibility that, epending on the loop, the characters of the first Mekakushi-dan might show up (like the female Konoha).

Q.: Will you write the story of the characters turning into adults? A.: I’ve already thought out what kind of jobs each will have and who will be married to who. There are many stories in the minds of everyone, but I want to write something like, “This kind of future also exists”. For example, Kido taking over the orphanage and Hibiya becoming an archeologist to investigate the Medusa abroad. But whenever I try to make so and so get married, another side of me cuts it off like, “Wait a minute... the one who will marry Shintarou is Haruka, right?”, so whoever wins this unique armed struggle tournament inside my brain will be the one to write.

~About MekaRelo~

He had wanted to make songs regarding what he couldn’t write in the novel.

Imaginary Reload: it’s about the girl who had been waiting to be rescued in Kuusou Forest going off to fight on her own will, and doesn’t just wait to be saved. It’s 274 BPM, so it’s the fastest song?

Shissou Word: it’s based on the fear that Jin-san experienced when he was a child from continuously being asked, “Why can’t you do such a normal thing?” and from wondering, “What is ‘normal’ even?”

My Funny Weekend: it’s the song that feels the most final episode-like to him.

Additional Memory: a song that he thought he “had to write”. It’s the saddest one.

Lost Day Hour: the song that had him thinking, “I have to make this” back when he was writing volume 6.

Remind Blue: a song that made him think, “This is the last summer song”. It’s a song packed with the things he didn’t manage to write about in SumReco. It has the image of Shintarou, but there are parts about Haruka, about Seto and about Kano, so it’s kind of a song with no definite protagonist. Makes one think about not forgetting summer.

Wasurete Shimatta Natsu no Owari ni: since the fireworks festival that he once watched in his hometown is his image of the end of summer, so he had wanted to make a story that ended with people watching fireworks, but he was indecisive, because “the last battle happens in the basement of a school, what do I do~” (said originally with a northern accent). He didn’t want to let summer end, but if it didn’t end, it would be weird and unpleasant.

After this talk, Jin-san was about to play My Funny Weekend, but realized that the Shissou Word drink he was having had disappeared without him noticing and was like, “Where’s my Never-Lost Word!?”. He drank water instead, sulking.

“I might make a mistake, sorry!” ➡ *makes a mistake during the hook* ➡ “There were no mistakes, right!?”

Then, we had the big lottery. Sadly, although I had a number in hands, I wasn’t able to get Medusa, the amplifier that Jin-san used when making Imaginary Reload. Sad.

And so, we had the last song, Wasurete Shimatta Natsu no Owari ni. Jin-san played while saying, “I wanna do collaboration drinks again~”

Everyone frantically lined up to pay their checks and buy goods, but then Jin-san suddenly came back, said, “I wanna do this after all!” and played Imaginary Reload and Remind Blue while drenched in sweat. “Why is it that I’m sweating so much even though I’m playing while seated?”

And then it really was the end... however, people quickly queued to get autographs as if racing to board the last train. While stiffly shuddering, I also got autographs on my CDs and MekaTalk, then handed a letter to him.

I was happy to get a “Ah! It’s a folded paper crane!” reaction from him, but I was nervous for real, so I turned into the typical figure of a useless otaku. When he was signing, I told him, “I won’t be able to go to tomorrow’s autograph session, so I’m happy to be getting it now.” and he replied, “I’ll hold lots of other events after this one! So when the time comes, please! Do attend them!!”

I’ll go.

@Hiroyannn168

I arrived at the venue a bit too early, and when I was waiting for the opening, the staff people and Jin-san passed by me like it was nothing...! He was giving off a civilian-like aura. He boarded the elevator crammed with staff members as if having fun, and when the door was closing, he waved a little at us.

During Jin-san’s play-and-talk live, there was a questions corner and Jin-san discussed about the compositions. He had always wanted to try creating collaboration drinks based off the songs, so it seems he talked it over with the personnel like, “Shissou Word is this kind of song” and, “This color will do~” and, “Could you make this thing float? Is it impossible?” in order to have them made. The band BACKHORN, which Jin-san likes, had been doing these kinds of collaboration drinks, so he had wanted to try his hand at it no matter what.

There were also two types of pancakes that had the image of song compositions, RED and BLUE, and just when Jin-san thought of eating them too, he was told by someone from the staff, “There are only five left” and went, “Incredible” www... They were mad popular, so there was a lot of people eating them.

When Jin-san entered the stage, he brought with him a Shissou Word-themed glass and was drinking it like, “Yummy”.

