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almostyours · 4 months ago

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DO • RE • MI • Æ ド • レ • ミ • Æ is the debut japanese album by the south korean trio hiræth, released on july 24, 2021. following their initial japanese showcase on their first tour and the commercial success of HOMURA that served as a theme song to KIMETSU NO YAIBA THE MOVIE: MUGEN TRAIN, MIGHTY DEVIL announced that the group would be "officially" debuting in japan with a creative but ambitious japanese release. the title track served as a promotional single for hiræth's collaboration with the renowned franchise SANRIO, with each member representing three of its most emblematic characters: MY MELODY, KUROMI, and CINNAMOROLL.

the era consisted of two music videos, a month-length tour through japan named after the album, pop-up stores and two cds, titled PHASE ONE and PHASE TWO, featuring a total of twenty tracks, although four hidden track were later revealed on the physical version of PHASE TWO.

PHASE ONE includes ten original tracks by the trio, such as the title track AITAI ☆ TAI and KIMETSU NO YAIBA: MUGEN TRAIN’s HOMURA. PHASE TWO contains ten covers of the members' favorite songs from iconic animes, including tracks from NEON GENESIS EVANGELION, FULLMETAL ALCHEMIST: BROTHERHOOD, PUELLA MAGI MADOKA MAGICA, and more. physical copies on PHASE TWO included four more additional tracks: three of which are solo covers, and a cover of KIMETSU NO YAIBA’s GURENGE. this cover has been highly anticipated since its performance at a fan convention in 2019. despite the impromptu and silly nature of the performance, it has remained popular among fans and casual listeners, even catching the attention of the anime's production team.

from its inception, this project was considered incredibly ambitious, requiring extensive preparations to legally license the covers and more. additionally, navigating the reactions of anime fans added another layer of complexity. neither the members nor their company anticipated the overwhelming commercial success it achieved. this debut is now hailed as one of the most ambitious, but successful japanese debuts from an act outside of japan.

★ . CD 1. PHASE ONE.

会いたい ☆ たい・ AITAI ☆ TAI, title track

地下・ UNDERGROUND, promoted b-side

COSMIC LOVE

星間飛行・ SEIKAN HIKOU (kaia’s solo)

DISCOTHEQUE (poppy’s solo)

怪物・ MONSTER (yvan’s solo)

LOVE GENERATION

ADAMAS

炎・ HOMURA from kimetsu no yaiba: mugen train

VEIL

★ . CD 2. PHASE TWO.

THE CRUEL ANGEL’S THESIS from neon genesis evangelion

CONNECT from puella magi madoka magica

シルエット・ SILHOUETTE from naruto shippuden

AGAIN from fullmetal alchemist: brotherhood

INFERNO from fire force

エヴリハート・ EVERY HEART from inuyasha

LET IT OUT from fullmetal alchemist: brotherhood

LOST MY MUSIC from haruhi suzumiya no yuutsu

STARMAKER from boku no hero

STYLE from soul eater

★ . CD 2. PHASE TWO, PHYSICAL ONLY.

LOVERS from naruto shippuden (kaia’s solo)

SENTIMENTAL from fullmetal alchemist: brotherhood (poppy’s solo)

CROSSING FIELD from sword art online (yvan’s solo)

紅蓮華・ GURENGE from kimetsu no yaiba

★ . A LOOK INTO PRODUCTION.

the preparations and development for this album and era were, to put it mildly, intimidating. their creative director and manager, VIVI YOO, came up with the idea of releasing a full album with solo tracks to introduce hiræth to the japanese market in a way similar to their official debut in south korea. shortly after, she proposed releasing covers of iconic anime songs. these unconventional ideas initially raised eyebrows, but they soon began to take shape and generate excitement for the release of the album.

