「Kalafina Anniversary LIVE 2025」15th January Tokyo Garden Theater (NO KAJIURA INVOLVEMENT)

sure Kajiura has not been super duper prolific but I consider her recent works as excellent music.

also good on her for not following them any more. I'm very much team Kajiura. I'd like an explanation from her but it's not necessary obviously.

Let Kajiura lose Keiko. joelle. yuriko. all the voices she's worked with. Will this make her quit or compose even better, more original wacky, grand songs? I'd like to think the latter.

Also yes she's getting older though honestly 60 is the new young lol. So she's got time but understandably things will slow down. Kajiura has immense energy, much more than I will ever be able to muster.

yall will forget this by the next big announcement and by the next show we'll be digging and ripping bgms from the show. peace.

lolz well we'll probably not forget but whatever disappointment for either side will diminish significantly
 
Lots of out of context in your post, @grunty:
1. My complaints are for her decisions, not for her recents soundtrack. I loved Ell-Melloi, really loved Kimetsu OST1, loved Fena and of course I loved ANTI HERO, I want more ANTI HERO indeed (sorry but Vanitas is not my cup of tea). I hope you like the future Kimetsu soundtracks that you are not waiting for...
2. As well as I’m a big fan of KAJIMER, in fact, a good decision (AGAIN, IMO) would be a whole FJ album feat Aimer.
3. I didn’t talk about cancellations nor delays, or did I? Of course, it's not her fault. But you can't deny that her discography has diminished.

When I talk about her prime is because she has a NAME in the anime industry since SAO, a name that she hadn't in Bee Train era (2000s). Let me explain my point of view:
  • Kalafina was a success, did she take advantage of it? YES.
  • Is FictionJunction a success? NO.
  • Could be FJ a success? I'm sure of it.
  • Do YK want FJ to be a success? I don't know, but it seems that she doesn't want to.
Again, losing KEIKO in FJ is a bad decision because this a unnecesary headache for her. What's the reason to the KE/HI unfollow? Hey! Maybe is for the Space Craft shit again. At this point, I don't believe in that story. I want to remember you all that she stated in FJ RADIO that everything was ok with Kalafina anniversary live, that she talked with the Wakana producer, best wishes for the girls and for him, blah blah blah... Oh, but now unfollow. C'mon guys... The drama is served because the drama is real.
 
Again, losing KEIKO in FJ is a bad decision because this a unnecesary headache for her.
"Headache" - perhaps, but I don't see how it has to be "unnecessary" for her if she chooses that to be the way to go for herself.

I don't feel the need to address anything else in your post, 'cause it's for you to feel that way. I'm not taking away your right to feel about whatever's happening the way you choose.
 
I hope you like the future Kimetsu soundtracks that you are not waiting for...
I too hope I will but I am definitely not looking forward to them based on what's come post s1. :)
If I don't, nothing's lost 'cause no expectations were there and thankfully that's not the only project YK has.

Oh, don't really think there's that much out of context stuff in my post. I immediately said I do not relate to what you're saying. Everything else was mostly word vomit and New Years wishes.

When I said "sorry you didn't like insertprojecthere", I did NOT mean "I did and so should you". I was genuinely sorry you didn't and hope there will be a project that you will like soon. ;)

It was meant to be wholesome, not disrespectful. But guess I'm grunty.
 
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I'm glad to see the expression of love for Kajiura
I'm not stopping you. I'm just saying you are. ;)

Sadly, I cannot relate to your issues ATM - maybe I would have back in the middle of 2010s. :-)

For so long I've wanted Kajiura to stop working with Koiwa on mixing, I've wanted her to stop working with Chinone on mastering (granted, that's on Sony not YK), I've wanted her to stop working with FBM so much so she could get her own keyboard-and-synth-fu juices flowing.

I personally do not need Keiko at all. Heck, I think I'll survive if YK stops working with Yuriko and I am a Yuriko stan - YK would find someone to fill that gap or would have to get creative - whether I'd like it as much as having Yuriko I do not know! We had Kaori Nishina back in the day next to Yuriko; I guess we now have Joelle alongside Yuriko, considering she's doing both BGM and sometimes backing vocals on songs - nocturne, English Fena songs... Heck, I'm sure both you and I would be thrilled if Kajiura started releasing music with her own vocals.

