#25-string koto

[yawningjorin]

Cirno 64 sound font demo

I think I finished my sound font. Can't quite distribute it due to copyright questions for a decent chunk of samples. But I compiled a demo of it. They're played in the order of the list at the bottom of the post. Feedback on the samples is welcome. ❤️

Playing is me mostly screwing around on my keyboard. I'm aware some of the sounds could use a release time, I need to figure out that part in sforzando. Conversely some of the samples from Kontakt have a few ms of silence before them which causes silence between back to back notes which isn't great e.g. the koto. There's also a weird wobble issue in the tanpura.

List of sounds

00-09: Keys

00: Grand Piano

State: finished ✔

Sample source: Kontakt

Redistribution: ❌

Possible replacement: ??? Regular grand piano.

01: Electric Piano

State: finished ✔

Sample source: Custom FM8 patch

Redistribution: ok Lush DX7-style electric piano sound reminiscent of that heard in Super Mario 64.

02: Church Organ

State: finished ✔

Sample source: Kontakt

Redistribution: ❌

Possible replacement: ???

03: Electric Organ

State: finished ✔

Sample source: Kontakt

Redistribution: ❌

Possible replacement: synth

10-19: Guitar

10: Acoustic Guitar

State: finished ✔

Sample source: Acoustic recording

Redistribution: ok Recording of an Ibanez acoustic guitar.

12: Clean Guitar

State: finished ✔

Sample source: Electronic recording

Redistribution: ok LP-style ESP guitar with a clean amp simulation.

13: Overdrive Guitar

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Nicely driven guitar run through a Kuro T120, a pedal emulation of an Orange Matamp.

14: Distortion Guitar

State: finished ✔

Sample source: Electronic recording

Redistribution: ok ESP LP-style guitar into Dunwich Left Hand Path (a.k.a. Modified HM-2) and Nightowl Industries Parabellum Drive V1.

15: Chug Guitar

State: finished ✔

Sample source: Electronic recording

Redistribution: ok ESP LP-style guitar into Dunwich Left Hand Path (a.k.a. Modified HM-2) and Nightowl Industries Parabellum Drive V1. Same as Distortion Guitar but played muted.

16: Octave Fuzz Guitar

State: finished ✔

Sample source: Electronic recording

Redistribution: ok ESP LP-style guitar into a Dunwich Witchfinder octave fuzz, based on the Boss FZ-2 Hyperfuzz.

20-29: Bass

20: Ukulele Bass

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Kala Journeyman U-bass.

21: Fingered Bass

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Woodo X6 with flatwound strings and Nordstrand Big Blades.

22: Picked Bass

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Woodo X5MS with stock setup.

23: Slap Bass

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Woodo X5MS with stock setup.

24: Doom Bass

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Woodo X6 with flatwound strings and Nordstrand Big Blades into a boosted Kuro T120 (Sunn Model T emulation)

25: Death Bass

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Woodo X5MS into an Ibanez PD-7 pushing an Ampeg SVT-CL model.

26: Dark Bass

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Woodo X5MS into a Darkglass Microtubes model.

30-39: Strings

30: Bowed Cello

State: finished ✔

Sample source: Electronic recording

Redistribution: ok NS Design WAV electric cello.

31: Pizzicato Cello

State: finished ✔

Sample source: Electronic recording

Redistribution: ok NS Design WAV electric cello.

32: String Ensemble

State: finished ✔

Sample source: Electronic recording

Redistribution: ok Layered and manipulated recordings of a NS Design WAV electric cello.

40-49: Wind

40: Trumpet

State: finished ✔

Sample source: VSCO

Redistribution: yes (CC0)

41: Ocarina

State: finished ✔

Sample source: Acoustic recording

Redistribution: ok Plastic chromatic ocarina.

42: Bottle

State: finished ✔

Sample source: Acoustic recording

Redistribution: ok Blown PET bottle.

50-69: Misc.

50: Sitar

State: finished ✔

Sample source: Kontakt

Redistribution: ❌

Possible replacement: ???

51: Tanpura

State: finished ✔

Sample source: Kontakt

Redistribution: ❌

Possible replacement: ???