UNDERGROUND was initially slated to be the title track of the album, but when the collaboration with SANRIO was being discussed, AITAI ☆ TAI was chosen instead. as a result, UNDERGROUND became a promoted b-side, which ended up being far more popular than the actual title track. this song is frequently mentioned by fans as one of the best japanese tracks from a k-pop group, with its choreography still being loved and talked about to this day.

when their label announced in an article that their japanese full album would include a second cd filled with covers of iconic anime songs, it garnered a lot of attention, both positive and negative.

now you may wonder, is that even legal? of course it is! their covers are legally licensed for distribution, with the original artists and composers receiving a percentage of each sale and stream. these songs don't sound 100% identical to the originals because they decided to start production from scratch. however, some of the original musicians contributed to their version. inspired by amalee’s anime cover albums.

there was one condition to releasing those covers, though: they had to be kept exclusive to japan. international fans couldn't access them unless someone bought the physical album, which caused sales to skyrocket when this was discovered. the songs are likely on youtube, and someone probably has a spotify podcast with all the covers, so it’s not like it matters anyway!

the album consists of two versions:

the first version is the ANGEL ☆ PHASE version, featuring a hardcover photobook with pictures similar to joy's hello and yves' loop. it includes various items such as a random letter to fans in japanese, stickers, a random sænrio-themed pc holder, a poster, two postcards, three photocards, and a papercraft kit to create either my melody, kuromi, or cinnamoroll.

the second is the ÆNGEL ☆ PHASE version, featuring a hardcover photobook with pictures similar to lesserafim's perfect night. it includes the same items as the other version except for the sanrio-themed inclusions. instead, it includes small plush angel wing clips, similar but way smaller to the mechanical ones worn in the concept pictures and the promoted b-side, UNDERGROUND.

★ . A LOOK INTO HIRÆTH X SANRIO.

a collaboration with SANRIO was already being discussed even before the era began. they decided it would be a smart strategy to release the song alongside the album to generate more hype and attention for their debut in japan.

the collaboration with SANRIO, playfully stylized as sænrio for the limited edition merchandise, is similar to nct’s collaboration but instead it focuses on just three characters only. KAIA represented MY MELODY, POPPY represented KUROMI, and YVAN represented CINNAMOROLL. their collaboration featured two pop-up stores in seoul, tokyo and kyoto called the SÆNRIO MARKET, offering exclusive merchandise such as notebooks, stationery sets, uchiwa and lightstick covers, pajama sets, head bands, tote bags, pc holders, plush toys of the members in sanrio style in various sizes, keychains, t-shirts, and more. they also sold savory snacks and delicious drinks.

the characters appeared in the ANGEL ☆ PHASE photobook and in the music video for AITAI ☆ TAI, in scenes alongside the members who represent them, enhancing the song's whimsical and fun feel.

★ . A LOOK INTO AITAI ☆ TAI.

AITAI ☆ TAI served not only as the title track of the DO • RE • MI • Æ era, but also as the song to promote the collaboration between hiræth and SANRIO. the music video is a vibrant and colorful visual experience that complements the song's energetic and upbeat nature. it features various special effects, such as colorful animations, graphics, and the iconic characters MY MELODY, KUROMI, and CINNAMOROLL.

while AITAI ☆ TAI doesn't contribute to the æverse plot-wise, it includes many easter eggs related to the current lore, such as outfits from the ængels of the season era, representations of their colors, fruits, and animals, hidden references to the member’s solo debut, and more. the music video presents hiræth's lore in a fun and accessible way to a new audience.

AITAI ☆ TAI is a celebration of fun, energy, and the unique personalities of the members and SANRIO characters, making it a joyful and visually stimulating experience for viewers. music video inspired by loona’s hula hoop.

