Weekly ED: “Wa-Cycle”

“Wa-Cycle” by Itoki Hana

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Weekly ED: “More One Night”

We began the week with a duet by Minase Inori and Kubo Yurika; might as well close with one too, eh?

This number is arguably even more catchy than the OP, as long as you’re on board with the inherent cutesiness the vocalist bring to the table. For some reason I love what I’d describe as their “bored harmonization” inserted throughout the song.

This song is called “More One Night”, which sounds like it should be “One More Night”, but isn’t.

In a nice touch, the black-and-white visuals are hand-drawn by the source’s mangaka herself, one Tsukumizu.

Weekly ED: “Keshin no Kemono”

Is it Friday already? You know it is (unless you’re in a different timezone and it’s already Saturday).

In any case, here’s one of the many catchy ending themes we’ve been treated to this Fall. Like Fate/Zero, we see the various warriors in their “regular lives” before entering the Zodiac War.

It’s set to a song called “Keshin no Kemono” (“化身の獣” directly translated as “Beast Incarnate”) by a group called Do As Infinity, featuring tight, precise instrumentation and some nice crisp vocals that are allowed to shine with few effects; just a light reverb.

When it first starts, I feel like I’m getting ready to play Sonic CD!

Enjoy the weekend, everybody.

ED of the Week – ReLIFE 12 – “Summer Festival”

The summer I spent with you, is like a faraway dream
the fireworks display that disappeared into the sky

That’s pretty much the perfect refrain for ReLIFE, which ends with Hishiro likening Kaizaki to those vanishing fireworks, in addition to decribing similar moments between Kariu and Oga. I can see why the producers dusted off a sixteen-year-old single to bridge the gap between the 12th and 13th episodes.

Also, Whiteberry is singing about a Summer festival, so of course they’re donning yukata while playing. How badass is that?

DISCLAIMER: RABUJOI is not responsible for any ear bleeding caused by this song.

Here’s a more contemporary version of the song, covered by the vocaloid Hatsune Miku (based on the voice of Fujita Saki, AKA Inami from Working!!).

This version was used in the ED of Watamote Episode 6, but I never watched that show:

I like both, but I think the original has more charm.

Weekly ED: Sakurako-san no Ashimoto ni wa Shitai ga Umatteiru

Happy Friday! Why not chill out with the ending theme to Beautiful Bones, a soothing, ethereal little number called “Uchiyoserareta Boukyaku no Zankyou ni” (打ち寄せられた忘却の残響に, no help from Google Translate: “The reverberation of heave are forgetting”) by TECHNOBOYS PULCRAFT GREEN-FUND, which is a wonderfully ridiculous name for a band any way you slice it.

Weekly ED – Taimadou Gakuen 35 Shiken Shoutai

Happy Friday. Now GET UP AND DANCE TO SOME ANTIMAGIC BEATS!

I love how this theme not only drops funky piano chords, but is also sung by Itou Kanako. She has a very distinctive, familiar voice, and when I looked her up I found out why: she sang the excellent opening theme to Steins;Gate. Her’s is a light, somewhat nasally voice that’s powerful and articulate without ever sounding strained.

The panning shots of the main six characters (only four of which we were formally introduced to in the first episode) are fine, but honestly this ED is all about the music; a sound that takes me back to fighting the LeBlanc Syndicate in FFX-2 (and yes, that’s a good thing).

Weekly OP & ED – Charlotte

P.A. Works kinda has a knack for great OPs and EDs as far as we’re concerned, from Canaan and Angel Beats to Nagi no Asukara. Good to see Charlotte keeping up that tradition with very good opening and closing sequences full of bittersweet longing and hope.

OP – “Bravely You” by Lia

ED – “The Wings that Won’t Be Burned Down” by Tada Aoi

Weekly ED: Ushinawareta Mirai wo Motomete

Waremete, AKA In Search of Lost Future, has proven to be a decent story of a plan to save one loved one but creating another instead, causing a ‘Temporal Love Triangle’ (sorry, but I love that term). As such, it’s full of missed or lost opportunities, cases of bad luck or bad timing, and other general longing and malaise. Yet for all of its tragedy, it’s a beautifully-executed show full of hope and love. Ugh, listen to me going on about it…

Anyway, I good way to sum up its story in musical form is to simply listen to the ending theme, an equally beautiful, earnest piece called “Ashita Mata Aeru yo ne” (明日また会えるよね;We’ll Meet Again Tomorrow, Right?), fittingly sung by Takada Hatsumi & Tomonaga Akane, who voice the lead girls Kaori and Yui, respectively.

This is the first of two arrangements of the song; frankly I kinda like the more subdued version, but couldn’t find any video of it. That version is also accompanied by a tightened-up version of the visuals, which even here in their rougher state are a neat concept: two-dimensional figures traveling in a world made of words.

Weekly Music: Parasyte: The Maxim

It took twenty-six years for the Kodansha manga Parasyte to get an anime, and its theme has a defiant “FINALLY” sound about it. I’m not talking about its opening theme (by Fear, and Loathing in Las Vegas) but its orchestral theme, composed by Sato Naoki. He also composed the music to Blood-C, and has a good ear for epic horror. The video above is an abridged version much like the one used for next episode previews, which give me goosebumps every time I see them.

The four-note leitmotif is generally associated with scenes of the parasytes doing parasyte shit, but also when things start getting intense for Shinichi, such as when he has to fight his former mother and Shimada, and when this music starts to rise, my adrenaline rises with it.

I want to say the chorus is singing something in Latin, but I haven’t been able to find anything about what they’re saying, in truth. Nevertheless, its music that lends the show a lot of its gravitas, and along with the D&B and dubstep pieces, make Parasyte’s one of the better soundtracks of the Fall.