52: Banjolele

State: finished ✔

Sample source: Acoustic recording

Redistribution: ok

53: Koto

State: finished ✔

Sample source: Kontakt

Redistribution: ❌

Possible replacement: ???

70-79: Synthesisers

70: Lead Synth

State: finished ✔

Sample source: Vital

Redistribution: ok Slightly percussive and moving synth.

71: Pad Synth

State: finished ✔

Sample source: Vital

Redistribution: ok Lush and layered pad synth running into a plate reverb model, inspired by https://www.youtube.com/watch?v=U5526pQUQaM

72: Synth Choir

State: finished ✔

Sample source: ZynFusion

Redistribution: ok Choir preset.

73: Fantastic Synth

State: finished ✔

Sample source: Vital

Redistribution: ok Imitation of the lead synth heard in Necrofantasia.

74: Eurobeat Brass

State: finished ✔

Sample source: Vital

Redistribution: ok Pretty standard Eurobeat Brass, per https://www.youtube.com/watch?v=eJsFlyzpCDM

75: Sine Bass

State: finished ✔

Sample source: ZynFusion

Redistribution: ok Plain sine wave. Popularly used in Jungle / Drum & Bass.

76: 808 Bass

State: finished ✔

Sample source: Vital

Redistribution: ok 808-style bass synth.

80-89: Percussion

80: Drum Kit

State: finished ✔

Sample source: Superior Drummer

Redistribution: ❌

Possible replacements: DrumGizmo kits

81: Pitched Gong

State: finished ✔

Sample source: Acoustic recording

Redistribution: ok

82: Glockenspiel

State: finished ✔

Sample source: Acoustic recording

Redistribution: ok

83: Frog Guiro

State: finished ✔

Sample source: Acoustic recording

Redistribution: ok

[arisaontheinternet]

So as I said my book is due back at the library so I'm going to finish the book today. Sorry for multiple long posts in advance.

Next chapter is "The Koto Teacher". We meet the traveling koto teacher Miyakawa Kokin. She travels from Tokyo every 3-6 months to teach koto and she usually stays at the Inugami house when she is in the area. Now she is visiting Matsuko to tell her she instead stayed at an inn this time due to the terrible news at the Inugami villa. She says she is probably leaving soon, but Matsuko ask her to stay a few more days to give her a lesson. It should be noted that Miyakawa has something wrong with her eyes, one shrunken in and the other bulging out. This sudden introduction of the character makes me very suspicious. After she leaves the police chief Tachibana and Kindaichi come in and ask about the Hakata Veteran's towel. Kiyo is able to produce his from his things. Then they ask Matsuko about seeing Monkey last night and she says he asked her for a koto string, presumably to fix a fishing net.

Next chapter is "Tamayo's Silence" where it turns out the Nasu priest Oyama has found Take's body in the lake. We learn that the cause of death was a stab wound in the back, they assume it is a sword. While talking to the priest, Kindaichi asks how he came up with the idea to compare the hand print. He says it occurred to him after Tamayo came to look at the same hand print earlier. Making it seem like she planned the whole thing. And then to end the chapter the police come in and say that the hand prints match and Kiyo is in fact Kiyo.

Next chapter is "Inside the Chinese Chest" is pretty short. Oyama says he found a chest that might interest Kindaichi. It was sealed March 25, 1911 by Sahei and Daini, which was only a couple months before Daini died. Inside the chest, Oyama says, are love letters between the two, confirming their relationship. I'm not really sure where this plot is going, but remembering this is an old novel.

The next chapter "Pomegranate" we get a little more action. That night after Take's wake, Sayoko, Take's sister, goes to Tamayo's rooms with her. She wanted to ask if Tamayo had feelings for Tomo, as Sayoko also has feelings for him. After Sayoko leaves and Tamayo goes into the bedroom to turn on the lights a man pushes past her and comes running out of her bedroom. She screams, alerting everyone one in the house, also giving them all alibis. But the man has his face covered, so we don't know who it is, just that he matches the description of the earlier mysterious man from the inn. Sayoko then sees Money struggling with the man, but he ends up escaping through the nearby balcony. During this time when Kiyo heard Tamayo's scream he ran out of his room. So when Sayoko, Monkey, and Tamayo hear another scream they run towards it and find Kiyo without his mask lying unconscious.