He’d said on Twitter that he wanted to do something like explaining about the compositions of the songs, so he tweeted about it just a little, but he hadn’t been able to tweet at all after that, apparently because he had been practicing for the live and doing all sorts of things in the meantime. It seems that, since Jin-san was late to tweet about it, he decided to do it properly if he had the chance to tweet later. Is what he said. That he wanted to “explain a little about the song compositions tonight~”.

First track was Shissou Word. At the applause that rose naturally from the audience, Jin-san bashfully said, “thank you” in-between the lyrics. The motif behind Shissou Word was Jin-san’s experience with being asked, “Why can’t you do normal things?” Even though normal things are easy to do for other people, they’re difficult for him... that’s what the song says.

He looked happy when he asked a girl sitting at the far right of the first row, “What are you drinking?” It seems that this person was having the Additional Memory drink (it was red).

Second track was Additional Memory. The song goes like, “Ayano has a so-called gentle girl image, but she also bears these kinds of feelings”. I sensed that listening to the hook with Jin-san’s live voice made it resonate even more sharply in my heart. A shout of her emotions... is what it felt like, I guess?

Jin-san also said something along the lines of, “It’s great being able to expand my range of expression by not just using VOCALOIDs but singing with my own voice too~”.

It seems Jin-san spent a period in truancy during his childhood, and what gave him energy back then was music and books. At any rate, by the looks of it, that had been a truancy amongst truancies.

He’d wanted to form a band in high school, but the bassist quit, so he quickly became spineless about it. It appears that when he was like, “What do I do?”, a senpai of his recommended VOCALOID to him. He came to admire songs with high levels of story settings, similar to the ones from Kinniku Shoujo Tai, and started wanting to create something like an album that would turn into a story – that was the beginning of KagePro.

He said, “It’s interesting that there are lots of phrases about things you can do with your eyes.” Like, “Averting one’s eyes is Hikikomori-ish, concealing one’s eyes means that kind of stuff.” (“That kind of stuff”, you say!? This is just the kind of specific term I wanted~)

It seems that the plot of back then is still in his computer. “The Medusa is a shut-in”, and things like that.

Jin-san is still burdened with the curse from when he was 19 years old www

He also talked about how his computer fell from the second floor when he was moving www and about he wound up naming it Frederica www

Q&A corner. It was a corner where he received questions from people that he’d randomly point at after they raised their hands. The contents of all questions were amazing...

Someone who’d been an Asahiner for over 7 years said something along the lines of being really happy that there was a song about Hiyori-chan, and Jin-san commented that Hiyori-chan is a character with an extremely firm notion of self, so he had wanted to release it sooner but it seems he hadn’t been able to. That’s because, back when the Mekakushi-dan members were still fretting and saying stuff like “oh, my dirty”, if Hiyori-chan had been there with her “Move forward! There’s no mistake that tomorrow will be a much more wonderful day~”, she would cut them off with a single stroke.

It seems she’ll have a lot of screen time from now on. And it looks like rather than Jin-san writing the part of the lyrics that goes “being greedy is just fine”, it felt more like Hiyori-chan was “making him write it”. Hiyori-chan is awesome.

Someone asked Jin-san, “At what time do you think you became an adult?” and he answered that, in the past, he would think of himself as an Onii-chan when looking at children, but now he thinks he’s an Oji-san. That he was paying taxes, laying out a path and keeping it clean www. He said he “ended up becoming an adult when creating Lost Day Hour”; he could see his friends everyday when he was a child, but it seems there’s no such thing after growing up, and he’d find himself thinking, “I wanna give my friends a call”.

Imaginary Reload is 274BPM, and apparently that’s the most in all songs he’s made so far. Incredible. By the way, the maximum for BPM is 300.

It seems Jin-san also likes Remind Blue. Even though he had said, “I’ll make this one and then I won’t write songs about summer anymore!”, he made Wasurete Shimatta Natsu no Owari ni right after that www. His 28th summer song...

Questioner: Even though I’d never budged from Shintarou until now, I ended up coming to like Ayano-chan the most after listening to Additional Memory. Jin-san: It seems a derby happened there. Is this a horse race or what www

Additional Memory is a bit of an unique song even for MekaRelo. He said, “I’m sorry... for bringing about a song that falls down with a hard thud immediately after saying that ‘tomorrow will be an even more wonderful day~’ with My Funny Weekend.” Like, “She dies all by herself...” He also said that what he was going to discuss from that point on were spoilers.

Shintarou’s snake is... The snakes exchange the abilities for lives... Then, lives are their,,,...???

He was like, “Please don’t spread this on Twitter and the like~”.

Remind Blue. This song was supposed to be Shintarou-san’s, but the figures of everyone overlapped in it, and it feels like each of them is being nostalgic in their own spot. The lyrics go, “together with the me of yesterday”, so Kano-kun and Seto-kun were also in it... is what Jin-san said. The way of talking is masculine. So it felt like it turned into everyone’s Remind Blue. Jin-san did say that, to him, friends are people who think the same.

