Liner Notes (translations)

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ninetales

Guest
Since I got all the OST scans from George a while ago, I've been slowly working on the liner notes for some of them. Most of them don't have notes, and many (like SIGN) aren't written by Kajiura-sensei, but there are a few that are.

Here's what I have so far:

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Noir OST I

もっとメロを!
梶浦由記

NOIR.まず数話分の脚本を頂いた段階で、音楽のイメージ云々の前に「続きを~っ!」と身もだえする面白さでした。

実際の音作りに入ってまず作ったのが“Canta per me”と言う曲。霧香のテームでもあります。この音イメージを全体の中心に置きたいと思って作った私的なメインテームでもあったのですが、すんなりと監督からOKを頂き、その後はとてもスムーズに音作りを進める事が出来ました。

BGMなのにウタモノOKというのも楽しかったですし、通常メロが立ちすぎるものは嫌われるような状況下の曲にも、監督から「もっとメロを!」と熱いご要望が。(よっしゃ!)BGMと言うよりはイメージチューン感覚で曲作りを進め、NOIRの音作りについてはあまり苦労した記憶がありません。浮かんで来るイメージをそのままメロに乗せ、ハイどうぞ、と差し出したという感覚ですね。とても楽しい作業でした。また、真下監督から頂く曲イメージの説明が私的にはとてもツボで......言葉を聞いているだけで世界が果てしなく広がるような説明&

タイトルを下さるので、ミーティング段階から燃え上がる事が出来ました(笑)。

魅力的な登場人物の多いNOIRですが、とりあえず私はクロエ派です。まだ私も物語の行き着く先を知らないのですが、クロエ、死なないでね......。お願いしますね、真下様、月村様!

"More melody!"
Kajiura Yuki

Noir. To begin with, at the stage where I received the episode scenarios, before the music images and so forth, there was an interesting place where I worried, "It's a continuation!"

While doing the practical sound creation, the first thing I created was the song called "Canta per me". It's Kirika's theme. It became my personal main theme, and I thought while creating it that I wanted to place that sound image in the middle of the entire OST. I got an OK with no objections from the supervisors, and afterward I was able to continue the sound creation very smoothly.

Getting the OK to do singing in the BGM became fun, and even in circumstances of songs where going beyond the normal melody seems to be disliked, I got a hot demand from the supervisors for "More melody!" (Whew!) Progressing through the music-making, in the image tunes from the BGM, I don't have many memories of hardships on the NOIR sound-making. Taking on the image that comes to mind in the melody as it was, it was certainly high, and I had a sense of reaching out. It was a very enjoyable work. Also, the explanation of the music image that I was given by Director Mashimo was personally very good......just listening to those words, it gives me an explanation and title of the world that seems to spread out without end, and from that meeting onward I was able to burn even hotter (laugh).

There are many fascinating characters in NOIR, and I was at once a fan. What's more, I too don't know the point I'll end up at with the story, but I'm a fan, undying.......Thank you very much, Mashimo-sama, Tsukimura-sama!

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Noir OST II
(This is not written by Kajiura-sensei, but it has descriptions of a lot of tracks and such.)


凄いよ、梶浦由記。/文・北山茂
「NOIR」のサウンドトラック、第2弾である。
あの「Canta per me」や「Salva nos」を始めとする名曲の数々を収録した「NOIR ORIGINAL SOUNDTRACK I」に続く第2弾である。
当然、期待も大きければプレッシャーもだっかいわけである。
しかし。
まずは黙ってアルバムに針を落として...もとい、CDを聴いてみて欲しい。
凄いよ、梶浦由記。

