(POLL) Yuki Kajiura tracks with MAKEOVERS (or multiple versions) (as of 2024)

grunty said:
Guess I should start catching up too.

week#Remix:

the world

Original is classic even with all its rec&mix warts. I can't even comment on it. XD​

Listening to "extra ver." today I quite enjoyed myself even if it's a v different mood for the first few minutes. The ending with guitar having a solo still feels a little weird to me but I quite like the violin not coming in after the 1st refrain and having the instrumental continue as is with the og beginning/ending vocalizing - it's quite striking when you're used to the og. If anyone had asked me, I definitely would've ditched the bridge/ending's "liminality" inserts & other vocal samples (though I guess those are there in the og too). XD​

+1 og, +1 extra ver.​

Kimi ga ita monogatari

Original is my version of choice. I never cared for the Dream Field mix and nothing's changed today. I could say I have an even greater dislike for it now after they denied me a potentially decent remaster of the original version on "See-Saw-Scene" Complete Best (going by how good "edge" turned out compared to its single master). The live drumming during the refrain doesn't work for me (surprisingly I am okay with it during the 1st verse). The extra guitars & bass don't work for me. I prefer the bridge solo in the og too. Iunno, the Dream Field mix feels a mess to me as if everyone was doing whatever they wanted to, whereas everything in the og soars together.​

+9999 og​

Life Goes On

The original is soooooo infectiously energetic/fun to me. Love how everything flows from one section to the next. The double bridge is wonderful. Mika's vocals are on point. The backing vocal arrangement is sweet. (I'm going to guess Kajiura was mostly responsible for vocal arrangements here & extra kb.)​

The bonus intros in tv-sizes type2 & 3 are both pretty good but I like type3 the most. Type2 is cool but seems like it's just reusing the bridge. At the end of the day though, the original's intro is perfectly fine and enough to me. XD​

I wish we knew who was responsible for those recently released digital singles for Gundam SEED/SEED Destiny. Maybe I'm in a good mood but I do feel they managed to successfully refresh those tracks without wreaking havoc with their remastering.​

As for the ReMix2013, the less I say, the better. Do not like. ;p I think I would've felt okay about the more stripped sound had they at least not chosen to process the vocals how they did. Bleh.​

+1 og (recent remaster too)​

oblivious

Oh boy. "oblivious" is not just one of my favorite Kalafina songs - it's one of my favorite Kajiura written&produced songs. Everything about it just clicks for me - Hanae's vocals. The bass & beat. Wakana's vocals. All the vocal arrangements. The tinkling guitar & synths. THE BASS. I love it so much that Wakana going off on the sustained "wasureta" before the last refrain does not even bother me. I pity anyone who gets to cover it during YKL eventually, lol. Soooo yea. +1​

Fukan fuukei mix is a weird one in that I absolutely adore parts of it... but mostly dislike how it flows as a whole.​
-> interrupting the "in the garden of sinners" intro with Hanae's vocals feels super forced to me;​
-> the buildup & new beat coming in for 1st verse are kickass BUT then the switch to 1st refrain feels like a cut back to the original version;​
-> the transition to the 2nd verse and the verse itself are sweet again;​
-> whoever came up with having the lalalas during a stripped refrain2 had a stroke of genius (I sometimes wonder if it would've worked better to have the 1st refrain be the lalala one and 2nd be the og sounding one);​
-> the new stripped bridge with Hanae's vocals (maybe a little too long) and then main theme strings with the beat coming in and then the entire first verse & refrain vocals over strings is fantastic (if maybe taking too long to get to the point);​
-> then that damn "in the garden of sinners" coming back on is complete BS to me - it just does not flow right to me;​
-> the remix does pick itself back up and is pretty cool until the end, particularly with the "itsuka... kimi to..." being used as background vocals to the refrain (though the whole thing didn't need to have that SFXish part at the end; or Hanae for that matter considering you already used them the same way in the bridge);​

+1 og, +1 parts of Fukan fuukei mix​

Kizuato

Love the og. Don't like the piano mix much today. I know it's mostly the same recording but the piano somehow makes everything feel super rushed.​

+1 og​
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Let's go!
 
Week 17

Sekai no Hate
(2003 "melody" / Saeko Chiba album)
Performance: Saeko Chiba
- Strong vocal from Saeko from the start. She sang the chorus with a strong, clear, straight voice.
- This is a song that Keiko can easily sing, in my opinion.