Now the intrigue intensifies in "Tomo Sharpens His Claws." After Kiyo wakes up he says he was punched by the mysterious intruder and we learn that there were muddy foot prints in the house suggesting he broke in. Also multiple townspeople report seeing a man in the mountains. Then we cut to Tamayo rowing out onto the lake again. Its very peaceful and almost no one is around. When Tomo shows up on a motorboat saying Tachibana and Kindaichi want to see them urgently, telling her to get in his boat because the rowboat is too slow. As she does he basically chloroforms her.

Next chapter, "The Man in the Shadows." We learn that the original Inugami house is across the lake in Toyohata Village, but it has been abandoned so this is where Tomo sneaks off to. He is being very pervy, as he sneaks into the house with Tamayo's unconcious body. But he isn't sneaky enough because it turns out our mysteious man in a soldier's uniform is also in the house. So after drawing out the suspense we cut our scene as Tomo sees him. Then we cut to Monkey getting a phone call from presumably the same man, who says to come to the old estate alone to rescue Tamayo so as not to start a scandal.

"The Koto String," starts with Tamayo waking up and remembering how she went to sleep. Monkey gives here a scrap of paper with a note.

Shortly after Tachibana, Kindaichi, and Sayoko come in asking about Tomo. Tamayo after a little hesitation tells them what happens and then we get Monkey's side. He explains the phone call, how he found Tamayo with the note pinned to her clothes, and an alive Tomo tied to a chair and gagged, but still alive when he left. Then Tachibana, Kindaichi, Tomo's dad, Sayoko, and Monkey go over to the old house to release Tomo. What they find there is Tomo still tied to the chair, but dead with a koto string around his neck.

Tomo is dead and more in "The Unfortunate Sayoko." First we see Kindaichi putting some pieces together that the deaths seem to be related to the heirlooms. Take with the chrysanthemum and now Tomo with the Koto. There is evidence the mysterious man was here, including a matching boot print and some cooking supplies. According to the doctor Tomo died between 8 and 9 PM and was strangled, not by a koto string, but something thicker. It appears the ropes around Tomo's midsection may have been adjusted since Monkey saw him. And last but not least Sayoko is having a psychotic episode and seems to be 3 months pregnant. Dun. Dun. Really turning into a soap opera over here.

Last chapter for now is "The Blood on the Forefinger." Where we find out how each of the sisters react to the news of Tomo's death. Umeko is of course distraught and blaming Matsuko, that is until they tell her about the koto string and then she because very quiet. A similar thing happens with Takeko. Then when the tell Matsuko she is in the middle of her Koto lesson with Kokin, and Kiyo comes in when he hears there is news. Matsuko doesn't react at all to the news of Tomo's death, still playing her koto. But she breaks a string when she finds about the koto string around the neck. And at this point her finger bleeds. We see some animosity toward Kokin from Matsuko and we see Kiyo taking care of Kokin. As he escorts her out of the room. Matsuko tells the detective she needs to talk to her sisters before she can talk about the connections between all the deaths.

Less than a hundred pages to go now. I'm getting suspicious of the Koto teacher and the priest now. Maybe the priest is Shizuma? Not really sure yet. See you in a few hours for the rest.

So I'm Going to Solve a Mystery

So I've had an Idea. Not a particular new idea, but a fun one. I just checked out the English language version of The Inugami Curse by Yokomizo Seishi from my local library. All I know about it is from the back of the book, a wealthy man dies, and there is a bloody fight over his inheritance. I picked it up because it was referenced in Don't Call It Mystery. But my plan is to try to solve the mystery!

Opening the book, there is a list of characters. So before reading any more, I drew a family tree. I guess I should clarify that in the book, they use Given then Family name. But since it's a Japanese book, I've swapped it to Family and then Given, and I looked up the kanji because I find that helpful. For instance, Inugami is the characters for dog and God. Or the 3 daughters' names are highest, middle, and lowest child. Also pine, bamboo, and plum/apricot.