今回のサントラIIは、シリーズ後半で使用するため新たに作曲された楽曲を中心に構成されている。いくつかの曲について、私なりに簡単なコメントをさせていただく。
1曲目の「Le grand retour」は、タイトルどおりグラン・ルタゥールーアルテナの壮大な理想をイメージさせる曲。「ノワール」では珍しく?開放感溢れる曲だが、その実しっかりと別のニュアンスへと展開していくさまは脱帽。劇中では20話での使われ方が印象的。
2曲目「Secret game」は、衝撃の25話・Aパートで使われる切なくも美しい曲。おそらくクロエファン(梶浦氏も含む?)にとって、涙なしには聴けない曲になるのでは。
霧香のミレイユに対する想いを切々と綴るシーンで流れるのが5曲目「In memory of you」。「Romance」(サントラI収録)同様、古川昌義(実は私、この方の大ファンなんです)のギターと佐藤芳明のアコーディオンによる、BGMらしからぬエモーショナルな演奏が秀逸。
6曲目の「Colosseum」ではバグパイプが使用されているのが斬新。どことなくブリティッシュ・トラッドを連想させる8曲目「Maze」といい、アルテナの待つ「荘園」が近づくにつれ、音楽のほうも中世を意識したものになってくれわけである。
16曲目の「Killing」はサントラIの「Canta per me」と対象をなす曲。後者が非常な運命に翻弄される少女・霧香のテームだとすれば、「Killing」は生来の殺人マシンとしての霧香のテームであるといってよいだろう。決定的な霧香の変貌を描く第22話では、この2曲が効果的に使用されている。
今回も何曲かのボーカル曲が収録されているが、一番の注目作はラストに収録された「Indio」だろう。梶浦由記にとっても思い入れのあるこの曲は、劇中では「まさか」と思った箇所で使われ、メレイユの霧香に対する想いを見事に表現していた。オンエア当時からファンの間で「あの曲なに?サントラに入るの?」と話題になっていた曲でもある。
その他、ファンにとってはシリーズ後半からお目見えした「Salva nos」の別バージョン(7曲目)や「Canta per me」の別バージョン(13曲目)に加え、11曲目の「Power hungry」や「きれいな感情」のピアノバージョン(18曲め)といった、サントラIでは収録されなかった楽曲が収録されているのも嬉しいところ。「でもまだあの曲や、あの曲が入ってないじゃん」とおっしゃる貴方に、ここで朗報である。11月7日発売予定のCD「Blanc dans NOIR~黒の中の白~」では、人気の高いボーカル曲の日本語バージョンを各キャラクターが歌う12cmCDに加え、サントラI・IIに収録されなかったBGMのアウトトラックを集めた8cmCDが付属するのだ。(ちなみに本ブックレットの詩集は、オリジナルの言語を対訳したもので新アルバムに収録される日本語バージョンの歌詞とは異なります)

とまあ、最後はなんだか宣伝臭くなってしまったが、サントラIを気に入ってくださった皆様は、必ずや本作も気にいっていただけると思う。そして、真からそう思っていただけたなら、そっとご昭和願えるだろうか。

凄いよ、梶浦由記。(プロデューサー)

Wonderful, Kajiura Yuki. - Sentences by Kitayama Shigeru

This is the second Noir soundtrack.
It's the second installment from the "Noir Original Soundtrack I", which had recorded such songs as Canta Per Me and Salva Nos.
Naturally, when hopes are this high, the pressure is also high.
Even so.
First of all, dropping the pointer for a silent album...basically, I want to try listening to the CD.
Wonderful, Kajiura Yuki.