★ . A LOOK INTO UNDERGROUND.

as a promoted b-side filmed in tokyo in between promotions, UNDERGROUND's music video is a visually compelling representation of the song's energetic and rebellious spirit, with a strong focus on urban culture and personal expression. the video features dark, moody lighting contrasted with bright neon signs, creating a gritty yet vibrant atmosphere. the fast-paced editing, with quick cuts and transitions, matches the rhythm and intensity of the music.

scenes depict the members navigating through various underground locations like subway tunnels, graffiti-covered alleys, and industrial spaces through mirrors, hinting at a parallel world and emphasizing themes of rebellion, freedom, and self-expression.

angels have theorized that the video starts in CELESTIA, where the members appear tidy, perfect and otherwordly compared to the humans around them, ready to repeat their cycle as flawless angels but yearning for a change. the journey then shifts to TERRA MEDIA and TERRA where it seems that they are free, with underground dancing scenes set in the second plane, hinted at by brief glimpses of a sky with three moons in different phases, while the arcade scenes take place in TERRA, indicated by the crescent moon in the sky.

symbols like graffiti art, pentagrams, chains, and underground trains throughout the video emphasize the struggle and resilience of CELESTIA's doctrine. the ængels of the seasons seem to be on a journey, seeking something or trying to escape from something, but also enjoying their time in foreign cycle.

★ . A LOOK INTO THE ERA.

🌀 you will pretend the songs originally sung by men are sung by women 🌀

it was an incredibly fun era for everyone involved, despite being exhausting due to the extensive preparations and performances required to showcase the album and everything they prepared for it :D

it was fun, yes, but also very scary and intimidating, because what do you mean we are about to enter the japan market with a BANG? and to top if off with some sounds we’ve never tried before?! we are going to flop! what goes on in VIVI’s head?! nothing but ambition and a dream, it seems… but everything turned out well at the end of the day.

this album release was so big it actually costed some good amount of money because of the licenses fees they had to pay. the members actually had to drop some from their own purse because not only they really wanted to sing their favorite songs, but they also believed in not only themselves, but VIVI’s vision, who also invested a lot into the project.

the girls don't typically perform their japanese songs outside japan (though there are exceptions 🙈 be their favorite date tour and they will spoil you!), causing envy among fans who have attended the tour and future dates in japan. these concerts are just… so fun… and with most of the album being instrument heavy, it gives their performances a different vibe compared to their usual shows.

this era was the one that made POPPY salivate at the idea of a rock concept for the group because she realized during recording how well they fit the sound and how fun it was to perform them! unfortunately, miss VIVI hasn't heard her out just yet. 😔

the girls each have two solos on this album: one original song and one cover. their original songs feature special performances during the tour, while the covers usually involve just them and the rock band, hyping up the concert attendees. YVAN and POPPY's performances are typically the most energetic and the ones everyone talks about after a concert. however, KAIA's performances are considered a true gem and are the most acclaimed in japan, where she is affectionately known as THE PRINCESS OF JAPAN.

from PHASE ONE, angels’ favorite tracks are UNDERGROUND, COSMIC LOVE, and VEIL. from PHASE TWO, it’s THE CRUEL ANGEL’S THESIS, INFERNO and LOST MY MUSIC. angels’ agree that YVAN had the best solos out of the three.

ADAMAS was a track that initially didn't resonate with angels as it completely diverged from the group's sound. they were even accused of "trying too hard". however, their perception of it changed dramatically after the first live performance of it. angels now consider the song and its live renditions to be life-changing experiences, highlighting hiræth's remarkable duality.

KAIA was involved in most of the songwriting, and both YVAN and POPPY gained attention for playing instruments in their original songs: POPPY was credited as the guitarist for VEIL, while YVAN was the pianist for LOVE GENERATION. they play these instruments whenever they perform these songs on concert.

some of the concert dates had a special guest, which were usually the original singers or the actual musicians of the songs they’ve covered. soloist LiSA appeared on the last concert of the tour. (she and YVAN were having a loud af high note off! 🏃‍♂��)