[dustedmagazine]

Laraaji — Segue to Infinity (Numero Group)

It was brass, as the artist remembered nearly four decades later, layers of brass harmony that remained somehow static, neither beginning nor ending. It was a pivotal moment for the then Edward Larry Gordon, whose middle and last names were eventually and ceremonially conflated to Laraaji. That moment of sonic vision led, with the inevitability of destiny, to the music in this 4-LP set containing some of his earliest released and recorded works.

While his most celebrated contribution is certainly his Day of Radiance album, an entry in Brian Eno’s Ambient series and produced by him, Laraaji’s discography is daunting, parts of it very difficult to track down. This set is a welcome addition to that catalog, documenting a formative phase of the instrumentalist and meditator’s journey.

As the liner notes attest, somewhere between that revelatory sound experience and these late 1970s sessions, the former comedian walked into a pawn shop and, heeding the intuitive voice he learned increasingly to trust, traded his guitar for an autoharp. Taking the bars out, he moved toward being the musician heard on that Eno collab and on his first album, Celestial Vibration, released in 1978 on the obscure SWN label and still under his birth-name. It’s the first LP in this set.

All of the trademark musical vibes pervade the two 25-minute pieces for electrified zither, peppered with effects and crackling with his trance-inducing rhythmic energy and focus. Even more wonderful is the music’s diversity as it either drives or insinuates a more sedate entity that it would be incomplete, even contradictory, to call motion. The sounds often emerge in cycles, sometimes engendered by the effects, creating a sort of rhythmically contrapuntal state that still avoids the goal-driven aesthetic associated with such conventional notions. These are overlapping and evolving cycles illuminating the path inward. The filtered resonances delineating “All-Pervading” sweep up and down the sound spectrum, invitations to partake in reflection even as the zither thrums with motoric insistence, leaving aside another more percussive sound entering a whole new harmonic area! Then, suddenly, only the complex sweep and rainbow-soft glissandi remain.

While such sounds embody and anticipate descriptors of the “New Age” genre, Laraaji’s music is far too complex for facile pigeonholing. “Bethlehem”’’s edgy opening, replete with scrapings, high-pitched rasps, rhythmic knocking and a few silences that either jar or seduce, defies all categorical felicity. Like the artist performing these vast sonic tone-paintings, the soundscape must be taken on its own terms.

The same is true for the three LPs of material only now seeing complete release. What a luxury it is to float down the titular piece’s flute-and-zither tributaries, each overtone beautifully captured as the flute traverses the stereo spectrum, gently ebbing and flowing through sound and silence until the cradling rhythms ensue. Those effect-driven eddies also permeate the bells and strings dialogue of “Koto,” placing even familiar sounds somehow beyond or just outside themselves. Tremolo, phase and vibrato carry and enhance each plucked timbre, liquifying the icy crystal transient peaks articulating their creation. The complex motions of hands or mallets on wire and wood are as faithfully rendered as the music’s raw power is both palpable and elusive.

By “Kalimba 4”’s hypnotic conclusion, during which the overtonally rich thumb piano articulations ultimately dissolve into a quietly salutary exhortation, a vast sense of completion is palpable. It is as if each of these eight excursions presents one facet of that harmonic revelation that put Laraaji on the path, each microcosmic repetition speaking to a stage in a development spiraling toward the unity at the music’s heart. This is now the most comprehensive collection of Laraaji’s work from this formative period, and the liner notes, including a wonderfully perceptive essay by Vernon Reid, give verbal voice to the celebration warranted by such a comprehensive package. 

Marc Medwin

[violettelueur]

RYŌMEN SUKUNA || WITH A S/O THAT CAN SING

| featuring : ryōmen sukuna from jujutsu kaisen

| warnings : grammar errors but other than that n/a

| form : headcanons

| published : 25 november  

| request : Hi! I really adore your work and writting! So I wanted to ask, if I can order headcanons with Sukuna with his s/o (fem/gn) that can sing really good. It’s my first time making an order ;-_- I’m a little nervous

| barista’s notes : hey hey hey~ barista violettelueur is back again with another sukuna coffee order - like i have mentioned before in another piece of work of mine, he’s quite a popular choice at this cafe ʕ·ᴥ·　ʔ - i hope you enjoy your cup of classic black coffee (jujutsu kaisen request!) and i hope you come back soon to order again - since this is your first time order ʕ •ᴥ•ʔゝ☆

Once this man finds out that you can sing, honey your voice is basically saying ‘game over’ - gg my friend.