This being the second soundtrack, she was able to centrally organize the compositions she created new, for the sake of using them in the second part of the series. I'll give very simple comments regarding a few songs.
The first song, Le Grand Retour, like its name, is a song that imagines the magnificent ideal of the Grand Retour Altena. "Noir" is rather strange, isn't it? There are songs that overflow the floodgates of emotion, but in fact her goal here was to firmly develop the song toward an entirely different nuance. In the drama, the handling of twenty episodes is impressive.
The second song, Secret Game, is a painfully lovely song that uses the shock of the 25th episode's A-part. Perhaps, it becomes a song that a Chloe fan (Kajiura-shi too?) can't listen to without tears.
What plays during the scene that solitarily composes thoughts of Kirika's confrontation with Mireille is the fifth song, In Memory Of You. It's quite like Romance (from the first soundtrack), having the guitar of Furukawa Masayoshi (who, coincidentally, I'm a big fan of) and the accordion of Sato Yoshiaki; it's an emotional and excellent performance that doesn't sound much like BGM.
In the sixth song, Colosseum, the use of a bagpipe is a novelty. The eighth song, Maze, is one that somehow suggests the British tradition; coming closer to the Mansion where Altena waits, it turns into a sense of Medieval music.
The sixteenth song, Killing, is a song that targets the first soundtrack's song Canta Per Me. Where the latter is Kirika's theme for the girl who can make light of an extraordinary fate, I think Killing is Kirika's theme for when she's a pure murder machine. The 22nd episode, which paints Kirika's definite transformation, effectively uses these two songs.
This time, some songs are vocal ones, but I think the one I noticed the most was the last song, Indio. This song, which also concerns Kajiura Yuki, was used at the point where you think "Never!" in the drama, beautifully expressing thoughts of the confrontation between Mireille and Kirika. Since it was on the air back then, it was a song that brought up the subject of "What's this song? Is it included in the soundtrack?"
Otherwise, concerning fans, there's also a different version of Salva Nos (seventh song) in this release, and a different version of Canta Per Me (thirteenth song), as well as piano versions of the eleventh song Power Hungry and Kirei na Kanjou (eighteenth song); it's wonderful that compositions recorded in the first soundtrack are also recorded here. For you who say "But again, those songs, those songs aren't there!", there's good news here. There's a 12cm CD where each character sings Japanese versions of the very popular vocal pieces, and an 8cm CD is included with the BGM outtracks that weren't recorded in soundtracks one and two.
(By the way, in the booklet's anthology, the Japanese version lyrics recorded in this new album differ from the original words printed.)

Well, this last publicity is pretty terrible, but I think everyone who was pleased with soundtrack one will be definitely pleased with this work too.

Wonderful, Kajiura Yuki. (Producer)

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Le Portrait

「コゼットの肖像」の音楽は、色々な意味で
今の自分のありのままを取り出した、そんな作り方でしたでしょうか。
この作品に初めて触れた時、
そこに流れている気持ちや色が妙に今の自分としっくり来て、
結果とてもマチュラルに音作りを進める事が出来ました。
多分ここにある曲群は、
普段自分が一人でいる時に頭の中に流れている音にひどく近い。
それを何も飾らずそのまま取り出しただけ。
そんな気が致します。
そんな我が儘な、ある意味とてもシンプルな音達です。
作品と共にお楽しみ頂ける事を祈っております。

梶浦由記

For the music of "Cossette no Shouzou", there were various meanings; it was produced as I am now, with such workmanship. When I touched this work for the first time, the emotions and colors that streamed from it, strangely, perfectly fit my current self, and the result was that I could continue to the sound-making very naturally. Probably, the tunes that are in this collection are terribly close to the sound that usually flows into my head when I'm alone. They were produced just as they are, adorned with nothing. I created in that sort of mood. With such selfishness, the meanings they have are very simple tunes. I pray that you will find enjoyment together with this work.

Kajiura Yuki

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Currently working on .hack//EXTRA, SIGN I (the non-song notes), Mai-Hime I, Pandora Hearts I-II, Tsubasa I, Velveteen Rabbit, and Hokuto no Ken. :bow:
 

Kerahna

Administrator
thanks so much ninetales!
Maybe we can put them with the discography entries, below the tracklisting
 

Lorde-Kowz

I have reached Yuki nirvana
I have the Tsubasa OSTs and Xenosaga III OSTs. I can scan them if you want.

And thanks for translating~
 
N

ninetales

Guest
You're welcome everyone! :V:

@Kowz: George actually gave me all the scans for those, and I think there's a translation of the Xenosaga II interview somewhere, so I don't think I need any scans. Thank you anyway!
 