I'm also sure not everything is up to her. Even the amount of work she does. Delays or cancellations are not her fault. Maybe Kajiura isn't actually welcome in the anime space now? Maybe they can't afford her? If there's noone on a project production team to actually want Kajiura then what is she to do? Change her own standards? Completely change her sound?

We went through so many metas. "Kajiura peaked in 2000s"; "Kajiura peaked with Kalafina"; you're proposing "Kajiura is in her prime now but not taking advantage of it".

Back in the Alicization thread I remember saying that it managed to revitalize me for another 10 years of MEH projects. Happily, it's been going slowly but steadily since then. At least for me. I'm sorry you did not like Fena. I'm sorry you did not like Vanitas. I'm sorry you did not like Kaze yo Arashi yo. I'm sorry you did not like ANTI-HERO (though I seem to remember you liking it). I'm sorry y'all don't like (m)any of the new Aimer, LiSA, JUNNA, whatever singer or FJ songs.

Not everything hits as hard as I would like but I happen to like a lot of her output even now. It is amazing to me that after 20+ years, even with bumps along the road, I still get projects (or significant parts of projects) of hers that I enjoy.

I hope that Kajiura does something you like again, too.
Happy New Year!

Love,
grunty
I am quite pleased to see the expression of love for Kajiura on her own terms grunty!
 
But im tired of Kajiura’s bad decisions, IMO, because she is in her prime and she is not taking advantage of it
I might be wrong but I guess you're feeling that with her top pedigree she should be having more hits with her biggest hitters (KL especially), maybe looking at Sawano and others?
I'm also sure not everything is up to her. Even the amount of work she does. Delays or cancellations are not her fault.
I think grunty was bringing in his thoughts on the earlier comments from @Saber about how much more (non-music) work she has with FictionJunction as a standalone outfit.
If there's noone on a project production team to actually want Kajiura then what is she to do?
Speculating, and I have no evidence, but it's possible SC could have been doing some behind-the-scenes industry blacklisting antics since when Kajiura left them (and Sony) since she cost them a lot of money with the fallout (losing Keiko, first). I'm just wondering why the hate has remained consistent enough and hasn't thawed one bit it seems since 2018.
Will this make her quit or compose even better, more original wacky, grand songs?
I fully dig this idea. If Kajiura was left alone on a beach with a piano, paper and no current vocalists or band, and enough time, she would still compose interesting music based on her experiences and her spirit. Her best melodies are still so rich and compelling and uniquely hers.
I don't know, but it seems that she doesn't want to.
Is it possible that because FictionJunction was always her solo project she didn't get as much marketing push from the stakeholders? Unless the music was tied to an anime with the attendant halo effect. All their biggest songs are anisongs (same with Kalafina in my view).

She's a simple performer - just straight music performance - especially with her only on-stage outlet (FictionJunction) and so her reserved nature (and lower budget) shows in her FJ work. Kalafina was always more robust in their lives because of the brand they were, without her on stage.
 
I personally do not need Keiko at all. Heck, I think I'll survive if YK stops working with Yuriko and I am a Yuriko stan
To be brutally honest this is totally possible! They will not work together forever. Though Yuriko seems most at home with Kajiura than all the others. Almost like they're sisters.

For comparison to other composers that perform with a core of fixed vocalists and several guest singers, REMI, Yuuki and Kaori completely stopped working with Revo even though they did for years.
Could be FJ a success? I'm sure of it
How do you define FictionJunction as not being a success for Kajiura: maybe because it's not getting the large, recent anime contracts, or not having massive sales or "cultural impact"? I've wanted there to be more anime tie-ins for FJ (apart from all the KnY songs with LiSA though their visibility is driven in large part by LiSA's gravitational pull), but I do think she's doing what she wants to do, without the control of other entities.

FJ has seemed to not be much financially successful or have constant visibility but I think that's because of the market response to the product being offered, in spite of the verifiable quality of a good chunk of her non-anime music (elemental, for example). Her music is not "breaking new genre grounds" like the current anisong market's mishmash, nor is it overly fast-paced, edgy and angsty like the younger hit anisong tracks of the past decade, and visually/marketing-wise FJ is tied to her personal brand (which is more matronly and classic), personality (same, and introverted), and lesser budget (compared to Kalafina, for example), especially with her being on her own, management-wise. This shows in the simplicity of her live performance staging and the vocalists' positioning and audience engagement, which is often fixed and bounded except for a few songs where they are let loose (early FJ was more unbounded while maintaining positioning).