Sekai no Hate
(2023 "PARADE" / FictionJunction album)
Performance: FictionJunction feat. Aira Yuuki
- First of all, higher key for Aira (Kaori Keiko would have sang in the original key).
- Her voice is quite different from Saeko's: a bit more dynamic variation, vibrato, that cutesy/nasal effect, and use of breathiness, etc.
- The music was more acoustic using less electronic instrumentation. More live-feeling.

Winner: Even though "Parade" was the first time I heard the song, I was more moved by the original's presence, and Saeko's earnest and frontally-mixed voice.

fairytale
(2008 "fairytale" / Kalafina single)
Performance: Kalafina
Chorus: Yuriko Kaida, Hanae Tomaru
- One of the OG Kalafina classics.
- Wakana in her natural/original voice leading the melody. Keiko's verse 2 is one of my favorite leads from her (especially with the MV and her look/vibe). Also, with the echoes from the background voices ("omokage").
- Hikaru joined the fairy voices in the Kajiurago. That bridge with Wakana and Keiko trading lines is always a highlight and the beginning of their dual-duelling, in my view. Wakana pleading and Keiko calling. 🌹 🌹
- One of Kajiura's most fairy-like songs with the duo and Yuriko and Hanae doing the floaty thing. The ending Kajiurago really had a choral feel.
- This could have been a 2-person Kalafina (Wakana and Hikaru Keiko, light and dark) with the way the song was distributed.

fairytale～with strings ver.
(2016 Winter Acoustic "Kalafina with Strings" / Kalafina album)
Performance: Kalafina
- The main difference between both songs is the change in the lead vocalist - Wakana's - voice qualities and delivery, and the key change. I think the harmonies were also strong in this version.
- Prefer Keiko's solo in the original. More legato to my ears.
- I missed Yuriko and Hanae's Kajiurago and echoes. You miss the additional voices.
- Hikaru's low "sayonara" didn't have the required effect. She cut it short and it had a different effect; didn't linger.

Winner: The original is one of my favourites from early Kalafina. I respect the strings version (the original was mostly strings-supported) because of the strong vocals from the ladies. Wakana was mostly OK though strained a bit at some points. +1 Original. (In case I wasn't clear, Wakana's voice is preferable across her range in the original, and in the later version is strong in some parts and weaker/less connected or expressive in others).

moonlight melody
(2017 Princess Principal OST "Sound of Foggy London")
Performance: Dorothy (CV. You Taichi), Beatrice (CV. Akari Kageyama)
Vocal: Remi
Chorus: Yuriko Kaida
- What was that first voice (I assume Taichi)? An imitated child's voice. I would have thought it was a Vocaloid or something... I don't know how to feel about it. The second voice (Akari?) was more traditional and I liked it.
- In spite of the childlike voice, Yuriko was still soaring above it as expected.


moonlight melody
(2023 "PARADE" / FictionJunction album)
Performance: FictionJunction feat. KAORI/KEIKO/YURIKO KAIDA/Joelle
- A song I've liked since first hearing it in the Princess Principal live. Instrumentation is virtually identical.
- In my head canon, Yuriko was kinda singing as the same character child from the original, having grown up. I liked her YKL16 start to the song.
- Joelle coming in was like warm chocolate. So smooth and pleasant. And Kaori joining her was very much in sync.
- Four voices in the chorus is better than two.

Winner: Parade version, definitely. I mean, Joelle is there too!

Michiyuki
(2005 "Tsuki no Curse/Michiyuki" / Reika Okina/Kaori Hikita single)
Performance: Kaori Hikita
Chorus: Mami Ishizuka
- Kaori's voice is nice. I am hearing some inflections that Kaori Oda would later add in her version.
- I like the little tempo switch-up in the little jazzy breakdown after the first verse.
- I also liked the bridge section and the way the song was ended. Classy.

Michiyuki
(2009 "Everlasting Songs" / FictionJunction album)
Performance: FictionJunction
Vocal: KAORI
Chorus: YURIKO KAIDA, YUKI KAJIURA
- Kaori's voice is definitely preferable and more developed than Hikita's for me: power to spare.
- I liked the Kajiurago section in this version.

Winner: I liked the nice instrumental sections/arrangement in the original, though I prefer Kaori Oda's vocals. I would give it 50/50.

Hoseki
(2004 "Hoseki" / Marina Inoue single)
Performance: Marina Inoue
Vocal&Chorus: YURIKO KAIDA
- I liked the way her voice came in with the breathiness and dynamics. I like how her voice changes as she goes through her registers while singing. Yuriko was in an uncharacteristic extended low harmony position.
- You could definitely hear Nishikawa's love for distorted tones in his scratchy guitar solo.
- I wasn't a fan of how it ended in an open-ended way.