N

ninetales

Guest
^ You're welcome! By the way, do you mean Xenosaga II? I've got the scans for III, and I don't see any notes by Kajiura-sensei, but there is that interview from the II scans :confu: And I know I saw it translated somewhere...
 
K

KP-X

Guest
Oh, there isn't? I wanted one for Xeno III, since I prefer its OST over II's. Well, II is nice too ^^
 
N

ninetales

Guest
^ There's just comments from the music producer, producer, and music coordinator, unfortunately. I actually like III better myself, but I wouldn't be able to translate any notes anyway since the scans are too small.

Anyway, I did find the translation of the interview in II's booklet, here! :dote:

Yuki Kajiura - Composer - Interview at Victor Studio 215

The mastering is finished and I'm going to arrange the track order one more time, and I'd say honestly that it was a very interesting experience. I had to do some studying, and that was a bit of work, but the happiness of hearing the melodies I wrote matched to Xenosaga's world and played by a large group of strings outweighs that.

Regarding the music I created, the melodies are certainly mine, but comparing this soundtrack to my previous works, I feel, in a good way, that I didn't compose as I would have otherwise. The melodies are my melodies, but I tried to compose while remaining conscious of it as a "soundtrack," and held back a little on the "color".

This is the fourth game music project I've been allowed to work on. At the beginning I received materials and the game, and I finished it (laughs). Once I came to understand the world fully, I participated in meetings. I wanted to know what happened next as soon as possible, so I was happy to get the scenario. Since it's an important game that everyone was so interested in, when I first heard that I was to compose for it, I was nervous but the joy of "Oh, I'm going to create music for this world" was much greater. While I played the game I was fascinated by Yasunori Mitsuda-san's compositions, and I really loved the worldview which they presented, but even when I thought about how I could write the music for a sequel to something so amazing, I didn't feel pressure to write freely from my own worldview. Inheriting the worldview of the previous game, I didn't feel the urge to try to create something that stood on its own. In a way, that's already been done. There's no point in forcing through it. Having that as a starting point, it was actually quite easy.

From the beginning I was only going to do the movie scenes, and it wasn't a problem. On the contrary, it was good that I was able to concentrate on those parts. I was able to do what I wanted in those parts, when it might have been problematic elsewhere. It wasn't as if I didn't want to try doing all of it, but there was also the problem of time. I find writing music for the internal sound source difficult, and although I've done it several times before, I am aware that I'm not up to date with the technology. You need time, work, and knowledge, and I couldn't start from scratch at that point. I figured it would be better to leave that to people who specialize in it.

When I first saw the movie scenes, they were so powerful, even without the lines, I cried. I was able to write music to the movie scenes this time, in contrast to my usual animation work when I don't get to match the images, so I took special care in doing so. Not to get in the way of the images, and such. It's like writing music for movies, because in movies, there is already a strong conception of the whole from the beginning. "The scene lasts from here to here." "There are lines here, so don't cover them over." "Make this part more dramatic." And so forth, down to the smallest details. Much of it was like that. I enjoyed working towards those kinds of goals again. I got a lot of energy from the movie scenes. There were a lot of them where just by watching a melody would form in my mind. There were also times when the scenes got bad reactions, when I probably tried too hard to match the images. Times when I matched the images too closely, times when I put in pointless development, times when I created pieces longer than they should have been, and there might also have been times when I overdid it a little (laughs). But except for those times, I think the reactions were mostly positive.

I went to New York to record the music for the initial trailer, and the orchestral musicians whom I approached really "dig into" music. I told the staff the same thing, but I found it a good experience to pay for a single session and start in a different environment, instead of with the musicians with whom I always work and have built connections. That first piece, from the time of the trailer, is entirely an image theme. It wasn't meant to fit any specific scene, so I didn't have to leave any gaps for lines or performances, and it's the one piece into which I was able to put anything I wanted. I put in the element of "Let's get going on Xenosaga II!", but it was lucky that I was able to expand the music past that. Besides that, I wrote the piece for the two vocalists I had recently met. In an amazingly short amount of time they made the music their own and since they have such strong individual personalities, they helped me more than anything (laughs).