Marketing is a big part of pushing your music into people's faces, and that requires a striking and consistent push into the mainstream on all platforms, and compelling branding. There's a way Kajiura could present herself in promotional photos if she was going for a more aggressive /modern brand image for herself. The ladies of FJ are also never on FictionJunction posters, removing any effect of their attractiveness/variety being part of the appeal (Keiko, for example, who's almost always on the YouTube thumbnails of Kalafina and FJ videos) 🙄🤣 The JUMP OUT poster is what I'm comparing this to (think of movie posters like the Avengers).

Compare that to the visual flair and careful branding of her more recent, youthful collaborators (JUNNA, ASCA, ReoNa, Aimer) in their solo anisong outings, in direct juxtaposition to the FJ main singers who are usually more natural/unadorned/classic pure vocalists, which carries over or is informed by their use of their real names for their solo branding (Hikaru was the only one who attempted alternative brand name and was a bit more edgy on stage: maybe a bit out of place then?). They don't dance or have dancers or do other antics on their solo stages. The only exception to that is LINO LEIA who's use of dance choreography, etc., is more in line with JPop to some extent, and has K-Pop/R&B visual influence. A singer like Ado doesn't even do videos or show her face, but her aggressive, impulsive and defiant branding (and as a vocal/musical chameleon) is attention grabbing to the younger audiences.

Revo as outlandish and creative as he is, has said he wasn't as successful with Sound Horizon as he wished, and it's obvious that AoT really expanded his reach and gave him a lot of reach and pulI believe, so he can continue to pursue his true passion of (the more niche "cult" 🤣 of) SH.

Maybe Kajiura needs to create some other brand in her own name (Yuki Kajiura) separate from FictionJunction (with all of its baggage) to do more experimental, solo stuff and try out new not-safe ideas with unusual compositions and vocalists, but that probably won't be too commercial.

She does have a liking for European or English names for her musical outfits.
 
https://www.youtube.com/watch?v=PCrmjl5e8ZI&t=277s
photo_2025-01-01_22-43-20.jpg


I'm guessing this is the audio where she spoke about Kalafina that everyone was talking about. No subtitles and I'm not sure Chrome Live Captions will do the job.

Also, does anyone wonder about this FictionJunction Station YouTube channel and how it's promoting Kalafina activities without seeming like a fan channel?
 
That channel is scum specifically for calling itself that and I wish someone had already dealt with it.
I guess that's also the effect of FictionJunction being fully Kajiura-driven now. Using the full fanclub name is disrespectful. I guess Kajiura doesn't have strong legal representation on social media to chase such things, or isn't so inclined.
 
Nope. Not buying that again... Yuki Kajiura is an adult woman, she is free to act like she wants to and I'm adult too so I can get my own opinions that will never mind her lol
If she wants to throw away her vocalists, she knows what she's doing. Nothing is forever...

I might be wrong but I guess you're feeling that with her top pedigree she should be having more hits with her biggest hitters (KL especially), maybe looking at Sawano and others?
Not hits, just "move you ass". I don't think ANTI HERO is actually a hit and I would like to get more like this.
Aaaaand.... no, please, don't involve Sawano in this again...

How do you define FictionJunction as not being a success for Kajiura
If you compare Kalafina with FictionJunction, it's not a success. But it can't be!

Maybe Kajiura needs to create some other brand in her own name (Yuki Kajiura) separate from FictionJunction (with all of its baggage) to do more experimental, solo stuff and try out new not-safe ideas with unusual compositions and vocalists, but that probably won't be too commercial.
As I said, Yuki Kajiura has already a name, she doesn't need to create another brand.
She just has settled in. She just does what she want or what she can do, as you all are saying, she has a lot of paperwork to manage.
 
It's possible she just unfollow them to 100% avoid seeing any Kalafina related stuff. Maybe she didn't think people would notice that fast hue.
I think we know that Kajiura is an emotional and direct person (from her composition/lyrics).

The vibe I got from that interview was that she felt shut out personally, and K/H keeping it from her while continuing with her felt a bit like a betrayal.
 
