#mostly J-rock/anisong

[suosteacup]

when u get this, list 5 songs u like to listen to, publish. then, send this ask to 10 of your favorite followers or moots (positivity is cool) 💖

Oooooohhh okay~

Gonna add some more (for good measure):

[translationandbetrayals]

Satoru Kosaki: a Modern Anime Composer

fading memories

I don’t remember the first time I listened to a Satoru Kosaki composition. I think it might have been in Youtube, probably in a Loquendo or anime related video, and I know for sure that it was before watching any of the anime he actually scored. Nonetheless, I am also sure that I was impacted by them as soon as I became familiar with any of those themes, which wasn’t really hard considering how recurrent they were within the anime and early video-making community. I’m talking 2008-to-2012 kind of old.

The tracks were immediately recognizable and memorable, and while I wasn’t even initially aware they came from anime (I, for some reason, assumed they were public domain compositions, perhaps because of their repeated use), for better or worse, I ended up growing to like them, as funny and engaging. So that was effective.

I would later realize most of the themes I ended up accustomed to came from one source: the Lucky Star soundtrack, plus some of the Haruhi OSTs that might have been used too. Lucky Star is, if someone happens to not know about it, a comedy anime, which aims for mostly a familiar, comfortable ambience that I think gets captured perfectly in its OST. In fact, I think few OSTs come even close to the specific area Lucky Star’s so successfully hits.

Perhaps the exception could be the Azumanga Daioh OST, which might have been an influence based on the fact both works had the same music production company, Lantis, and that the very style of Lucky Star is quite similar as Azumanga’s, even adaptation wise, as both are 4-koma adapted as full-time weekly television slots.

lucky cool star

Now I’ve been talking about Satoru Kosaki scoring work. It is popular and good enough and as I said his work in Lucky Star is longstanding. But if you’re anywhere familiar with Lucky Star as a show you might be wondering about another thing. Who composed that motherflippin’ crazy OP theme? Was it Kosaki? Well yes it was.

There’s also some comparison to Azumanga Daioh, in that it presents a similarly crazed tune, but it also goes nuts in a different direction to Azumanga’s Soramimi Cake. While Soramimi Cake has an olden soul, closer to a folksy euro-japo mesh with nonsensical lyrics (think yodeling+enka), Motteke! Sailor Fuku sounds more like a cocaine driven hardcore edm moe hip-hop meltdown. Now this sounds more like a song that will revolutionize the industry and become a blueprint for following modern anime songs to come. And so it was, basically. After Lucky Star, everyone wanted to have their own deranged cutesy anime themes. And so you can blame Kosaki for your Umaru-chans, Nyarukos, Go! Go! Maniacs, etc.

Something that must be stressed about Kosaki’s theme for Lucky Star is that, on top of being so amazingly crazy and addictive, it was good music too. It was very well arranged and composed, and you should be thankful that he decided to bless us with equally amazing music, and even mentored or accompanied fellow artists that took on a similar approach to anime compositions. And that’s how MONACA enters the picture, as an active music collective of which Kosaki is part, that has had a hand, either by its members, or together as a group, in some of the most remarkable musical productions of recent times, even outside anime. (And like half of these are Hidekazu Tanaka’s... should I make a post about him?)

MONACA! with Kosaki at the middle-left

One of the most defining features of Kosaki’s work is his versatility. I have mostly talked about the Lucky Star music, but that should not be taken as his only reference. He’s able to manage climactic action just as well as the comfortable and funny.

Broadcast episode 12, Live Alive, is to me the actual climax of the Melancholy of Haruhi Suzumiya. I don’t know if the same effect would’ve been accomplished without its signature insert song, now one of the most popular anisongs ever: God Knows, sung by Aya Hirano, who voices Haruhi in the show. It is likely you have listened to God Knows before, after all, it was at one time the most viewed anime related song in Youtube, and its popularity has gone way beyond the -admittedly already popular- source material.

god knows this is good

And this versatility affects not only the scope of his dramatic sensibilities, but also the stylistic elements of his work, which takes on a variety of musical genres. And that is just evident by looking at his anime song work, which even outside of the Lucky Star fusion finds moe-sung ska-punk, soviet-inspired funky metal mashups, hip-hop crossover anthems, PLATINUM DISCO, borderline outsider music, avant-pop delusion, epic rocking tracks, some idol music masterpieces, and of course, classic, straight melancholic J-pop.

