#(and especially what niji is doing with debut songs)

[hannahlovesluca]

T.S.

| In which you release an original song, Enchanted (t.s.), for Shu.

| WARNINGS: mild cursing, angst to fluff, mentions of sex, Shu being both a dick and an absolute sweetheart

“There I was again tonight, forcing laughter

faking smiles; same and tired lonely place..”

Shu’s heart pounded, he knew you were releasing your very first song; and he also knew the possibility that it may be about him.

You and Shu had a complicated relationship. One day, you’ll be cuddling in bed together, kissing, making love, even. The next, Shu refuses to talk to you. Ignoring you.

The truth was - he was so, so fucking scared.

Scared about his feelings towards you. He had never experienced this before. He was also scared that in the long run, he would lose you. The one person who made him feel safe, secure, happy.

“Walls of insincerity, shifting eyes and

vacancy vanished when I saw your face…”

Your voice rang through his headset, he was so, so infatuated.

He thought back to the night you first got intimate.

His hand running down your hips to your thighs, your hands tangled in his hair. Soft grunts and groans being shared now and then… God, he craved for that to happen again.

”All I can say is,

it was enchanting to meet you.

Your eyes whispered, ‘Have we met?’

'Cross the room your silhouette

Starts to make its way to me.”

The night you had very first met, was not when he debuted as a member of Luxiem, but was a year or so beforehand.

Shu does not like parties, he does not go to them. He got dragged to one by a friend. But, god, was he happy that he had gone.

When his eyes landed on your figure, he knew he had to talk to you. He knew there was something there.

He knew.

He knew.

He knew.

And god, was he right.

”The playful conversation starts

Counter all your quick remarks

Like passing notes in secrecy.”

The live chat to the premier of this song is going nuts. Superchats, members, akasupa’s even. The occasional NIJI member sending a message

Vox Akuma [NIJISANJI EN] 🔧: OH MY GOD

Kyo Kaneko [NIJISANJI EN] 🔧: OKAY I SEE YOU

Even people from other companies were going feral into chat. He wanted to say something - he really, really did. But he knew the song was for him, he knew you were in pain; and he knew he was the cause. His hands remain on his letter-less keyboard, trying to think of a message to send but nothing coming to mind.

“And it was, enchanting to meet you…

All I can say is I was enchanted to meet you…”

Shu decided against joining the VC that was listening to your song live, afraid they’ll connect the dots.

Since when did he care what others thought?

Since when did Shu fucking Yamino even have romantic feelings for anyone?

He wants so badly to console you through the screen - tell you why he hasn’t been there for you… embrace you… give you his words of affirmation..

“This night is sparkling, don't you let it go

I'm wonderstruck, blushing all the way home

I'll spend forever wondering if you knew

I was enchanted to meet you

The lingering question kept me up

2 AM, who do you love?

I wonder 'til I'm wide awake

And now I'm pacing back and forth

Wishing you were at my door

I'd open up and you would say, ‘Hey’”

Shu never wanted to admit this fact to anyone else, but he knew that you knew.

Shu had slight feelings for Petra.

I know, crazy right?

Petra did not return those feelings, she saw him as a brother and wanted to keep it that way. The feelings he had for Petra were nowhere near as big as the ones he had for you, of course.

Especially now, hearing the desperation in your voice.. The longing… The way his heart is pounding.

He knew.

He knew how much he loved you, and he knew he had to make things right.

”This is me praying that,

This was the very first page,

Not where the story line ends..

My thoughts will echo your name, until I see

you again.

These are the words I held back,

as I was leaving too soon..

I was enchanted to meet you.”

At this point, Shu was tearing up. God, he hated this. He hated this so much. He hated this stupid song, he hated his feelings, and most of all he hated you.

He hated you for making him feel this way.

He hated you for writing this beautiful song, he hated you for kissing him, he hated you for being so goddamn pretty.

He hated you.

Hated you so fucking much.

But fuck, he loves you.

He loves your smile, he loves the way your eyes crinkle when your laughing, he loves your voice, he loves the chokehold you have him in.

He knows.

He knows he loves you.

“Please don't be in love with someone else

Please don't have somebody waiting on you

Please don't be in love with someone else

Please don't have somebody waiting on you..”

As the song neared an end, Shu found himself sobbing into his hands, not daring to look up at the beautiful art displayed across his screen. He longed to hear your voice in a more appropriate manner, in a way that could reaffirm him.

He wanted you.