Not hits, just "move you ass"
🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣
she doesn't need to create another brand.
Maybe you're right. She already has SEE-SAW, FictionJunction, and had access to Kalafina. Now, she's officially shut off from that... :glower:
Speaking of which, maybe it's time for her to really engage with Ishikawa and do some stuff with her again. Get the creative juices flowing in that direction. I think Ishikawa inspires Kajiura in her own unique way.
She just has settled in.
Maybe there's nothing external to drive her as much as her heyday, when she was beholden to the companies and anime directors.
 
I guess it's safe to say that KEIKO's loyalty to Kajiura is the reason Kalafina officially ended the first time. At that time she felt she could only sing Kajiura's music. Since then, she (KEIKO) has worked with other composers and enjoyed the solo life, so she's grown beyond that self-assumption.

Wakana was probably still game to continuing and Hikaru was open it seems (though they both also wanted to go solo), but Keiko's strong will to break away guaranteed they couldn't continue. Maybe KEIKO had felt guilty about that as time went on... 🤷‍♂️

I am curious about the reconciliation meeting with KEIKO and SC though, being that she left them contentiously and challenged for the Kalafina trademark. There must have been a lot of apologetics and the like. :bow:Maybe.

Kajiura resigned as Kalafina's composer in 2018, so the ladies must also have felt a bit betrayed/abandoned, and losing Kalafina in an undesired manner, even if they tried to understand Kajiura's motives and loyalty to Mr. Mori - "adult" circumstances they couldn't control.
 
I believe their intention was always to go solo without disbanding Kalafina entirely. Maybe not Keiko at the time, but having a separate solo career while still being in a group is very common. It's the smarter decision too as you have an existing fanbase to already and group activities allow the artist to take more risks when solo. Even if their solo career doesn't work out, the group would still be financially viable and provide consistent work (which is exactly what the FJ vocalists are doing - all their solo activities combined isn't enough to match FJ's consistency of work).

Wakana expressed even before After Eden that she had received many requests for Kalafina's Wakana specifically. Recording for After Eden made her question if she even deserved to be in Kalafina since that was a very difficult album for her, and I've always wondered what Wakana could have been if she had left Kalafina back then. Maybe she would have preserved her goddess-like voice and be as vocally strong as Whitney Houston, who she had idolised since childhood.
 
I believe their intention was always to go solo without disbanding Kalafina entirely. Maybe not Keiko at the time, but having a separate solo career while still being in a group is very common. It's the smarter decision too as you have an existing fanbase to already and group activities allow the artist to take more risks when solo. Even if their solo career doesn't work out, the group would still be financially viable and provide consistent work (which is exactly what the FJ vocalists are doing - all their solo activities combined isn't enough to match FJ's consistency of work).

Wakana expressed even before After Eden that she had received many requests for Kalafina's Wakana specifically. Recording for After Eden made her question if she even deserved to be in Kalafina since that was a very difficult album for her, and I've always wondered what Wakana could have been if she had left Kalafina back then. Maybe she would have preserved her goddess-like voice and be as vocally strong as Whitney Houston, who she had idolised since childhood.
I think we all remember she was drinking cold water between performances so dont be so sure that she would have preserved her voice.


Also do you know of Maria Kalas (Kalogeropoulou) she was a world famous soprano who had incredible vocal range for about 10 years. After some relationship issues she also started having problems with her voice. Her doctor had told her to do some breathing exercises but she refused and her voice never recovered.

We dont know exactly Wakana's case, but her case reminds me of Kalas alot.
 
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Maria Kalas
I usually see her name spelled as "Callas". Maybe that was a Anglicization? Oh she is still considered the epitome and a model for many classical sopranos. A truly beloved singer in her prime.
dont be so sure that she would have preserved her voice
I am with you on this. The only thing that could have helped her voice is to have a less rigorous schedule of live touring and recording.
 
I believe their intention was always to go solo without disbanding Kalafina entirely. Maybe not Keiko at the time, but having a separate solo career while still being in a group is very common. It's the smarter decision too as you have an existing fanbase to already and group activities allow the artist to take more risks when solo. Even if their solo career doesn't work out, the group would still be financially viable and provide consistent work (which is exactly what the FJ vocalists are doing - all their solo activities combined isn't enough to match FJ's consistency of work).