The beginning of the soundtrack, disc 1 tracks 1 through 4, is continuous. It was created as a single piece, with the same melody and elements running throughout. Although the titles split it up, I was allowed to keep it the way it was on the soundtrack. The same thing with tracks 20 and 21.

Although there isn't one particular way in which I want you to listen to the music, the melody of the ending theme appears in various guises throughout the pieces. I would be happy if people notice that; the same with the resonance of the pieces for strings. For this project, I spoke with the people at Namco, and we will record everything I wrote for the game, without exceptions. I am rarely afforded the chance to listen to everything I wrote from start to finish, so I am extremely glad. The various titles for the pieces are mine, I chose what I felt, attaching each title to its piece. Some of them might not fit the scenes, but I want you to understand that I did create them with their respecive scenes in mind. Personally, I look forward to how the music directors, with their own ideas about the music, will use it. Also, there are a few of the pieces that have not yet been recorded. I've been allowed to add the music used in the first trailer as well as the piano piece that some of you heard at the announcement meeting.

The mixing was done by Yoshi Tamura-san for the Japan sessions, and Tony-san for the New York sessions. The atmosphere of the mix that Tamura-san created changed the thin original synth into something extremely beautiful. Tony prepared the vocals, keeping the vocal inflections pristine. I usually add too much reverb (laughs), and everything surrounding the songs ends up sounding too dry by comparison; it feels suffocating. The producer said that "Tamura-san's mixing is very Hollywood-esque, and Tony's, on the other hand, seems very Japanese". Oh, so that's it, I thought.

Of all the playable characters, my favorite is Jr (laughs). I had liked him from before, but this time he takes a leading role. I want all of the players to be able to enter into Jr's emotional state in this work. When I read the scenario, I got so involved in his character that I ended up composing from my feelings of "Jr, stand up!" at times. I enjoy writing music when I feel "I like this character". I enjoy being drawn into a work and finding a character I particularly like in my projects. Unlike with characters I don't like, with characters I like I find myself making unusually elaborate, unusually long pieces (laughs). So much that anyone who heard the demos would know that I had gotten sucked in (laughs). Outside of the characters are the battles and the emotions. I absolutely had to enter the emotional scenes. I could only begin to compose from there. About the battle scenes, there was one person who told me "The battles seem to be Kajiura-san's weak point. They're not fanfares that play after a battle. You seem pretty bad at writing music for people trying to fight (laugh)". The scales fell from my eyes (big laugh). I will have to stop making pieces where "it seems like we'll win"!

Most likely, those who will listen to this soundtrack will be those who enjoy the world of Xenosaga. I also love the feeling of that world, and I am grateful that I was able to play there. Feeling something like that (laughs), I had a lot of fun composing for the project. I feel "I captured the Xenosaga world in this way" or "this is the kind of music I wanted to hear in the Xenosaga world", and I hope all of you enjoy this soundtrack as well.

Much better translation than anything I could do... :spotlight:
 

george1234

Moderator
I will work on these liner notes today. However we also need to do some maintainance on the interviews page http://canta-per-me.net/yuki-kajiura/interviews/: Lots of them are hosted at other sites, something that's not so safe, for example the Xenosaga II interview with the (?) next to it is lost because the site hosting it closed. So we need to make CPM pages for all interviews, and just refer to the originals.

Also im planning to make a subcategory especially for Liner notes since there will be lots of them if ninetales keeps translating.

Speaking of interviews, we need to upload all video interviews that were on megaupload again for obvious reasons. http://canta-per-me.net/videos/
 

Kerahna

Administrator
I think it's better to just put the translated liner notes ON the discography page of the corresponding album. This way a lot more people will see it and won't have to dig deep.