Keep at least 10 packets of lemon cough drops in your bag and at least three 3 litre bottles.

If you had met the King of Curses 1000 years prior, you would have definitely accompanied your voice with a traditional instrument, maybe a Koto - a Japanese plucked zither and the national instrument of Japan (it was introduced around the Nara period which is around 710-784 I believe - so that was kinda way before Sukuna existed according to my calculations, I could be wrong though)

He would probably demand you to sing and play for him, never admitting that your voice really calmed him and that he really enjoyed the music that you would play for him.

It wasn’t like you could go against him anyways - you were slightly scared, but not scared enough to not love him.

I can literally see him holding the red sake plate/cup as he watches you play, intrigued by how your fingers strum each string to make a sound and how your voice really accompanied well with the song that you are playing.

He would call you his little songbird - there is no going against that, it's too late. That’s your new name now.

There would be times where he would rest his head on your lap and once again asked *cough*demands*cough* you to sing for him, so he can fall asleep.

(Little reincarnation au here) if you would both meet again in the present time, he would definitely recognize your voice from a while away - honey, he’s got good hearing

Or maybe your voice is his favourite sound - once again, he won’t admit it.

If you somehow fall in love with him again, he would ask if you could play the Koto to which you probably don’t since it was probably replaced with a modern instrument.

However, Sukuna wouldn’t really mind or care I believe. The fact that you kept your musical identity after 1000 years made him really happy to have something to hold on to.

And just like those years before, he would lay his head on your lap and ask for you to sing - mostly likely with your arms wrapped around him so that he knew that he had your full attention.

Sometimes he would raise his hand to caress your cheek, leading you to gently grab on to his wrist to keep it there as it really did bring comfort to you as your voice did for him - kind of like you and Sukuna were communicating to each other that you were thankful for one another and that you loved each other (little things matter guys)

Maybe he would lay his head on your chest to feel the vibrations as you sang to him - it’s just really comforting to him that you’re back.

“Little songbird, sing for me”

“What would you like me to sing for you?”

“Anything”

If you have a sore throat one day, you would most like hum to him rather than sing - he would probably leave small kisses on your neck/throat as if he was smoothing the pain (lowkey is though)

Sometimes he would stop you from humming so your voice doesn’t strain even more - even though he doesn’t say it much, he really does love you and wants to protect that precious voice of yours.

“It’s okay my little songbird, don’t be foolish and strain it even more”

“That’s awfully kind of you”

“Don’t get used to it”

Sukuna is pretty demanding as well as uncharacteristically gentle with you, he really loves the sound of your voice and the peace that comes with it - it’s almost as if he was slightly becoming human again.

[aishiteru-kenshin]

Kasumi Watanabe Playing Children’s Folk Song “Kagome” on 25-String Koto

[peashooter85]

さくら(Sakura)　25絃箏 (25 strings koto)

from Kasume Watanabe

[bnha-ramblings]

BNHA CHARACTERS ACCORDING TO MY FAMILY P27: Knife Wife

(A completely unoriginal idea)

@depressed-otakuwu requested her back in the beginning of these

Sister

Gender? Boy A boy? He’s a boy gender... Like body of a girl, but a boy on the inside So a trans boy

Does he have DENTIST POWER?!

I’m saying villain Again? I like them more

Dentist power? And that means? Or he cleans teeth?

Creepy

Peppy

Name? Mad Dentist

Sally Isn’t that a girl’s name? He was born in the body of a girl Well, when people realize they’re trans and they were born in the wrong body, they can give themselves a new name Okay... James!

31 Why’s everyone in their 30s? Well, that’s not what I actually think, but I don’t think it’s what I think it is Well, what do you think? 25

VERY creepy

Mother

VERY OPINIONATED

20 Okay If she’s an adult If she wasn’t? I’d say 16

Villain

Reminds me of Harley Quinn

Name? Pepper

Villain name? Psycho Bitch *laughs* VILLAIN NAME? Oh... Uh... Did you just black out?

She’s CRAZY! No, that’s not her quirk...

Venom... No, Gaseous! She’s like poison... That’s her name! Poison!