KAIA was undoubtedly the face of this era. it marked her return to the japanese market as an idol based in south korea rather than her native country. it was an exhilarating, emotional, and tense time for her, evoking memories of her life before hiræth— a time when she felt unappreciated, both by her family and peers during her days as an AKB48 member. she often pondered this, but never had the courage to have a conversation with her parents. since then, she has wondered if they were ever proud of her accomplishments.

yet at the same time, she secretly hoped her parents (and her former AKB48 family) were seething, as her face and voice were now prominently featured across japan alongside her fellow members. #REVENGE

after the era and their japan tour concluded, KAIA posted a japan vlog on hiræth’s youtube channel, documenting their time together in her country. the video was heartwarming and delightful, perfectly showcasing their friendship and companionship. one memorable segment at an arcade unexpectedly went viral: they won a blender and were more excited about it than they had been about their first win.

although there weren’t any accidents, KAIA drew attention on some tour dates where she appeared exhausted. she explained that she was indeed just that— tired. this led to complaints from angels about their company’s refusal to let them rest, especially after YVAN was unable to participate in a variety show due to sickness a little after KAIA's statement.

TLDR. — a very fun but exhausting era. angels consider this one as one of their best eras. the album did pretty well in terms of charts, sales and views, but i’m not writing how they charted or how much they sold or how many views they got or whatever because i genuinely don’t care about any of that 😭 just know that they did stupid good! anime fans were freaks as always, but pretty women and enbies will always win. their SANRIO collaboration was so cute even non-fans got their hands on their merchandise. KAIA was the face of this era and received plenty of lines on the album. this album made HOMURA move a bit up the charts again. each member has their assigned SANRIO character forever. angels keep saying that UNDERGROUND should have been the title track instead of AITAI ☆ TAI. their japan tour was successful and very talked about, causing their label to release a limited edition dvd and special photobook based on their sold-out tokyo dome concert. and they left japan with a BLENDER!

★ . A LOOK INTO THE PAST & FUTURE.

‘19. they had just debuted and were performing at their fancons. during one of these events, a fan gifted each member a haori from the popular anime KIMETSU NO YAIBA, a series that both KAIA and POPPY are fans of since the release of the manga, and even convinced YVAN to watch the first season with them. spontaneously, they decided to cover the anime's first opening song. the fan-taken video of their performance went viral, with many praising their cover and wishing for an official release. the cover even caught the attention of the anime’s production team and received approval from LiSA herself.

‘20. the year MUGEN TRAIN was going to be released, they were invited to contribute to the movie. they accepted and performed the song HOMURA as a requiem for the character kyojuro rengoku (and YVAN cried because what do you mean rengoku fucking dies?! 😭). this song won the grand prize at the 62nd JAPAN RECORD AWARDS in 2020 and the best theme song category at the 43rd ANIME GRAND PRIX. it debuted at number one on both the ORICON SINGLES CHART and JAPAN HOT 100 chart, charted at number 62 on the BILLBOARD GLOBAL 200, and climbed to number 1 on the BILLBOARD GLOBAL EXCL. US chart.

’21. KAIA released the japanese single SCRAMBLE, a collaboration with the rock group UNSCANDAL, whom she used to listen to and look up to when she was younger. the song achieved immediate success in the japanese market.

‘22. POPPY performed FULLMETAL ALCHEMIST MOBILE’s theme song SPIRAL.

‘23. KAIA was revealed to be the japanese voice actress of NAVIA, character from GENSHIN IMPACT... with POPPY being the korean voice actress and YVAN the chinese one.

‘24. hiræth composed and performed the song WILL that served as the third opening theme song for the anime POKEMON HORIZONS: THE SERIES.

#glasshouseinc #ficnetfairy #fictional kpop idol #fake kpop group #kpop oc #kpop au #fictional idol community #fictional idol group #idol oc #fictional oc community #fictional idol oc #⸺ ＃ æ. ❯ discography.#no styling section again bc i hit 30 pics lawl!#q.#yall see why i said i was doing a little bit too much for this? :sob: im rlly happy with it tho.

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