However we can do a list from the interview section of all the disco pages that contain translated liner notes, for people who want to read all of them at once
 

george1234

Moderator
Liner Notes that ninetales did are up
http://canta-per-me.net/discography/noir1/
http://canta-per-me.net/discography/noir2/
http://canta-per-me.net/discography/kozetto/

I am now moving the ones that are on the interviews page to the respective entries. Then you will be able to find in the interviews page links to these entries :)

[EDIT]

Move done.

Here are the rest of the liner noted we had which I moved to the respective discography entries. I will tomorrow modify the interviews page as suited, but for now I will put just a notice. http://canta-per-me.net/yuki-kajiura/interviews/

http://canta-per-me.net/discography/aquarian/
http://canta-per-me.net/discography/dream-field/
http://canta-per-me.net/discography/fj- ... ing-songs/
http://canta-per-me.net/discography/destination/
http://canta-per-me.net/discography/parallel-hearts/

[EDIT 2]
Modification finished
http://canta-per-me.net/yuki-kajiura/interviews/
 
S

ShadowAlex

Guest
Thanks for your work ninetales I hope to see some more soon enough!

Let's see if I can make it a little easy for you as A while ago I transposed the SIGN 1 OST Bookelt for my pals over at beetrainfan from my U.S. release so maybe the Japanese had some more? The second disc didn't seem to have anything nor did the EXTRA but again most of these were US Releases so who knows if they cut stuff.

Starting with the three Note Interviews in the Booklet by Yuki Kajiura (interviewed by Oasamu Kobayashi)

Yuki Kajiura Interview

Note: 01 Reality and Fiction and a bit of Surrealism

The first thing I received was a rough draft of the description of The World and the story up to Episode 3. He [Tsukasa] was a dark main character (in a good way of course). I had high expectations for Director Mashimo to bring out a lot in this work. It sounds difficult to create music in the game world, but come to thinko of it, there are so many ways to make it creative and exciting. The basis for making music for ".hack//SIGN" is about focusing on the "Unnatural and unusual" and constantly remembering that the story is set in a game world. Once important point is that the stage is set in a unrealistic world, so it is important to think about how to create a matching music. Usually when I create music for animation, I tend to visualize the animation as close as possible to the real world, and imagine a real world room and create sound and music for it. But this time I was to leave the real world as far away as possible and create music. ".hack//SIGN" is no different from other animation in the way that its an unrealistic world, but behind the animation exists a realistic society. More specifically, the section portrayed in the animation has a both the real world and game world elements to it, then one side of the world should have music that is totally different from the other world. But ".hack//SIGN" is a complete game world without the world comparison, so if I put everything into the one theme of the "unusual and unreal", then the effects of the "unreal" won't be strong as I want it to be. But for the characters in the game, they believe "The World" is the real world to them so it gets a little complicated (laughs). That's why I didn't want to put too many surreal elements into the music. I wanted to keep the "beauty" of the music without destroying the mood and include just a little bit surrealism to maintain the feel of the story flow. The key word for this animation is, "a lot of surrealism."

Note 02: "Humorous Requests, Work Freedom and Music Used Beyond my Imagination"

When I worked with Director Mashimo before, I was really shocked about the fact that a very long song was used from beginning to end in his work ".hack//SIGN" also shocked me when he used almost the whole song. My honest reaction was "Is this really OK?" (laugh). Do they really not have to switch songs? At the beginning of the first episode, I was wondering when it was going to end. But they used the whole song with out editing a single thing. I was so surprised that nothing else really mattered (laugh). If the song writer is the one who is asking if it's okay with that, then its quite a shocking thing.

If I remembered correctly, he said in the very first meeting that "this animation is in a game world and each scene should be short, so the music shouldn't be that long." But I guess I misheard him or misunderstood him.

