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

^ Mizuki isnt just a seiyuu she also has very good voice, love her songs for Nanoha, and heart-shaped love too.
 
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^ Mizuki isnt just a seiyuu she also have very good voice, love her songs for Nanoha, and heart-shaped love too.
I despise her voice but her fame precedes her. Concerts are always in arena stadiums and have very high budgets from what little I've seen.

My point is, Kalafina is a niche group with very little mainstream success, and yet was still a commercially successful group with a tenure longer than many, many other groups, and with the same members for those years (Maya was a one-off, I know some of you will nitpick this). That's an achievement even FictionJunction doesn't carry because "FictionJunction" went from YK + artist collabs, to an actual group with the same name, then essentially back to YK + artist collab and FJ doing backup vocals. Not to mention Kalafina being far more successful with sales than FictionJunction in 2009-2014.

may'n is probably on the same level as Kalafina, maybe even slightly lower but Mizuki Nana and LiSA are far bigger names in the industry than Kalafina. Mizuki Nana is literally a popular seiyuu and LiSA has been popular since Girls Dead Monster. Like their album sales don't even compare.
GirlDeMo was a good start but Lisa's career didn't truly take off into the stratosphere until Kimetsu no Yaiba. The first OP, Gurenge, is garbage and oh so generic, but it's very popular and people love it - that's how you know you've become a very successful artist.
 
(I believe she was mostly done with it after the Red and Blue albums, but Sony pressured her for more.)
realistically speaking she was actually done after seventh heaven but their popularity exceeded her (and probably Spacecraft's) expectation that they decided to continue with the project lmao. I think even Lacrimosa was a special request from Kuroshitsuji's author because she's a huge Kalafina fan.
I despise her voice but her fame precedes her. Concerts are always in arena stadiums and have very high budgets from what little I've seen.

My point is, Kalafina is a niche group with very little mainstream success, and yet was still a commercially successful group with a tenure longer than many, many other groups, and with the same members for those years (Maya was a one-off, I know some of you will nitpick this). That's an achievement even FictionJunction doesn't carry because "FictionJunction" went from YK + artist collabs, to an actual group with the same name, then essentially back to YK + artist collab and FJ doing backup vocals. Not to mention Kalafina being far more successful with sales than FictionJunction in 2009-2014.

GirlDeMo was a good start but Lisa's career didn't truly take off into the stratosphere until Kimetsu no Yaiba. The first OP, Gurenge, is garbage and oh so generic, but it's very popular and people love it - that's how you know you've become a very successful artist.
LiSA consistently has a much higher album sales than Kalafina even before KnY. She held her first Budokan concert in 2014 and Yokohama Arena in 2017. Yes KnY propelled her name to be one of the most popular artists in the country but realistically and statistically speaking she has always been more popular than Kalafina. She even "truly" debuted later than Kalafina and achieved higher popularity sooner than them.

Agreed with your point about Kalafina though.
 
realistically speaking she was actually done after seventh heaven but their popularity exceeded her (and probably Spacecraft's) expectation that they decided to continue with the project lmao. I think even Lacrimosa was a special request from Kuroshitsuji's author because she's a huge Kalafina fan.

LiSA consistently has a much higher album sales than Kalafina even before KnY. She held her first Budokan concert in 2014 and Yokohama Arena in 2017. Yes KnY propelled her name to be one of the most popular artists in the country but realistically and statistically speaking she has always been more popular than Kalafina. She even "truly" debuted later than Kalafina and achieved higher popularity sooner than them.

Agreed with your point about Kalafina though.
True, Lisa has always been more popular, but my god compared to her popularity now, her songs are so much worse yet so much more popular with the mainstream audience - though I could really say the same thing for the Kimetsu no Yaiba songs Kajiura composed for Lisa and Aimer. I'm left wondering if Kajiura really did have ideas for a Kalafina comeback, because the quality of her recent songs hasn't really been much to write home about. I've mentioned it before, but the actually good songs are very far and few in between (Hibari, Kimi ga Yume no Monogatari, I beg you, Koto no Hoka Yawarakai). I'm quite literally trying to think of any but I'm drawing a big blank.

I just remembered that Kajiura is self-published now. That changes the conversation a lot because everyone knows it's the record companies that make the most from artists - if Kalafina was published under FictionJunction Music, then we know the real reason why she might be so salty, especially if she would still be writing, composing and producing. The royalties $$$$$.

Wanted to say, Girls Dead Monster is still one of my projects of all time, though I prefer Marina/Iwasawa for vocals by far.
 
True, Lisa has always been more popular, but my god compared to her popularity now, her songs are so much worse yet so much more popular with the mainstream audience - though I could really say the same thing for the Kimetsu no Yaiba songs Kajiura composed for Lisa and Aimer. I'm left wondering if Kajiura really did have ideas for a Kalafina comeback, because the quality of her recent songs hasn't really been much to write home about. I've mentioned it before, but the actually good songs are very far and few in between (Hibari, Kimi ga Yume no Monogatari, I beg you, Koto no Hoka Yawarakai). I'm quite literally trying to think of any but I'm drawing a big blank.

