Woot ? I never noticed anything like that! And how about those OP-song-like ending themes like blaze and one light ?Kajiura: It’s really important for opening themes to garner a sense of excitement in the audience. On that front, I feel that ‘The Other Side of the Wall’ is ideal, both in terms of the sound and the tune. After all, no matter how realistic the story they tell, anime worlds are, fundamentally, not real. As something that serves as the door into those unreal worlds, opening songs have to generate a thrill that makes you forget reality. In contrast, the ending serves as an outro, one that gives you an aftertaste of the show and then returns you to reality. When I write songs that are meant to serve as openings or endings, I’m quite conscious of having them fulfil those two roles.
LOLKajiura: Right? When you’ve written about 30 instrumental pieces, you start feeling like “Write something with vocals, dammit!” (chuckles) And then when you’ve been writing just vocal stuff, it’s like “Write some damned instrumentals, you dolt!”
Parhaps she means songs on shows that she's actually working on? She had nothing to do with Arslan Senki. Chances are Kalafina got picked by Sony/pushed by SpaceCraft and Kajiura just had to do something...Woot ? I never noticed anything like that! And how about those OP-song-like ending themes like blaze and one light ?
I feel like that in some interviews Kajiura says things that arent so real, just to go with the flow of the interview.
I'm not sure that's quite what she meant but I'm not Kajiura either...
After reading the whole article, I don't feel like she feels that there are not many vocal OSTs, but it's more like she just doesn't like sticking on writing only the instrumental songs or only the vocal songs (I think that she didn't mean only the vocal OSTs, but mainly, just any songs with lyrics, because previously, they talked about making a whole album including the PuriPuri OP song.) for a long time.