Scratch that, he needs you.

And he has to show you just how badly he does.

He tries to subside his crying, his vision blurry whilst he pulls up Discord on his center monitor.

He goes to your profile, staring at your beautiful, beautiful, profile picture.

It was a picture of you laying in his lap giving a peace sign, although no one besides him could tell whos lap you were in.

His fingers type away onto his keyboard, as soon as he sends his message, one from you comes in.

“I love you.”

“I love you.”

[uforin]

Don't mind me I am just crying T:T

[hldailyupdate]

If you passed through New York’s Herald Square on Sunday, you probably felt like a time traveler. Thousands of young fans were dressed up, Seventies-style, for a show that they’ve been waiting for for two years — colorful flared pants, feather boas, glitter, and two-piece suits aplenty. Just stop your crying, it’s a sign of times… the times being Harry Styles finally playing Madison Square Garden after years away.

Nearly two years after releasing Fine Line, Styles is hitting the North American leg of Love on Tour, which was announced around the album’s release and originally meant to set sail last spring in Europe — before the Covid-19 pandemic derailed the entire world’s plans.

Even though it’s been two years since its release, there was no universe where Styles wouldn’t tour Fine Line. His second album was even bigger than his self-titled debut, generating hits like “Watermelon Sugar” and “Kiwi,” as well as expanding his fanbase well beyond the young One Direction fans who have stuck by him for over a decade. It was one of the most anticipated treks of 2020 and remains as such in 2021, although it may look a little different this time: Masks are required for all attendees, as well as a Covid-19 vaccination (venues in other states allow proof of a negative PCR test as well in lieu of vaccination).

The wait in between sets for Styles flew by: The attendees occupied themselves by begging Disney stars and rumored “Drivers License” subjects Joshua Bassett and Sabrina Carpenter for photos and singing along to One Direction’s “Olivia” as it played over the speakers — not once, but twice. Queen’s “Bohemian Rhapsody” and the ensuing arena-wide sing-along seemed to indicate that show time was nearing as anticipation further mounted from the buzzing crowd.

Styles took center stage in a two-piece black suit with feathered arms, launching immediately into Fine Line opener “Golden,” a bright and energetic single that got the room shaking for the first time that night.

Wisely, Styles’ performed in the round, giving fans either his face or “all butt, baby,” as he cheekily pointed out. There were two general admission pits, which from the stands, seemed to be one of the most polite and communal show pits imaginable. It was the perfect setup for a star like Styles, whose thousands of fans dressed to impress and wanted nothing more than a second of his time or attention. Expertly bouncing around the stage and the long catwalks that stretched across the arena, he was able to give that and much more, making the legendary venue feel like an intimate club.

By some miracle, Styles and his band were able to play Fine Line in its entirety (including “To Be So Lonely,” which was left off the setlist of the tour’s first few shows). He also included some well-placed tracks from his 2017 debut, like the raucous “Only Angel” and smooth “Woman.” The pace and energy were vastly different this time; his debut was a largely folk-y affair, heavy on the acoustic guitar with big campfire sing-along energy. Love on Tour is a bawdier party, full of dancing from both Styles and the crowd.

Helping keep the pace were a mix of old and new band members. Of course, drummer Sarah Jones and guitarist Mitch Rowland (who recently had their first child) were back on the road with the star and have been since day one. Fans cheered enthusiastically any time they were highlighted, especially when Rowland shredded his way through the “She” guitar solos. Bassist Elin Sandberg and multi-instrumentalist Ny Oh were exquisite during “Woman” and a pared-down “Cherry” moment, while pianist Niji Adeleye and percussionist Pauli Lovejoy were scene-stealers at every turn with their enthusiastic dancing.

Toward the end of the main set, the communal feeling of the show strengthened. “Treat People With Kindness,” Styles’ mantra, turned into the biggest party-starter yet. Fans in the pit created dance circles and did something akin to the Electric Slide in unison. On stage, Styles held up both Bi Pride and Black Lives Matter flags to massive screams. It quickly morphed into a cover of One Direction’s “What Makes You Beautiful,” a song Styles really doesn’t need to do but has such a blast singing that I hope he keeps it in his shows forever.

The encore was a perfect cap: “Sign of the Times,” his first-ever solo single, kicked things off as he belted the track beneath two large disco balls that made the whole room sparkle. He introduced the band during a slow-burn reworking of “Watermelon Sugar,” similar to the one he performed at the Grammys this year. He even brought back the song he debuted a few shows ago when he sang to a woman in a banana suit (“She’s dressed as a banana, ayy”). Of course, there were several banana costumes in attendance due to the very existence of the rarity.