Jin-san had Saiyuki-san draw the manga extra from MekaRelo A, and it seems it went like this: “Is it all right this way?” “It is.” “Is Kido-san okay like that?” “She’s exactly like that.” “The Kido-san that Saiyuki-san draws is really cool!” Jin-san said with great admiration.

Speaking of which, it seems that there’s already a conception of the Mekakushi-dan as adults in Jin-san’s mind and he’s decided things such as, “This person will be like that” and “Their occupation will be this”.

Kido-san will run an orphanage; taking over the will of that orphanage is very much like her. Hibiya-kun will be an archeologist. There are legends about Medusa all over the world, so he’ll be researching that.

He talked about how an adult Kido-san appeared in the MV of Shissou Word after he commissioned it to Sidu-san... something like that. It looks like he’s thinking along the lines of... “this person and this person will get married” as well. But Jin-san also said, “Shintarou’s wife will be Haruka-san (laughs)”. Apparently, these Jin-san’s are on a peerless inner fight inside him, and the Jin-san who wins will have his scenario come to life.

Haruka-san is KagePro’s main heroine www

Jin-san asked the audience, “Do you want to see the children of the Mekakushi-dan?” (I do.) “I wanna write novels,” he said. He was like, “I wanna introduce new characters!”

A parallel universe (one of those that are trendy nowadays?) called “Kagerou Quest” might happen www

Alternatively, it might be set in outer space, and it’ll be like a Martian version of the Mekakushi-dan fighting? Something along those lines? (Martian Mekaushi-dan!?!?)

There was a break of about 10 minutes. In that meantime, we lined up for the sale of goods, ate pancakes, etc...

The latter half of the live started.

My Funny Weeked. Jin-san seems to think that this one is the most last episode-like song. He said something like, “It’s my first time playing it live, so if I make any mistakes, pretend you didn’t notice~” and began playing. There was clapping from the audience seats as if to cheer on him, and he stopped playing right before the hook for an instant, but soon resumed it. After he finished singing, he asked, “See, there were no mistakes, right~?” (lol)

During the play-and-talk part, Jin-san drank water because he was out of options, since he had left the Shissou Word drink that he was having at the beginning somewhere, but he heard someone say from the seats, “The Never-Lost Word has been lost” and replied with, “You say some clever things www”.

Jin-san mentioned that he “was bad at conversing”, but I enjoyed his talk.

Big lotery. I ordered food and drinks and received an application coupon with the second item. The prizes were a set of guitar picks, a set of can badges, a volume of Mekakucity Talkers, a poster of MekaRelo (with Jin-san’s signature), a set of ticket holders and cards that came with the novels as appendix, which Jin-san claimed to have turned his house upside-down in order to bring over, and Jin-san’s own CDs (of Mekakucity~) and guitar effector (he apparently recorded Imaginary Reload with it, and its name is Medusa too). To the people who were sorted, congratulations~!

It seems Jin-san has only told about a part of KagePro until now, and he hasn’t yet talked about the extent of the loops.

When he was a child, he used to think, “I don’t want the new semester to start. It’d be good if summer didn’t end.” but an endless summer is somewhat disturbing, just like the two people living together in the last volume... of the novel.

Wasurete Shimatta Natsu no Owari ni. It seems the last chapter of KagePro closed with fireworks. That’s because, in the past, when Jin-san lived in Hokkaidou, there was a huge fireworks festival, and he thought back then, “Summer is over, huh”. He was like, “But how will I bring up fireworks when the story led up to the school’s underground, a place that has nothing to do with it!?” (lol)

ENCORE!!!

From a wing of the stage, Jin-san got his face out and peeked through (?) from within the curtains with a glance. He’s kinda cute despite being an adult man...

It seems he was being considerate towards us and saying, “It’s late into the night and there are people here who have to go home...” He then played Imaginary Reload (but just the short version of it). And in the end, he was like, “I do want to do it after all!” He sang Remind Blue.

He bid his goodbyes with waving hands~!

Jin-san, you’ve granted me really fun and good memories tonight. You’re indeed by yourself when you’re making music and writing novels... you’ve also gone through hard times. Tonight was super enjoyable, and even though it was a play-and-talk live, you up and said that you were sweating bullets www

“Please let me perform live again,” he said to us.

It was a tremendously fun night. Good job, and thank you very much.

#kagerou project #kagepro #mekakucity actors #mekakucity reload #kagerou daze #jin #shizen no teki p #sidu #lost day hour #additional memory #remind blue #shissou word #imaginary reload #my funny weekend #wasurete shimatta natsu no owari ni #fireworks in the summer end #my translation

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