Wakana expressed even before After Eden that she had received many requests for Kalafina's Wakana specifically. Recording for After Eden made her question if she even deserved to be in Kalafina since that was a very difficult album for her, and I've always wondered what Wakana could have been if she had left Kalafina back then. Maybe she would have preserved her goddess-like voice and be as vocally strong as Whitney Houston, who she had idolised since childhood.
Good point on the solo side-career stuff. Some of my other top groups are doing that in different ways.

1. WagakkiBand recently went on a open-ended hiatus after 10 years so they can focus more on their solo work (though many, including me, were speculating that it's a soft disbandment without officially announcing it). They were already fairly known before the group to different degrees (online and otherwise) and some of them already had their own groups, but WaggakiBand required a lot of commitment over their other activities because of the volume of recordings and lives, and to maintain a consistent brand image.
2. Perfume's Nocchi recently recorded a solo with Ringo Shina who had reportedly been chasing her for over a decade! It was loved by many who had often wondered that the Perfume ladies were not doing solo work when they were known to be fairly good singers individually (at least a-chan and Nocchi).
3. Band-Maid ladies are doing collabs and media recognition/sponsorships outside of the group (modelling, guitar companies, etc.).
4. All the singers with Sawano have their own solo careers, groups, and performances and music activities. They are like collaborators.

Keiko and Wakana and Hikaru's true popular debut was with Kalafina and you're right that they could have used the halo effect of the group (and the MASSIVE promotion and face recognition they got with the public) to do alternative, solo work. I suspect their original contracts did not allow that, or the volume of work they had to do for Kalafina. So I would point that to their agency/negotiation ability and not Kajiura, who had once said that they needed to improve as singers individually because Kalafina allowed them to cover each others' areas of weaknesses.

Wakana had the greatest chance/interest to go solo first (and get company support) so I wonder if she attempted to suggest that (more money for everyone), or if it was thought that she couldn't be the only one to do alternative stuff and the others just be stuck with Kalafina. FictionJunction was also another entire thing happening quite frequently, so they were all always busy.

We can only speculate about what could have happened if Wakana had left Kalafina earlier. In terms of solo career success, she would still need the strong support of the company like SC has given her. Did she have that kind of pull at the time, even if some fans were asking for it? Kalafina was still going strong and Wakana had probably not developed sufficient momentum (including mentally) to leave altogether.

I have looked at her earlier videos because of this hullabaloo about her voice, and my conclusion is that the technique issues for her when singing a powerful lead voice was already there almost from the beginning. I am always looking at the neck of the singers and the outline of the veins that are being strained when they sing. Wakana was already engaging some of the bigger ones (I can't recall the name right now) that is a no-no for singing. A way to test is how a singer sings softly. If they are unintentionally breathy when singing quietly, then they have limited breath control/support (they haven't mastered it) and when attempting to sing more powerfully they will either use too much breath and tension and not use their body to support leading to all the neck strain.

My conclusion on Wakana and Hikaru's voices is that they are actually light mezzo sopranos, meaning that their voices are naturally light/lightly supported. Similar to Yuuka Nanri. Doesn't mean they can't go harder, but their default to sing with ease and at a lower volume.

Kajiura required them to sing more powerfully for the purposes of her music, which started from the recording studio (which is always more controlled) and of course escalated in the live setting (more emotions, louder noise threshold, having to also engage the audience).

I noticed during an MC that both Kajiura and Yuuka talked about her asking (demanding?) that Yuuka sing with more power/passion during recordings, even though she's a softer/lighter voice. She managed it in her own way and possibly found a way to resist going to extremes. I think Wakana and Hikaru were forced (or unable to develop themselves to avoid) going to the extreme to achieve the emotional impact of the energetic singing. I really think her training in vocals also had an impact on this.

I may sound like a broken record, but I am always comparing the singers who were more highly trained with those that weren't among the FJ-related singers, mainly in terms of how long they've sang and their VOCAL QUALITY. Training gives you access to using more of your body to control and ration your breath so you can generate more power with less breath and avoid tension. It also teaches you to use more of your resonance to produce the cut/piercing effect to listener, without having to force your chest voice for more power or use tension.

Having a less-strenuous schedule also helps the preservation of the voice - there's no doubt about that - but it's not the only factor.
 
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