This variety in style becomes even clearer when looking at his OST work, which tends to be wildly eclectic, either by his MONACA collaborations (like the soundtracks to Kizumonogatari, Beastars, or the Disappearance of Haruhi Suzumiya movie), or simply by virtue of his own character, in the various projects he scored individually (such as the aforementioned Haruhi and Lucky Star, or Bakemonogatari).

For example, the Kizumonogatari tracks which he composed include funny elevator jazz, french-spoken bossa, suspenseful ambient music, and sentimental, classical inspired stuff. I also really enjoy the Beastars work he’s done and I take it as proof he hasn’t gone stale, quite the opposite. He seems way more confident now in approaching different, out-there styles and arrangements, while also portraying a somewhat amusing maturity: he sounds to me a lot more like the Kuricorder Pops Orchestra or Oranges & Lemons, through the now classic Kosaki trademark nonetheless. And it’s probably because of his established success that he’s able to indulge in such styles now, while still maintaining his high profile as a popular music composer.

kiss-shot acerola-orion heart-under-blade

Even if you are not very well versed in anime, or even if you don’t like anime at all, but partake in current youth culture, it’s most likely that you’ve heard something made by him. Be it by memes referencing Kosaki’s past works, by the liberal use of his music to accompany mid-level internet content, or by his presence as a composer in some of the most successful and far-reaching anime today, such as Beastars and the Monogatari Series, his work has its footprints all around popular media. And I’m thankful that it happened this way, as he ended up enriching something I dearly know and love: the modern anime music industry.

our lord speaking

Salvador González Turrientes

Sources and recommended additional material:

A summary of Kosaki's first of many appearances in Anisong Station 

His second appearance in Anisong Station, in which he talks about Lucky Star 

Another Anisong Station episode, featuring Lantis founder Shunji Inoue 

Satoru Kosaki’s VGMdb entry, which credits -in English- most of his video game and anime music appearances

The Wikipedia article, duh

The official Monaca profile list, including an archive of his body of work (in Japanese)

[recentanimenews]

An Interview with Singer Mashiro Ayano!

Mashiro Ayano was on site at Anime Expo 2017 after her performance in the Anisong World Matsuri concert. Her popularity has exploded among anime fans around the globe for her love of anime and her hit singles that have been used as theme songs for a number of anime including Fate/stay night: Unlimited Blade Works, Gunslinger Stratos, D.Gray-Man Hallow, and Re:Creators. Miles Thomas had the opportunity to ask Ayano a few questions about her music, traveling abroad, and, of course, anime.

Miles Thomas: It’s so nice to meet you. Crunchyroll is the number one anime site in most of the world outside of Japan. I’m very happy to be able to talk to you today so I could share your words with all our fans.

Mashiro Ayano: Thank you very much.

You are very popular with our users.

Is that so? *Laughs* You’re a little red right now.

Oh, I’m always like that...

So you grew up in Hokkaido. How did that influence the way that you make music?

I still live in Hokkaido. Whenever I go to Tokyo or America or any countries overseas, I feel how wonderful my hometown is and sometimes I write down some lyrics and try to deliver those feelings during my living showings.

I want to ask a personal question. Hokkaido is a very agricultural place. I also grew up in a very agricultural part of my country. Did you ever have interest in that world of agriculture?

No, I’ve always wanted to be a singer, but the place I was born and raised has many amazing vegetables. Really fresh and very tasty. My favorites are celery and shiso!

Who are your favorite singers to listen to?