Hoseki
(2009 "Everlasting Songs" / FictionJunction album)
Performance: FictionJunction
Vocal: KEIKO
Chorus: KAORI, WAKANA, YURIKO KAIDA
- Keiko was the only one who had the vocal type and qualities to do the song justice. There are even some times that their voices sounded similar.
- Superior build-up and I'm already a fan of this from before. Better mixing.
- Bass doing it's work and it was more live. Koichi's solo, though also distorted, was more melodious than Nishikawa's.
- Loved how the chorus melody was played in the keyboard to end the song. Much better than the original.

Winner: FJ version definitely. Everything sounded more distinct, and I liked the clean guitar riff with the bass in the verses. I consider Marina and Keiko's vocal performances to be equivalent in impact, though with different qualities.
 
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week#17 aka the one when grunty is a hater

Sekai no Hate

I think FJ version starts decently but once the refrain hits, the vocals lose me. Sometimes Aira births every syllable in a way that's offputting to me. The instrumental itself is okay but at a certain point I always realize I'm missing the og's heartbeat-ish percussive synth A LOT and new strings aren't enough to make it up for me (nor do they feel like an upgrade on the lone cello of the og).​
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The original Saeko version is magical. I like the percussive synth. Arrangement is clean. Sometimes simple is best. I still think of this version as a precursor to FJ KEIKO's "Kaze no machi he", lol.​
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+1 Saeko​

fairytale

Easy. OG all the way. ;P​
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+1 og​

moonlight melody

Easy. Neither, lol. But more seriously - do I think the FJ ver is an improvement? Yes, the new instrumental recording & addition of flute is welcome, the new vocals are more enjoyable to me. Do I ever think "it's time for moonlight melody"? No, I really don't. The song really doesn't do much for me.​

Michiyuki

Easy. Both. The only minor issue I have with Kaori Hikita's version is the synth sounding choir in the bridge. Love love love the bridge in FJ ver (except that SFXish glass sound that unnecessarily appears at the end).​
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+1 Kaori Hikita, +1 FJ​

Hoseki

Easy. Og. Don't like the FJ instrumental and Keiko sounds way too overexcited in the refrains. The only thing FJ ver has going for it is the lack of a fadeout. xD​
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+9999 og Marina Inoue ver. Cossette foreva.​
 
I just came back to this thread and quickly read through every single post everyone has written since I left in week 2 (cough cough, my passion for Utawarerumono got rekindled) and I just want to say THANK YOU SO SO MUCH EVERYONE for everything, for keeping this thread alive and for sharing so many heartfelt thoughts on these songs. It was such a delicious emotional read and I teared up a few times because the nostalgia and your feelings were so vivid and resonated so strongly with me 😭😭😭😭...

I should probably join the discussion again but I'm currently working on the final touches of the YKL21 flower stand art (which I'll share soon! :D)...

Have a nice day all!!! Thank you again! :hearts:
 
Week 16

The World
The original is a classic for a reason, with great pacing throughout the entire track. To be honest, I don’t like the extra version nearly as much, which is strange because I usually like songs that lead-in with the vocals and then move to the other parts. But here it just sounds a bit disjointed, even if I like the guitar in the verses.

+1 OG

Kimi ga Ita Monogatari

That original Kajiurago intro is just perfect. I do listen to the remix a lot, just because I like re-listening to the Dream Field album every once in a while, but if you ask my preference, I would choose the original all the way. Even before I fell in love Chiaki’s voice, its melody just drew me in, and it’s just fun in every way.

+1 OG

Life Goes On

Man, that guitar riff really is one for the ages. This is one of those songs that always gets me fired up, so I do enjoy every version in some capacity. For the TV-Sizes, the first one is probably my favorite because it’s the most ‘rocker’ of the three, even if I do appreciate the intro of type-2. The Re-Tracks version feels a lot ‘cleaner’ in terms of mixing, but I miss the rough texture of the original recording. So that one’s my winner; you get the grit and the time to let it all sink in, and I love that.

(Also obligatory shout-out to Toki no Sabaku! Easily one of my favorite Kajiura tracks; it’s so underrated but Mika Arisaka’s voice just emotionally destroys me every time.)

+1 OG

Oblivious
The remix has always felt a bit meandering to me. Once again, the pacing gets a bit thrown off, and it doesn’t help that I have such fond memories of first listening to the original. I appreciate what Kajiura attempted to do with it, but in the end, the original wins out every time.