She emits a poisonous gas What about the needles? That’s how she gets it into people

She’s a psycho bitch!

It’s nerve gas

A valley girl

I think she’s evil... She looks evil

Really into boys and teen magazines

She’s a dumbass

She’s the type to have a psycho crush on someone

((1A pictures)) Which one does she have a psycho crush on? That one! Uraraka?Sure... Is that wrong? It’s not that far off... Technically wrong, but not that far off

Anything else? She’s a psycho bitch Mother...

Stupid but not stupid

Reminds me of Martha Don’t insult Pepper (Toga) like that...

Manipulative

Likes to paint her nails

Father

((2nd img)) Looking a little too happy there...

Wait, is that a syringe? Yes along with a knife

Kazumori

Brittany It’s Britney, bitch

19

Hero or villain? Hmm... Is this you being sarcastic or could it go either way? I mean, to me, she’s psychotic... And demented, but some animes are quirky that way- I need to quit saying quirky

She’s got that harlequin personality for sure

Also reminds me of the stereotypical blonde ditz

First off, the hair is probably dyed because if she’s Japanese, it’s very- It’s an ANIME!

Dental Hygienist

I’ll let her be a villain because I’m not sure if she is but I just don’t want her anywhere near me

There’s definitely a big teeth thing going on here but then she’s got a knife to stab you… A psycho dentist

She sedates people and then stabs them to death

Super hyper

Agility and speed are a part of her quirk

ADD

Ditzy

Maybe she sucks… She collects people’s blood with a syringe

She can make little creatures from the collected blood and they do her bidding

She’s the type to form one of those crushes that you don’t want like she’s the creepy girlfriend type Who in class 1A does she have it on? Katsuki Why, because he’s blonde also? No Does she go for the bad boy type? No, I think she goes for the type that want absolutely nothing to do with her That’s fair

She collects teeth and makes sculptures out of them

She plays koto What’s that? A Japanese stringed instrument

Masterlist

[ohakosubs]

Haruka, Nostalgia (はるか、ノスタルジー), 1993 dir. Nobuhiko Obayashi

status: complete download here

**translation notes: (contains spoilers)**

・The name of Shinsuke Ayase’s publisher, Lil’ Bunko, references the term bunko 文庫, short for bunkobon 文庫本, which are A6-sized softcover books - the most common format for novels. A lot of publishing companies in Japan use the word bunko at the end of their name.

・The term lolicon may not need explaining for many viewers of this film, but as I chose to translate it as a proper noun rather than directly translate it, I feel the need to provide a small explanation as it is quite central to the film’s plot. Lolicon is short for “Lolita complex”, and is used to refer to someone (usually male) that has a fetish for young (read: underage) girls. 

・Some context is needed for the way the name Yoko Miyoshi is introduced and the influence it has on the story. The kanji for “Yoko Miyoshi” is 三好遥子, which can be broken down thus: 三-> the number 3, 好-> ‘like’ or ‘favorable’, 遥-> ‘distant’ or ‘far away’, as in the Japanese verb haruka, 子-> child.  Haruka’s name is thus taken from the first half of “Yoko”, the kanji that when used on its own can be pronounced “Haruka”. Haruka plus the kanji for “child”, 遥子, can be interpreted as meaning “a distant/far away child”. I have attempted to include as much of this information in the subtitles as possible.

・nishin ニシン (鰊) is Pacific herring, and nishin-don is a local delicacy in Otaru. In reference to the dish, I have chosen to use nishin-don as a proper noun, but when Haruka tells the story of the herring that disappeared from the ocean, for clarity’s sake I chose to use ‘herring’ instead of nishin. 

・A small aspect that gets lost in translation is the term Haruka uses to describe young girls as ‘passionate’ during her impassioned speech about Ayase’s behavior. She uses the term mune ga atsui 胸が熱い, which literally translates to “a hot chest/breast” - meaning that when someone gets worked up about something (mostly in a positive way), they feel a hotness in their chest. This coincides nicely with the ‘physical’ nature of her speech.

・Haruka mentions that the school song she sings is from her high school, Otaru Shiomidai, but in actual fact it is the real school song from Otaru Choryo High School (though the melody may not be identical). The school Haruka and Ayase visit together is not Shiomidai either - though Ayase mentions that he went to the same school as Haruka - it is Ishiyama Middle School.

