Mimimeme MIMI – Kimi no Heroine ni naritakute

Kimi no Heroine ni naritakute is the second full-length album from the singer/voice actress Takao Yuki’s mimimeme MIMI project (also featuring illustrator chamoi). Takao writes, composes and sings all the songs but usually gets someone else in to arrange. Those ‘someones’ on this album are really quite spectacular; take a look below (note: Takao is credited as Yuka):


1. Shiroi Tori
Lyrics & Music: Yuka, Arrangement: fhána

2. Harebare Fanfare
Lyrics & Music: Yuka, Arrangement: CHRYSANTHEMUM BRIDGE

3. 1/2bunko
Lyrics & Music: Yuka, Arrangement: kz

4. 1,2 Shojo
Lyrics & Music: Yuka, Arrangement: Yashikin

5. Soutaisei Replica (Album ver)
Lyrics: Yuka, Lyrics, Music & Arrangement: Mafumafu

6. Chachacha
Lyrics & Music: Yuka, Arrangement: CHRYSANTHEMUM BRIDGE

Lyrics & Music: Yuka, Arrangement: ARCHITECT

8. 1 Metre
Lyrics & Music: Yuka, Arrangement: Yanagino Yuko

9. Tentekomai
Lyrics & Music: Yuka, Arrangement: Noma Kosuke

10. Chocolate Kakumei
Lyrics & Music: Yuka, Arrangement: Oishi Masayoshi

11. Takaramono
Lyrics & Music: Yuka, Arrangement: PRIMAGIC

12. Aoi Tori
Lyrics & Music: Yuka, Arrangement: fhána

Most of those names will be pretty familiar – obviously fhána (Takao X fhána interview here), Oishi Masayoshi and kz of Livetune; then there’s utaite such as Mafumafu, Noma Kosuke of agehasprings who’s written/arranged/played for the likes of Johnny’s groups, Aimer and Ikimonogakari, the CHRYSANTHEMUM BRIDGE team who’ve produced for SEKAI NO OWARI and Q-MHz.

Of course arrangers are there to ‘enhance’ and it’s pointless having the world’s greatest arrangement if the base song sucks but that is not the case for Takao. She really does have a good ear for melody and it’s pretty telling that more than half of Kimi no Heroine ni naritakute was already previously released either on singles or digitally – that makes the album a strong collection of songs, though perhaps not providing for a very cohesive listen overall. Still, one of the better anisong albums of 2016 thus far…can I perhaps cheat and tag this as a seiyuu album? [Oh well, I tried]

PS. I think Harebare Fanfare, probably the most well-known song, is actually the worst track on the album….remember to check out the group’s videos since the visual side is a very important part of their concept!


Annabel – warehouse 160814 + slow light, slow glass

Annabel’s been one busy lady in 2016 – she’s turned her backing band into a proper group: siraph, got back together with the rest of binaria to celebrate their 10th year anniversary with a string of releases and lives and only now has got around to putting out her solo doujin stuff.

warehouse 160814 is a 2-track single that was sold at Summer Comiket and features a pair of covers of songs by frequent collaborator Taguchi Shoichi’s Kansho Vector project. Taguchi also produces Annabel’s latest EP slow light, slow grass alongside electronica musician Q flavor – that went on sale at Comitia 117 mid-August.

Annabel’s recordings for Lantis are generally catchy and geared to fit into the anisong genre while her doujin work is at the opposite end of the spectrum. Years of collaborating with bermei.inazawa, bassy, Taguchi, yanaginagi and the guys from school food punishment & haisuinonasa have honed Annabel’s taste for the leftfield and on slow light, slow glass she once again eschews melody for experimental soundscapes and irregular time signatures. Check out the xfade above for samples!

Re-lifing (teenage) LIFE

I recently finished watching the TV anime adaptation of popular webtoon ReLIFE, which is a great show for us late 20s/early 30s who are currently failing at life and wish for a chance to redo a certain phase of our lives ^^; Personally I’d choose to redo my university days but…yeah, anyway.

For me, the most wonderful thing about ReLIFE was the ending theme collection. (Fictitiously) Filled with tracks that the main character Kaizaki Arata listened to via his MDs during his high school days, the disc evoked many fond memories for me. Many were songs I too, listened to in my senior year of high school when I was discovering Jpop for myself (of course, not on MD).

Tracklist for ReLIFE ED themes as below:

01: E-10★Rider by Okuda Tamio (1996)
02: HOT LIMIT by T.M.Revolution (1998)
03: Timing by Black Biscuits (1998)
04: HONEY by L’Arc~en~Ciel (1998)
05: Kore ga Watashi no Ikiru Michi by PUFFY (1996)
06: Sunny Day Sunday by Sentimental Bus (1999)
07: Saudade by Porno Graffiti (2000)
08: Yuki no Hana by  Nakashima Mika (2003)
09: There will be love there -Ai no Aru Basho- by the brilliant green (1998)
10: Asu e no Tobira by I WiSH (2003)
12: Natsu Matsuri by Whiteberry (2000)

So if I could make my own MD with 12 songs not on that list, my choices would be:

01: Automatic by Utada Hikaru (1998)
02: Haru ~spring~ by Hysteric Blue (1999)
03: I LOVE YOU by Ozaki Yutaka (1983, released as single in 1991)
04: Kita Sakaba by Hosokawa Takashi (1983)
05: Dasenai Tegami by V6 (2001)
06: Time goes by by Every Little Thing (1998)
07: Robinson by Spitz (1995)
08: I will be with you by Love Psychedelico (2001)
09: Swallowtail Butterfly ~Ai no Uta by YEN TOWN BAND (1996)
10: Tomorrow never knows by Mr.Children (1994)
11: Tooku made… by Do As Infinity (2001)
12: IS IT YOU? by Hitomi (2001)

Most of those were amongst my earliest introductions to Jpop, anything that came after 2000 meant I was listening to them as they hit the charts. And yeah, I did like a bit of enka thanks to my mum checking out some of that stuff on NHK back then….

So many songs I was in a dilemma over whether to keep or omit, from the likes of ZONE’s Secret Base to B’z to Your Eyes Only to DCT to Fukuyama Masaharu to RIP SLYME…ahhhh the nostalgia…