GO TO YOUR HAPPY PLACE.
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.
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.
Well…THAT was unexpected!
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).
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
Opening Theme: “X.U.” performed by SawanoHiroyuki[nZk]:Gemie
Ending Theme: “scaPEGoat” performed by SawanoHiroyuki[nZk]:Yosh
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.
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.
It’s a couple years old, and I’ve only watched the first two episodes, but Psycho-Pass‘s is as good an ED as any to close out the work week. The music is “The Monster With No Name” (名前のない怪物 Namae no Nai Kaibutsu) by Egoist.
Let’s face it: Rail Wars! isn’t going to win any awards for its script, animation, or character development, and it’s probably going to remain near the bottom of the Big Board for the rest of the Summer. But I still like it, and when it’s firing on all cylinders, it has great bodacious energy to it.
That energy is exemplified in both its rockin’ OP and more EDM ED. Like another good ED from a middling show (Nobunaga the Fool), it employs a hint of dubstep but never gets too annoying, and the ED’s visuals, with some nice faux-3D animation effects and lens flares, aren’t bad at all. For the record, the closing theme is “OVERDRIVER” by ZAQ.
We’re starting with an ending this week, namely the very good new ending to Aldnoah.Zero. While the visuals are basically a pretty slideshow, the song “aLIEz”, composed by Sawano Hiroyuki got us super pumped-up for whatever happens in episode five and beyond.
It was a nice callback to the theme that played in the episode when Inaho & Co. were ready to take care of business fighting off Vlad. It also reminded us a bit of the Kill la Kill song “Before My Body Is Dry.”