I just remembered that Kajiura is self-published now. That changes the conversation a lot because everyone knows it's the record companies that make the most from artists - if Kalafina was published under FictionJunction Music, then we know the real reason why she might be so salty, especially if she would still be writing, composing and producing. The royalties $$$$$.

Wanted to say, Girls Dead Monster is still one of my projects of all time, though I prefer Marina/Iwasawa for vocals by far.
I've said it and I'm saying it again: no matter what our opinions are about Wakana, her voice more often than not brought the best out of Kajiura lol. Me saying shit about her live vocals doesn't change that fact. Wakana seems like she's far more comfortable after Kajiura though so I get why she chose to leave Kajiura and doesn't come back.

Is FictionJunction Music even a label/recording company? As far as I know, FictionJunction Music is her own management company (different than recording label). Now she releases her projects mostly under the recording label SACRA MUSIC. Though to be honest, if Kalafina does come back to her and they're represented by FictionJunction Music she's gonna get those bags too. Not from royalty but from Kalafina's future activities (concerts and merchandise).
 
Is FictionJunction Music even a label/recording company? As far as I know, FictionJunction Music is her own management company (different than recording label). Now she releases her projects mostly under the recording label SACRA MUSIC. Though to be honest, if Kalafina does come back to her and they're represented by FictionJunction Music she's gonna get those bags too. Not from royalty but from Kalafina's future activities (concerts and merchandise).
Idk but if FJM is management company then what does highway start do ?

I think FJM is holder of the intelectual property stuff, HWS is artist management (in place of Spacecraft), Sacra is the record label.
 

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Back in end of 2017 or early 2018 when she left Spacecraft she actually said that she will no longer serve as Kalafina's producer and she left Kalafina's future to the members and the agency. I know it's her disappointment speaking because it seemed that Keiko and Hikaru didn't say anything to her, but... lady you're no longer their producer since 2018.
Perhaps after reuniting with Keiko in 2019, and then with Hikaru (as guest) in... 2020? they made a plan to reunite someday like she said in her message, but the ladies decided to do it now instead of waiting for Kajiura.

Also, Spacecraft Kalafina site? What was the point of leaving SC right after Kajiura then?
 
Realistically speaking, and harsh it may seems, Kalafina fans only needed these three to sing and harmonize together and they will pay whatever they release. They really don't care who's in charge of who as long as they feel the three are "happy". :tea:

Pretty sure spacecraft side has already counterargument from this mess too but I'm surprised Takebe Satoshi https://x.com/takebesatoshi is replying to every hate posts that is now deleted I'm sad cause some are spicy answers from him fk I should have saved it.....
 
^ its not that they re not happy, but Kalafina was a far more productive cow than their solo projects (for SC too) thats why they come back together.

I think main reason Kajiura left was because she was sick of being ordered to compose a new single every 3 months, album every year. What she does now is the rate that she likes.
 
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^ its not that they re not happy, but Kalafina was a far more productive cow than their solo projects (for SC too) thats why they come back together.

I think main reason Kajiura left was because she was sick of being ordered to compose a new single every 3 months, album every year. What she does now is the rate that she likes.
Wasn’t there also drama with one of the new executives or something?

Either way, Kajiura’s career during that time was crazy. She was in franchise hell and writing at least one new soundtrack every year. All that on top of Kalafina.
 
Yeah . . . This is all so messy.

I could go on a whole tangent about how mixed my feelings are about this whole thing, but I’m gonna leave it at this one thought:

Until the three are actually on stage together, a part of my brain is still going to be in denial. It’s like the Oasis Reunion; they can say it all they want to, with all the proof that it’s going to happen, but it feels far more tentative than it should.
 
Realistically speaking, and harsh it may seems, Kalafina fans only needed these three to sing and harmonize together and they will pay whatever they release. They really don't care who's in charge of who as long as they feel the three are "happy". :tea:

Pretty sure spacecraft side has already counterargument from this mess too but I'm surprised Takebe Satoshi https://x.com/takebesatoshi is replying to every hate posts that is now deleted I'm sad cause some are spicy answers from him fk I should have saved it....
Yea, I saw some of his replies as well. Should've screenshot it ngl.
The first one I've already said in my lengthy post before about how plenty of Kalafina fans are the fans of the ladies, not solely the fan of their music (and Kajiura to an extent). Also, as maybe unacceptable as this may sound, at one point in their career Kalafina's fame was bigger than Kajiura. People here might be surprised at how many people still don't know that Kalafina's sole producer was Kajiura after idk how many years. Even in Japan.
You can go on the 15th still no slot for the event.
Because they don't even have the promotional picture and the additional informations like ticket price etc ready yet. The ticket sales isn't even opened. Event venues don't advertise something that people can't yet buy the tickets for.
 
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