I like L'Arc-en-Ciel. I’ve been a fan of them since I was a kid. I’m always sifting through their performances thinking maybe I can learn something I can take to the stage. I respect them very much.

Did you find out about L'Arc-en-Ciel through anime?

The way I discovered L'Arc-en-Ciel was through a TV show, but not anime. Since their music is very melodious and beautiful I feel like that has something to do with anime as well.

I find that so interesting. Here in America it’s very hard to find new J-rock or J-pop artists without anime. Anime is usually the first opportunity we have to hear them.

I agree with you. It might be hard to dig into that kind of niche market. There are TV shows in Japan that cover older genre music but I guess it’s not really distributed the same way to a fan in the states.

When did you realize you wanted to become a singer?

I guess there were two points in my life. The first was when I was really, really young. I was tiny. This was back when I didn’t really remember too much. I grew up in the countryside of Japan and really enjoyed a TV show with those artists and had this childish dream like “I wanna be like that!” That’s the first point that I had the vague thought.

What solidified it was in High School when I watched Fate/Zero and the theme song really touched me and made me feel like I wanted to become an anime song singer. Around the same time it was becoming a big phenomenon in Japan, so that was great timing for me. Since then, I’ve been trying to be that kind of singer, but I also like listening to J-rock like Visual K.

You wanted to get into singing anime music, but what anime do you like to watch the most? What’s your favorite series?

I have a lot of favorites but my absolute favorite is Puella Magi Madoka Magica. Not only are the characters really cute but also it describes the girl's emotional aspect in depth and the darkness deep inside their hearts. It was portrayed really well. I was really moved! I was so into the anime and I watched the movies as well!

Your outfits on stage are very stunning and unique. How involved are you with your own stage fashion and how important is that to your performance?

Each song I perform has a theme color which acts as the foundation for how I dress. From there I talk with the designer about the details and shape of the dress, the silhouette and lines during a stage performance. We repeat many fittings. I personally like chokers and shiny neck link stuff so those affect my choices for the selection. Nice outfits definitely affect my motivation on the stage.

What do you like to do in your time off while you’re touring?

In general, I like to go shopping by myself or watch a movie. The very first CD I bought with money from chores was the theme song for Gundam. I think it might be a rare thing for girls in Japan to like that kind of thing since it’s mostly boys that enjoy it. I enjoy crafting and creating things so I actually like building models by myself and sometimes I feel the urge to watch more Gundam.

My fiancée introduced me to Gundam and bought us a Gunpla to build together, so I think that’s really special.

That’s wonderful!

Is there anything you’re looking forward to eating or seeing while you’re here in America?

This is my second time in the States. The first time it was really hot out and I went to Santa Monica beach and got all the basic tours here and there. When it comes to food it’s been kind of difficult to go on an adventure due to scheduling. I want to go on more food adventures! Especially for a hamburger!

Your popularity exploded in the past few years. You’ve performed and are loved all around the world. What is it like having fans in so many different countries?

I never imagined when I became a singer that I would become famous all over the world. I got my passport after I became a singer so I didn’t know what the world was like. Whenever I go outside Japan, I feel like Japanese culture has really spread across the world. I’m really grateful that I can feel during my performances and personal interactions. It’s so much fun enjoying these experiences and there’s still so many other places to go, even in the United States, to meet my fans through music and anime!

Is there any message you want to give your fans in the places you haven’t visited yet?

I’ve done a lot activities in Japan between touring and live shows, including a monthly live show, but I would like to do a solo show tour in the States or other places overseas. I want to polish my skills and show my performances to fans I haven’t met yet. I’d like to be able to tell fans in those places “please come see me then.”

You’re very ambitious. That’s a wonderful goal. My last question. Since Madoka is your favorite anime, if you were offered a contract to become a magical girl, would you take it?

Eh... Probably.

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Peter Fobian is an Associate Features Editor for Crunchyroll and author of Monthly Mangaka Spotlight. You can follow him on Twitter @PeterFobian.

By: news+feed@crunchyroll.com