+1 OG

Kizuato

Both versions are gorgeous imo; I don’t want to come off as if I’m being too hard on the remixes, because there are a lot of choices I respect. But I miss the little flourishes of the original, which made it feel more ethereal to me. And to be honest, the atmosphere is the best part of Kizuato, so that’s a dealbreaker for me.

+1 OG

(Thank you so much to @MushiMushi for inspiring me to finally sit down and write down my thoughts. I’ve loved doing this every week, and even though my schedule’s slipped because life goes on *ahem*, it’s been so much fun to read everybody’s posts. I’ll try to do the same with Week 17 once I’ve got my thoughts together.

Also @CloisteredFlame I’ll link the Kaji Fes. version of Open Your Heart down below. I meant to do it earlier, so it’s probably redundant at this point, but here it is regardless.)

https://www.youtube.com/watch?v=MGXHHFLw-oM
 
week#18 aka the one when grunty loves everything but "ring your bell"

here we stand in the morning dew

The song is still soooo good. In both versions. On surface level this is a "Hoseki" situation where the updated version doesn't really do anything to be different from the original arrangement (outside of the intro here/outro there) - it's just different performances, flourishes & mix; but FJ's "here we stand in the morning dew" tickles this grunty much better than FJ's "Hoseki"... I'd pick FJ/Yuriko today as a stan but big fan of the song & vibe in both recordings.​
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+1 FJ, +1 Saeko​

ring your bell
​
Does anyone get a feeling like they took a HISTORIA-theme-song-type vocals & strings but had FBM play something more active? It's kind of bizarre. I truly gave it another go today, another fair shot. I just don't care for this pool of FBM&strings songs. This is not the one for grunty.​
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Listening today, in all honesty "with strings ver." is better for me since it gets rid of the FBM but I'm still not a fan of the song itself or vocals (they should've lowered it a few steps for H&W). Plus the sharp transition to the bridge is ass (does not flow from the refrain's buildup/climax at all to me), much like in the og.​
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+1 with strings ver. to be nice (but I wouldn't seek out either version on my own)​

Haruwayuku

The original song and its arrangement grew on me a lot over time. I really like it as a finale to [Heaven's Feel] and a throwback to "Hana no Uta" itself after "I beg you". It's both victorious and bittersweet.​
I think I always liked the harp, backing vocals, all the flourishes (not sure how I felt about the weird sounding ?cello? in the first verse but I'm used to it now and like it). The prechorus switchup & buildup with strings is really dang effective and flows really well from the verse into the refrain. The suspense of the understated opening of the first refrain coming in is actually amazing to me (at least listening today)... but then comes the bloat FBM&strings arrangement and I still think it kind of makes the song more pedestrian (though it did grow on me a LOT since the initial release). I don't particularly like the actual last few chords of the extended ending, but the de-escalation from bloat refrain to "Hana no Uta" reprise is quite amazing.​
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"the late spring ver." I don't quite like as a finale to [Heaven's Feel] but I really like it on its own (which I guess is the point - it is a standalone version). I think I would've liked them to hold back the cello until the second verse (or at least the refrain) but it's still great.​
The de-escalation in the ending isn't quite as effective as in the original but maybe that's expected with the refrain not being as bloated (or perhaps they could've ditched the sole cello during "anata no sobani iru"). Love the piano going higher during "anata to kokoni iru".​
Depending on the day I maybe even like it more than the og.​
​
Aimer sells the shit out of the song in both versions.​
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+1 the late spring ver., +1 og (grew on me a lot)​

PS. Shoutouts to Aimer's various live piano only versions of "Hana no Uta" (which I really wish was recorded officially 'cause to me it is superior to Kajiura's og FBM&strings bloat) and "Haruwayuku".
https://www.youtube.com/watch?v=N3-myeM_JTQ
https://www.youtube.com/watch?v=9g9M6YvZ3HM

Kimiga hikarini kaeteiku

So I'm in a bit of a pickle... we have a Kalafina(feat. Yuriko) version which I absolutely love and a WAKANA version which I also absolutely love but feel guilty about (due to the complete cut of KEIKO). xD​
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The original is much more hopeful which I feel works better for the song and the movie it's for. I love how KEIKO and WAKANA (and Yuriko) sound together. Love the piano intro and entire arrangement, even though it feels kind of messy at points (start of second verse).​
... but I'd be lying if I wasn't into the more melancholy/tragic feel of the acoustic version. And not just because of WAKANA's qualities - the acoustic version's arrangement hits you with the sad from the get go. And it works so well too. Flows great. Except for the sudden ending - leaves me in suspension just a little too much.​
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+1 original, +1 acoustic version​
 
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As of week#18, we completed going through my og list (with a few extra tracks here and there as I'd remembered them). Here's what's still left on the table for the future:
- shinkai no kodoku (could not find the full ReTracks)
- honoh no tobira (could not find the full ReMix2013)
- the courtesy waltz / yami no uta (remembered it too late to bother with uploads)
- ??whatever else??