For his closer, Styles ended on the highest note, showcasing the biggest flex of his rock star prowess. He blazed through “Kiwi,” the high energy fan-favorite that he also played years ago at MSG; back then, it got the floor shaking so much that drummer Jones’ drumset started sliding across the stage. It was no different this time: The whole room shook through the track as Styles said his goodbyes He had issued a request early in the show for everyone to “be who it is you’ve always wanted to be,” and with one final song, the whole room let loose. They were finally getting to be who they’ve been waiting to become for the last 18 months.

(4 October 2021)

[kingstylesdaily]

Harry Styles Sent Us Back to 2019 — and the Seventies — at Glittery-Slicked MSG Set

Nearly two years after releasing Fine Line, Styles is hitting the North American leg of Love on Tour

by Brittany Spanos

If you passed through New York’s Herald Square on Sunday, you probably felt like a time traveler. Thousands of young fans were dressed up, Seventies-style, for a show that they’ve been waiting for for two years — colorful flared pants, feather boas, glitter, and two-piece suits aplenty. Just stop your crying, it’s a sign of times… the times being Harry Styles finally playing Madison Square Garden after years away.

Nearly two years after releasing Fine Line, Styles is hitting the North American leg of Love on Tour, which was announced around the album’s release and originally meant to set sail last spring in Europe — before the Covid-19 pandemic derailed the entire world’s plans.

Even though it’s been two years since its release, there was no universe where Styles wouldn’t tour Fine Line. His second album was even bigger than his self-titled debut, generating hits like “Watermelon Sugar” and “Kiwi,” as well as expanding his fanbase well beyond the young One Direction fans who have stuck by him for over a decade. It was one of the most anticipated treks of 2020 and remains as such in 2021, although it may look a little different this time: Masks are required for all attendees, as well as a Covid-19 vaccination (venues in other states allow proof of a negative PCR test as well in lieu of vaccination).

Luckily, Jenny Lewis stayed on the bill. Her most recent album, the excellent On the Line, came out before Styles’, so at least they were in the same strange boat. Upon the announcement that she was opening on the North American dates, many Gen –Z stans wondered who she was on Twitter. But hopefully they’ve gotten on the Lewis train by now: Her rhinestone cowgirl aesthetic and Nashville-adjacent sound is a perfect fit of Styles’ own, making them a dream pair. She even snuck in a little Rilo Kiley with a cover of “Silver Lining,” hopefully scoring a slew of new listeners for the band that got Lewis her start.

The wait in between sets for Styles flew by: The attendees occupied themselves by begging Disney stars and rumored “Drivers License” subjects Joshua Bassett and Sabrina Carpenter for photos and singing along to One Direction’s “Olivia” as it played over the speakers — not once, but twice. Queen’s “Bohemian Rhapsody” and the ensuing arena-wide sing-along seemed to indicate that show time was nearing as anticipation further mounted from the buzzing crowd.

Styles took center stage in a two-piece black suit with feathered arms, launching immediately into Fine Line opener “Golden,” a bright and energetic single that got the room shaking for the first time that night.

Wisely, Styles’ performed in the round, giving fans either his face or “all butt, baby,” as he cheekily pointed out. There were two general admission pits, which from the stands, seemed to be one of the most polite and communal show pits imaginable. It was the perfect setup for a star like Styles, whose thousands of fans dressed to impress and wanted nothing more than a second of his time or attention. Expertly bouncing around the stage and the long catwalks that stretched across the arena, he was able to give that and much more, making the legendary venue feel like an intimate club.

By some miracle, Styles and his band were able to play Fine Line in its entirety (including “To Be So Lonely,” which was left off the setlist of the tour’s first few shows). He also included some well-placed tracks from his 2017 debut, like the raucous “Only Angel” and smooth “Woman.” The pace and energy were vastly different this time; his debut was a largely folk-y affair, heavy on the acoustic guitar with big campfire sing-along energy. Love on Tour is a bawdier party, full of dancing from both Styles and the crowd.