Most animation series arrange a song and make a different version of it, but Director Mashimo always says he likes to use "completely different songs instead of versions of a song" so he never uses just many versions of one song. That's why the main character has many different songs and I feel like asking "Are you sure you want to torture the song writer?" But once you get into creating new music it gets exciting and really gets fun, so it's not that bad. Usually, the song writer receives a menu of different requests of music, and of course the details of each song are different but it’s usually written like “Mysterious 1, 2, 3” or “Scary Song A, B, C,” or something similar. But Director Mashimo’s style of coming up with titles is very unique, for examples if there’s an aggressive feel to the song his titles are “That’s Dangerous” or “What’s that?” and even the title “Sit Beside Me” used to be “Oolong tea”, believe it or not! Of course there are times when he provides me with detailed explanations, but I have a lot of freedom when creating music for him because he doesn’t pick a band and say, “I want that sound.” It’s not about strictly answering his request; It’s about me creating whatever style of music I want and getting it as close as possible to what he has in mind. I feel like he’s giving me the freedom and opportunity to enjoy creating music for his work. His style is not about saying what’s good and what’s bad, but letting the artists enjoy something in creating and remembering it forever.

One other thing. His tentative title for “Where the Sky is High” was “Bungee jump from a very high place” and that was really funny when I heard it. But really “Bungee Jump” title fits well with the image of the song instead of “the song that is open and free”. If “Bungee Jump” is possible to be used as a title, then any other crazy title is possible. We can use Japanese drums, African rhythms, or piano. When I asked, “Does it Jump?” he answered “No.” Jumping and not jumping in a bungee jump makes a big difference. He really makes the key points clear, so it makes it easier for me to come up with the right image.

That’s why when I’m having a meeting with Director Mashimo, I sometimes can come up with a melody in my head. For this project, I came up with three new melodies in my head during the meeting with him and I put those into actual recordings. But those songs are not necessarily used frequently in the story, I still don’t think I understand Director Mashimo’s preferences. He is an excellent director to observe to see how he uses these songs in his works.

Note: 03 “Vocal Music in Character Themes”

When making music for the scenes I usually plan everything so that it comes out right, but when creating a theme for the characters, I always go with the first impression. It’s better for me to make the song right away before I start thinking too much. That’s why I sometimes even make it by just looking at the picture without reading the notes on the character’s personality, and other times I just read the synopsis and description without looking at the picture. This way I am able to create better music when it’s about characters. But it is true that it’s difficult to recreate the song piece after it’s already made. (laugh).

I really liked making vocals from the beginning. The director didn’t tell me that it was mandatory to make vocal music but I thought it would be nice to make vocal music for the theme songs. Luckily the director really liked them as I started to make more music, I really got into it and sometimes I ended up making too much (laugh).

There are three songs in this CD that were made based on the three main characters; Tsukasa, Subaru, and Aura, and to tell you the truth, the vocal songs for the sound-track were made to emphasize the character’s personalities more than the lyrics in the main theme song. If you listen to some of the songs the very first time in the actual animation, you might not understand what the lyrics are saying, but by looking into the CD booklet and reading the lyrics, you will get another perspective on the songs. From the creator’s point of view, I really recommend it. The song “The World” was not made to emphasize a character’s personality, but it was made through the process of talking to the Director and other people involved in the project and also looking at different drafts and pictures which gave me several impressions about the project. The lyrics to “The World” reveal how I feel how I felt when I worked on .hack//SIGN. And lastly, for the song “Obsession,” I think it would be a lot of fun if everyone sings the song in Karaoke style without looking at the lyrics and singing together in their own style (laugh).

TRACK NOTES

Yuki didn't seem to comment on all the tracks the rest were by Kobayashi I assume so I only transposed her notes, I can add the rest if anyone wants them:


Fake Wings

"I wrote this from the first impression I got from looking at the image and seeing her name. She looks very young and innocent but it felt like she had the character to guide people while she herself can be distressed and feel a little down. But the character came out as I expected and I'm very happy about it."

Aura

"This song was written when I was having am meeting with the director. I think it sort of came out a little gloomy...Remember the role of Aura in the story? Well when I asked the director about it, a very gloomy song was created. Since it was too gloomy I tried to make a brighter song."

B.T.

"I really like this song, but it's a little too sad for BT's character"
 
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