Thank you to everyone who participated. I don't know if I actually expected to go through the whole list when I first opened the thread. It was super fun revisiting all those YK tracks, some for the first time in ages, and also at times be surprised (and other times not) by different takes from you.

The thread went mostly okay (and mostly as conceived) even though I did rush the last few weeks as I'd decided to finish it by the end of June - I wish I posted 4 tracks during week#14 to not have 5 during #17 but hindsight is 20/20.
 
grunty said:
As of week#18, we completed going through my og list (with a few extra tracks here and there as I'd remembered them). Here's what's still left on the table for the future:
- shinkai no kodoku (could not find the full ReTracks)
- honoh no tobira (could not find the full ReMix2013)
- the courtesy waltz / yami no uta (remembered it too late to bother with uploads)
- ??whatever else??

Thank you to everyone who participated. I don't know if I actually expected to go through the whole list when I first opened the thread. It was super fun revisiting all those YK tracks, some for the first time in ages, and also at times be surprised (and other times not) by different takes from you.

The thread went mostly okay (and mostly as conceived) even though I did rush the last few weeks as I'd decided to finish it by the end of June - I wish I posted 4 tracks during week#14 to not have 5 during #17 but hindsight is 20/20.
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Great thread @grunty !

It was a whole lot of FUN and introduced me to a lot of songs (and even a few singers) I may never have known about.

I tend to hang around music I really like and just listen to them over and over and immerse myself in the intricacies and versions (especially YKL), so I may never have gone through the trouble to search out Kajiura's discography in this expansive way on my own. This was a public service you did for those who are probably like me in the group.

THANK YOU!!!
 
WEEK 18!

here we stand in the morning dew
(2004 "Sayonara SOLITAIRE" / Saeko Chiba single)
Performance: Saeko Chiba
Chorus: YURIKO KAIDA
- I liked the start of the song and how the guitar came in. Definitely more electronic elements than the eventual cover.
- A straight voice with almost no vibrato from Saeko.
- I must admit I got a little bored with the song at some point. Maybe the melody wasn't as interesting to me as it kept being repeated.
- The changes with the Kajiurago motif were the most interesting (maybe I'm just tired from work).

here we stand in the morning dew
(2009 "Everlasting Songs" / FictionJunction album)
Performance: FictionJunction
Vocal: YURIKO KAIDA
Chorus: KAORI, WAKANA, KEIKO
- Yuriko took the baton from Saeko, but as we all know her voice is more interesting.
- Nice start, I always like the way the kajiurago came in to close the intro vocal section.
- More technique from Yuriko, and her qualities shone in this song.

Winner: They are almost equal but for Yuriko's voice and the fact the FJ version is the only live version I've heard. So I give to FJ.

ring your bell
(2015 "ring your bell" / Kalafina single)
Performance: Kalafina
Chorus: Yuriko Kaida, Yuki Kajiura
- I am sure I am a broken record by now, but the Kalafina 10th anniversary is the first I heard of anything Kajiura, so this song always holds a special place in my heart. The melody is beautiful, the changes are sublime, and the key change into the bridge and kajiurago is just epic! Gives me goosebumps every time!
- Wakana shone in this song (even though I didn't know this was her "second" voice) and MV.

ring your bell～with strings ver.
(2016 Winter Acoustic "Kalafina with Strings" / Kalafina album)
Performance: Kalafina
- Keyboard and strings all through. Hence missing the tracked intro and mini Kajiurago.
- Wakana's voice had gone more nasal by this time in her higher range, and tighter too, or maybe there was no change and it was just revealed by the slowed-down pace of this version. Their vocals are usually enveloped in the energetic instrumentation and studio mix.
- It's harder to sing this song in a long drawn out way in this song than in the original, so kudos to them for that.
- Bridge was missing Yuriko's soaring tones (especially making the top notes really sing) and Kajiura's supportive tones. This was a 'lesser' version, no surprise there.