Helping keep the pace were a mix of old and new band members. Of course, drummer Sarah Jones and guitarist Mitch Rowland (who recently had their first child) were back on the road with the star and have been since day one. Fans cheered enthusiastically any time they were highlighted, especially when Rowland shredded his way through the “She” guitar solos. Bassist Elin Sandberg and multi-instrumentalist Ny Oh were exquisite during “Woman” and a pared-down “Cherry” moment, while pianist Niji Adeleye and percussionist Pauli Lovejoy were scene-stealers at every turn with their enthusiastic dancing.

Toward the end of the main set, the communal feeling of the show strengthened. “Treat People With Kindness,” Styles’ mantra, turned into the biggest party-starter yet. Fans in the pit created dance circles and did something akin to the Electric Slide in unison. On stage, Styles held up both Bi Pride and Black Lives Matter flags to massive screams. It quickly morphed into a cover of One Direction’s “What Makes You Beautiful,” a song Styles really doesn’t need to do but has such a blast singing that I hope he keeps it in his shows forever.

The encore was a perfect cap: “Sign of the Times,” his first-ever solo single, kicked things off as he belted the track beneath two large disco balls that made the whole room sparkle. He introduced the band during a slow-burn reworking of “Watermelon Sugar,” similar to the one he performed at the Grammys this year. He even brought back the song he debuted a few shows ago when he sang to a woman in a banana suit (“She’s dressed as a banana, ayy”). Of course, there were several banana costumes in attendance due to the very existence of the rarity.

For his closer, Styles ended on the highest note, showcasing the biggest flex of his rock star prowess. He blazed through “Kiwi,” the high energy fan-favorite that he also played years ago at MSG; back then, it got the floor shaking so much that drummer Jones’ drumset started sliding across the stage. It was no different this time: The whole room shook through the track as Styles said his goodbyes He had issued a request early in the show for everyone to “be who it is you’ve always wanted to be,” and with one final song, the whole room let loose. They were finally getting to be who they’ve been waiting to become for the last 18 months.

Love On Tour Setlist

“Golden” “Carolina” “Adore You” “Only Angel” “She” “Falling” “Sunflower, Vol. 6” “To Be So Lonely” “Woman” “Cherry” “Lights Up” “Canyon Moon” “Treat People With Kindness” “What Makes You Beautiful” (One Direction cover) “Fine Line”

Encore: “Sign of the Times” “Watermelon Sugar” “Kiwi”

via RollingStone.com

[oishirecipe]

HI MIKHAEL been thinking abt bb so much today I can’t write it out because it makes no sense but I’m just (nods at you) anyway I’m here to bother u for love live music recommendations if ur up for it...! I’ve been meaning to listen to more stuff from it in general but idk where to start @_@ if not that’s ok of course! Here are some Bandori cards I rlly like rn as an offering...so cute...

Yes I have been aswell ... They've just been . Sitting in there . But anyways , as for song recs , I'm not sure what kind of music you like or if you have any favorite groups/subunits in LL so I'm just going to give you my personal favorites and generally songs I think are very very good (obvi not including ones literally everyone on earth knows like START:DASH Borarara and Snow halation)

Subunit songs:

Beautiful Moonlight by QU4RTZ , Torikoriko PLEASE by AZALEA , Maze Sekai by AZALEA , Onaji Hoshi ga Mitai by lily white , Shunjou Romantic by lily white , Yozora wa Nandemo Shitteru Mitai ?by CYaRon , honestly the entirety of Guilty Kiss' and Printemps' discographys . My favorites out of their's is New Romantic Sailors , Kowareyasuki , Guilty Farewell Party for GK and for Printemps Love marginal , Pure girls project , Eien Friends and NO EXIT ORION , but really they both don't have a bad song . Although do be wary basically all of μ's vocals got moefied and it's especially prevalent in subunit songs , so that's why You're gonna hear a BIG gap between Printemps' vocals in Love marginal (their debut song in 2011) and in NO EXIT ORION (final/most recent single in 2015)

Full group songs:

HAPPY PARTY TRAIN by Aqours (yes I'm biased) , SKY JOURNEY by Aqours , Natsuiro Egao de 1 2 Jump ! By μ's , Soshite Saigo no Peeji ni Wa by μ's , Natte Shimatta by μ's , Angelic Angel by μ's , baby maybe Koi no Button by μ's , Humming Friend by Aqours , Zensoku Dreamer by Niji , and Thrilling One Way by Aqours , Kaguya no Shiro de Odoritai by μ's

Solo songs:

