On ‘SAKAMOTO DAYS’ S2 End Motif ‘Dandelion’

“Dandelion”, go! go! Vanilla’s new tune is the ending style of the TV anime period 2 Sacmato Day This is based on famous comics. This facility’s artificial song, with its comfortable grooves and periodic trumpet growth, is a brand new development for the company. It shows incredibly Fabulous Sakamoto, emphasize Sacmato Day His views on his family and his life and death.

go! laboratory. They performed in small performance locations, auditoriums and fields, and thereafter offered 2 consecutive days in the Cosaris, which was the first time they performed at the site.

Japan’s signature reviews are with them “dandelions” and their subsequent tour will surely begin in October.

When you write “Dandelion”, will you focus?

Tatsuya Maki (Voice and Guitar): I review the comic when they call us to write a signature tune, which actually attracted me. I’m really into the feel of Shonen Dive comics and then modified it with this modern and clever approach. I especially like fighting the scene. I’m interested in you really feeling the interest of the cartoonist Sumu in their interest. I especially like the stories covered in issue 2, so I was happy to be able to write a signature tune for it. After making the CD, we formed a large summaries of the last summer tune laboratory. As they approached us with anime, I realized that the tune we actually worked with was definitely a great suit, so I wrote these scriptures. I considered my feelings Sacmato Day– Sakamoto, family member, the transient nature of survival, life and death, similar to what I do scripture.

Gorgeous Keisuke Hasegawa (Bass): There are a lot of amazing comics in it diving However, they all have comparable styles. and Sacmato Day On the other hand, the personality and the battle scenes are so primitive, you believe, “Where does this originate?” What really shocked me is how it shocks you in a completely new way.

Shintaro Yanagisawa (guitar): In the end, it’s in person diving So I realized this is a well-known residential property. Issue 2 has a great, almost movie-like feel. It will use the method to diving The vision is over. The art just keeps improving and better, and in some scenes I find myself excited about the highest quality of paint.

Jett Seiya (Drum): Sakamoto fulfilled his better half in the corner store she runs. We actually have a track called “Convenient Love”, so I’m similar to “Wow, it’s similar to “Practical Love! ””

What do you believe when you listen to Maki’s demonstration?

Yanagisawa: It actually seems like our finished style Sacmato Day (laugh).

Hasegawa: In my opinion, I offset the end credit score of computer animation and imagine they scrolling when they follow the tune (laughs). I’m similar to saying, “It looks really great.”

Dandelions are the style in many tracks. What made you choose them for this tune?

Maki: Sakamoto has had a relaxing life with his family, which is a concrete reversal of Awesome Life, so I believe it will definitely make his life back then and now. His better half was when operating in a corner store, called aoi, which is blossoming. His little girl’s name is Hana, which means “blooming”. I was going to bring him directly into the song, thinking he was taking advantage of him as a demanding globe, and I thought exactly how hard he was for him. What I call dandelions is because they look like lion’s teeth, so I chose the name “dandelions”. Sakamoto is solid, but he needs to cover up what is easy to happen: his family. The short homeowner resembles dandelion fluff. It hurts a little. This makes Sacmato best suited for Sacmato.

Is the process of creating scriptures fluent?

Maki: Yes, these words are simply a bit. I thought exactly how I would feel if I were Sakura, as if I was maintaining my family in the dark. He eliminated many people, but he also brought a whole new life to the world with his little girl type. However, he could not simply remember every little thing and live a whole new life. There are many interesting aspects, but I focus on the more important tone of the components.

For this song, having space for audio adventure is crucial. What kind of thinking do you write for this song?

Seiya: My feeling involved it in the early morning after the war (laughs). Feeling tired, finally able to go home.

Yanagisawa: The audio tune is amazing, so I’m not going to get in the way. I decided to use chord work, not the anti-marriage method I used in many tracks. Chords are related to 70% of the demo, so when I wrote my own guitar enhancements, the concept was that they would certainly be mixed with the synth series.

Hasegawa: For bass, I don’t intend to have a strong presence, but I want it to appear in this tune. Like, if I delete the tone, I want it to still look drifting there. It’s completely different from the bass I’ve actually played in the past, so it’s a fight.

Maki: I believe bass work is the biggest new obstacle. We hope that the target market will be addicted to the afterglow, rather than loading the room in a lasting way. Throughout the recording, we also focused on the bass, greater than anything else. However, you can’t overthink it. This is what Seiya said earlier, but we hope that the unnatural human feeling originated from such a perfectly balanced noise that it does not lag too far behind the feeling that prevents this swaying. Your mindset will certainly have a big impact on it. Without a “proper” solution, it’s hard. Gorgeous, I recovered various other things, and it was a challenging program.

This brand new song stands for Go! go! Vanilla’s new audio style. Did it attract the idea of various other tunes?

Maki: We considered the feeling of the French band M83, and the combination of analog synthesizers with such a prominent rock band plan in 2005. For bass, in particular, we do everything we can to make the noise provide a stable secondary basis for it.

“Dandelion” is a very fresh tune.

Maki: From the demo phase, this is a track with an audio room. When I realized that this piece is best for signature tunes, I started to think exactly how anime stands out, and the number of individuals focuses on the current anime signature tunes, so I wanted to include Japanese in Japanese. We tried to play with something similar to the UK, and we also tried an environment like a weekend break, but when I created tunes I wanted to take advantage of more Asian verses and music.

In May, you held your initial personal efficiency in Seoul. After that, you attend the celebrations in Brighton and Paris. How effective is your overseas experience?

Markey: No one knew us when we were still beginners, so in our plans, all of this boils down to impressing people. Currently, when we execute in Japan, there is not much vibrant efficiency, but when it is done abroad, it seems like a brand new border. It actually makes us liven up, which is fun.

Kurosawa: Also, if we can’t interact with words, we can play songs we like, so it’s a surge. This is my first time and I may really feel that the songs have exceeded the language barrier.

McGee: Yes. Our personal efficiency overseas is “eliminating your abilities” which has led me to understand the elements of many songs, while the location of the target market abroad is uniquely focused on excitement and strength.

Yanagisawa: It’s cool to see groups in various locations than the Japanese. The component of the factor is that we are more hostile than Japan, which makes every component of our scene interested (laughs). Small location – the target market is right in front of you, similar to how you can connect and touch them. The scope of these stages is also greatly reduced, so it’s amazing that you’re actually in the eyeball range in your target market. Any interest you place there, the target market offers the exact same interest.

Seiya: It’s great to see the rest of the band vary from my environment. Like “usually without drinking your head because of the components”, or I’d definitely see pretty sweat flying to the front row, or Maki’s face looks like he did when he was crazy about the program 12 years ago (laughs). When it comes to Brighton, we are stuffed after the first performance, but on the next day we have the ability to make some enhancements and maintain a better balance.

Yanagisawa: On the first day of the stage, before the tool tear, there was a huge panic until we jumped onto the stage, so there was no guitar result. There are few screens, the atmosphere and user interface are completely different from Japan, so it is a battle.

In October, you will surely start a concert hall and industry tour. What kind of travel do you want?

Hasegawa: We will definitely perform in the halls and fields (tourism attractions), so we will definitely perform differently from a small performance location in the UK. But I believe that it is actually crucial to express this power and move the individual’s heart. I intend to take advantage of my experience in tiny performances, fields and foreign locations.

Yanagisawa: I believe we certainly have the ability to reveal some brand new tracks at the start of the tour, so I hope we can perform resistance in the resistors of these tracks.

– Kaori Komatsu meeting appeared on Japanese signboard for the first time