Haruwayuku
(2020 "Haru wa yuku / Marie" / Aimer single)
Performance: Aimer
- A very fitting song for Aimer's singing style. Interesting that she recorded all the vocal parts. Well mixed.
- The pre-chorus was really nice with the strings (including harp) and the little climax. Loved the way the full instrumentation came up in the chorus too!
- A strong OST track.

Haruwayuku the late spring ver.
(2020 "Hana no Uta / I beg you / Haru wa yuku" / Aimer single)
Performance: Aimer
- Her voice was just as strong in this essentially acoustic version. Lots of presence.
- Liked the string work and the change to pizzicato on the strings for the second verse, leading to the piano coming in and full swaying strings.
- I liked the change in the keys melody as Aimer was repeating the "anata na" section, towards the ending, and the atmospheric and solitary feel of the ending piano work.

Winner: I will give it a tie. I was impressed by the strings version. One of the better ones I've heard. More respect for her vocal ability and especially emotive power within that unique style.

Kimiga hikarini kaeteiku
(2008 "oblivious" / Kalafina single)
Performance: Kalafina (All Vocals & Chorus)
- That two-note repeating on the piano is always so mood-setting.
- Keiko's voice sounded open and nice. I like how she started on those first lyrics. This is also Wakana at her pleading and mournful best (with vibrato) and holding the note just that bit for more effect.
- And if the credits for vocal are all Kalafina as stated (I thought I was hearing Yuriko) then Wakana was at this time still able to enter at least part of Yuriko's domain albeit with a lighter voice. Kudos to her.
- No Hikaru in this recording, right? I don't hear her voice.

Kimiga hikarini kaeteiku～acoustic ver.
(2009 "Re/oblivious" / Kalafina single)
Performance: Kalafina
- Nice change. Wakana starts the song, so it begins on a higher key, and it's all strings supporting with a little instrument added.
- Having the vocal and key change at the start was lovely, and really gave it a sense of being a Wakana song since she sang the verse and chorus.
- It also gave a strong sense of Wakana's version versus Keiko's version in the original (though she supported Keiko in the original).
- WOOOOOOW! I've not heard Wakana sing this beautifully with acoustic instrumentation (and she sang solo all through, no need to share parts with others). Brilliant!

Winner: I make this a tie too. This was an acoustic version of a song that was strong enough to have swapped places with the original (that is the acoustic being the first version and the OG being the cover version with two vocalists for variation!), as it was a strong, STRONG, testament to Wakana's vocal power and expressiveness at this time, probably more than any other song I've heard from her, precisely because it was a solo acoustic and she carried it so strongly.
 
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CloisteredFlame said:
- No Hikaru in this recording, right? I don't hear her voice.
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As far as we know "sprinter/ARIA" single was the first release to feature Hikaru and Maya. With "sprinter" itself being Maya's only feature (per Kajiura's tweets).

So that leaves "oblivious" (oblivious, Kimiga hikarini kaeteiku, Kizuato) and "Re/oblivious" singles (oblivious Fukanfuukei mix, "interlude 01", Kimigahikari acoustic ver, "interlude 02", Kizuato piano2 mix, "finale") pre-Hikaru (or Maya).
 
grunty said:
As far as we know "sprinter/ARIA" single was the first release to feature Hikaru and Maya. With "sprinter" itself being Maya's only feature (per Kajiura's tweets).

So that leaves "oblivious" (oblivious, Kimiga hikarini kaeteiku, Kizuato) and "Re/oblivious" singles (oblivious Fukanfuukei mix, "interlude 01", Kimigahikari acoustic ver, "interlude 02", Kizuato piano2 mix, "finale") pre-Hikaru (or Maya).
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Yes, thank you for bringing this back to my active awareness.

Man, I gotta say, despite my profile photo, I am quite intrigued about the kind of music that would have been written by Kajiura for an exclusive Keiko/Wakana duo long-term, just from those songs you listed.
 
CloisteredFlame said:
- And if the credits for vocal are all Kalafina as stated (I thought I was hearing Yuriko) then Wakana was at this time still able to enter at least part of Yuriko's domain albeit with a lighter voice. Kudos to her.
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Oh, I either glazed over this line or misunderstood it the first time I read it.

The "All Vocals & Chorus: Kalafina" is misleading. It's there at the top of the page in the booklet (and to be fair, they definitely do plenty of backing vocals & kajiurago on Seventh Heaven) but there's always an extra dedicated Chorus credit in the musicians listing for each track.

Yuriko is definitely audibly present and credited.
 
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