Someday of my life (Honoka) , in this unstable world (Yohane) , Arifureta Kanashimi no Haate (Eli) , New Winding Road (Mari , this one mainly because I think it greatly shows Ainya's vocals) , Märchen Star (Kanata) , Butterfly (Kanata) , Solitude Rain (Shizuku) , Ai wa Taiyou Janai ? (Honoka) , Kodoku na Heaven (Hanayo) , Aione no Uta (Emma) , Ketsui no Hikari (Shioriko lol)

Other duo/trio songs:

Natsu no Owari no Amaoto ga (Kanan/Chika) , Beat in Angel (Rin/Maki) , Misty Frosty Love (You/Riko) , after school NAVIGATORS (NicoRinPana) , aaand Hello Hoshi wo Kazoete (Maki Rin Pana/μ's 1st years)

[furederiko]

"Shin Sakura Taisen Rekidai Kayoushuu" Review (Part 2)

SEGA boldly (or is it a risky move?) introduces new Kagekidans that represent new cities with this game. Not one or two, but just THREE for now, with a fourth one debuting later in the Spring TV series. Track 4 to 6 of the album are specifically slotted for these new heroines...

Contrary to reports in various sites that had reported them as such, in my opinion, these are definitely NOT character image songs. Kouhei Tanaka-sensei has openly referenced them as "[City Name] GEKITEI". So these sit in line with Paris Kagekidan's "Mihata no Moto ni" and New York Kagekidan's "Chijou no Senshi". Whatever happens to those teams, by the way? Hmmm...

One might argue that unlike "Shin GEKITEI", only one member sings these songs. But they seem to forget one thing: Sakura Shinguuji sang solo on the first vanilla version of that song. I don't know what the future holds, but there's a possibility that in the sequel(s), we might get another take of these songs that incorporate other members of their teams. For two of them, at least. We'll just have to wait and see. For now, let's embark on a globetrotting journey!

Niji no Kanata (Other Side of the Rainbow) by. Huang Yui (Sumire Uesaka)

As soon as I heard the full version, I wasn't completely sure how I felt about it. Surprisingly, I think I enjoyed the short MV version better. When SEGA started releasing one MV after another, starting from Berlin to this one, "Shanghai GEKITEI" totally stole my attention. I proudly declared it as my favorite of the three. Perhaps because the verses felt more concise (with less instrumental parts) that made it sound more... kickass? Even though it had a somewhat odd lyric, which you will understand why. This full-length version somehow exuded a different vibe. The verses were longer, which was the bit that I'm not too fond of. On the other hand, the lyrics flowed better and made more sense. And then there's an issue with Yui's voice. She had a playful and childlike tone in "Aratanaru". Assuming that's her who got the shortest line in the interlude, of course. I prefer the more gallant take that she used here, but the inconsistency threw me off. Suffice to say, I had to hear it a few times to finally get the hang of it. But goodness gracious, the Chinese vibe, which was even stronger (that should be obvious, I know! Ahaha), never failed to win me over. Just like the verses, the instrumental portions were also longer, thus giving it a slower and elegant pace. That serenading sound of Erhu just hit my soft spot every single time, likely resonating with some part of my genes. Combined that with a blast of modern instruments, and it blew me away. I sure want to see a live orchestra perform this with a Chinese theatre dance to accompany it! Its lyrics, courtesy of Ouji Hiroi, carried a similar message of Teito, Paris, and New York themes. Protect the city, its people, and seize the dream. Why does the title use 'Rainbow', though? Especially considering 7, while being a good number for a relationship, is considered as unlucky in Mandarin (ghost month). The key is in the kanji for 'Rainbow', because it is also known as 'Hong' or 'Jiang', the name of a two-headed dragon in Chinese mythology. And what does the symbol of Shanghai Kagekidan look like? Yep, a DRAGON! So while in Japanese it literally translates as "Other Side of the Rainbow", the context also points to it being "Other Side of the Dragon". Even though it might take me a while to get used to this, and it's no longer my number one, it's an amazing piece nonetheless. I'm old, so I'm not familiar with Sumire Uesaka's pop songs. But so far, I haven't heard her sang a song like this. As Kouhei-sensei had stated, these new "GEKITEI" were composed to challenge the VAs vocal prowess. That seems to be the case here, to which Uesaka did a great job! PS: Wikipedia told me that Uesaka is a fan of Russia. I wonder how she would feel if she was cast as a leader of the Moscow Kagekidan instead?

Entaku no Kishi (Knights of the Round Table) by. Lancelot (Manami Numakura)

Just like the previous song, I had a completely opposite reaction to this as well. It honestly took a while for me to like or even understand the London Kagekidan theme when its official MV first came out. This full anthem also sounds different but in a far more positive light! How so? The second Westminster Bells kicked off, my mouth grinned so wide. Then the music slowly developed into that familiar tone, but continued to build up even more with meticulous touches and flares of fanfare, horns, trumpets, and an electrifying mix of the electric guitar. And suddenly I was transported into the medieval era, with images of brave knights flashing on my mind, en route for a battle to protect the land. Daaaang... Kouhei-sensei totally knows how to make something sound so graceful, yet gallant and rich, huh?! A sensation that young'uns nowadays would easily call 'EPIC'. My lingering issue with this song remains as-is: Manami Numakura's voice. Don't get me wrong, she is a wonderful VA with a unique vocal tone (Kohaku in "Dr. STONE", right?). I'm just not a fan of her singing voice, never was since her Idolmaster days. Even when it's my least favorite part of the song, that tomboy-ish charm blends perfectly with the song and gives it a distinct sound. The end result is something that continues to delight me and puts a smile on my face. Oh, what about the title, you ask? I think it's obvious enough. London Kagekidan is clearly based on the tales of King Arthur. Arthur is (likely, the code-name of) its blond-haired, high priest-dressed Captain, while our female lead here is the loyal Lancelot. It intrigued me when the lyrics, by Shouko Fujibayashi, mentioned 12 knights just like its lore. Does the team really have that many members? Assuming it will feature in the sequel, that would be fun to see. Then again, Idolmaster started out with 10(+1) idols, so I'm sure Lancelot would fit along just fine! Hahahaha... PS: Do you think that echoing bell at the intro and interlude sound convincing? Well, Kouhei-sensei said they actually recorded it at the actual location! Another good reason to appreciate this song.

Kurogane no Hoshi (Iron Star) by. Elise (Nana Mizuki)

*standing ovation* This. This IS a SCARY song! And by scary, I mean what a challenge it IS to pull off. Imagine trying to do at least an okay job at this in a karaoke booth? Godspeed. Nuh-uh, I don't think this song will work without Nana Mizuki's powerful vocals. Not just because I'm a fan of her, or have always wanted her to be part of this franchise. But I love Elise because she adds that much-needed heavier tone to the cast. Her brief but scene-stealing lines in "Aratanaru" proved that notion. You could easily recognize her voice amidst the chorus. If you think the short MV version (the actual first 1:20 minutes) that you see above already sounds amazing, just wait till you hear the middle part of this song. It slowed down, with various strings gently swayed you to enter another realm. Then it went FULL OPERA, with a piercing vocal work that would send nothing but genuine shivers to your soul! Goosebumps. All the time. The music had clear influences of Wagner's compositions, and those who are at least aware of classical music (or have seen "ClassicaLoid Season 2" Hahaha) would probably notice that almost immediately. Song of Valkyrie, anyone? Because of that, Kouhei-sensei personally did the arrangement for this number, seeing that it required a full-blown orchestra ensemble. Sensei showed the first part of the music sheets during one of the Teigeki Report, and I had a feeling it must've blown away everyone who saw it. I mean, Seijuurou Kamiyama's VA Youhei Azakami was literally jaw-dropped. He also revealed that Nana went above and beyond on that last high note, hitting it longer than she was supposed to, in time for the grand orchestra finish. Seriously, goosebumps. It is certainly one of the highlights of the album, and you DEFINITELY need to listen to this. Also, this is the only Kagekidan theme that I'm not sure can work as a group song. It IS still a Berlin Kagekidan song, proclaiming the might and power of the team that started it all. But can it be performed by a team of Hoshigumi? Dealing with that complicated lyrics by Shouko Fujibayashi ("...Schwarzer Stern, kurogane no hoshi..."), and fast-paced tempo will undoubtedly leave them breathless. Now I'm patiently counting the days to see Nana perform this in a live concert! Mindblown... PS: By the way, original Hanagumi's "Dream/Yume no 1 Pound" and Kanadegumi's "Enbukyoku, Kimi ni" came to mind when I tried to analyze this song. Presumably due to that middle part, which is true to Kouhei-sensei's style. You'll be hearing that magic touch of him again in some of the next tracks.

Next: the curtain rises for the Shin Hanagumi ladies!

Video is available on SEGA Official Youtube Channel. "Shin Sakura Taisen" is produced by SEGA, and RED Entertainment. Credits and copyrights belong to their respective owners.