・A note about the lines of dialogue in German: As verified by a native German speaker, Noboru’s German pronunciation is incredibly hard to decipher, and the lines seem to have been directly translated from Japanese by a non-native, riddled with incorrect grammar and strange vocabulary. As the most important parts of these lines are the Japanese sentences Noboru says after them, I have refrained from transcribing them for the subtitles; however a native German acquaintance was kind enough to help out with attempting to decipher them, so here is a bonus cheat sheet for the German dialogue: 1. 0:06:05 “Alles hat seine Zeit.” -> “Everything has its time.” 2. 0:39:16 "Der Mench ist, was er isst." -> “Man is what he eats.” 3. 0:40:44 "Mit der Habgier wird der Entfremdete immer eifersüchtig." -> “With greed, the alienated person is always jealous." 4. 0:43:45 “Kein Mädchen findet dich selb besser schön.” -> “No girl thinks herself more beautiful.” 5. 0:43:56 (also 1:00:09) "Wissen ist das Traurigste auf der Erde." -> “To know is the saddest thing on Earth.” 6. 0:46:10 "(Ich hätte) es leichter als (Mädchen)." -> “I think I had it easier as a girl.” (best guess) 7. 1:29:42 “Die (echte) liebe (verdreht) sich erst auf.” (?) -> “Real love twists first.” (who knows...) 8. 2:00:57 “Sie (endet?) über Fragen.” -> “She ends with questions.” ? 9. 2:25:17 “Alles hat seine Zeit. Nur endet sie nicht. Sie hilft nicht zu machen.” -> “Everything has its time. It just doesn’t end. It doesn’t help you to do/make it.”

・There are times when Ayase refers to Haruka as simply “Haruka”, and other times he adds “-chan” on to the end of her name. As many viewers may already be aware, “-chan” is an affectionate suffix often used for girls of a lower age than oneself, or somebody the speaker feels particularly friendly towards. Haruka’s comment about Ayase using “-chan” doesn’t carry as much meaning in English as it does in Japanese. Similarly, at one point Haruka remarks that Ayase has started using the personal pronoun ore 俺 instead of boku 僕 (or watashi 私 in his narrations, which is more reminiscent of the language used in a first-person novel). Ore is widely considered to be much more masculine than boku, so the subtitles reflect that nuance.

・The koto is a traditional Japanese stringed instrument, one of the most common sounds in Japanese music. It is often referenced to as a symbol of old-style Japanese romanticism, largely thanks to its presence in literature such as The Tale of Genji.

・Toward the end of the movie, Haruka muses to Hiroshi, “What is Haruka, I wonder?” The Japanese used for this line is ima no Haruka wa, ittai nan-nan deshou? 今のはるかは一体何なんでしょう？ which directly translates to “What exactly is the Haruka of now/the present, I wonder?”. The line is meant to reflect several different things at once: Haruka’s confusion as to who she is, her role in Ayase’s story, and where she lines up with the criss-crossing of her (or Ayase’s) past and present. It is difficult to include all of those nuances, but I was intrigued by the way she used “what” instead of “who”, so I felt like “What is Haruka?” was a more concise way to reflect that line in English.

[luvetlux]

Fred Frith ‎– Speechless

Label: RecRec Music ‎– ReCDec 902

Format: CD, Album, Reissue 

Country: Switzerland

Released: 1991

Genre: Jazz, Rock

Style: Free Improvisation, Avantgarde, Experimental

Speechless is a 1981 solo album by English guitarist, composer and improviser Fred Frith of the group Henry Cow. It was Frith's third solo album, and was originally released in the United States on LP record on The Residents' Ralph record label. It was the second of three solo albums Frith made for the label.

Speechless was recorded in France, Switzerland and the United States, and featured Frith with French Rock in Opposition group Etron Fou Leloublan on the first side of the LP, and Frith's New York City band Massacre on the second. It is mostly a studio album with extracts from a Massacre concert mixed into four of the tracks on side two of the LP.

Speechless has been described as a mixture of folk music, free improvisation, avant-rock and noise. AllMusic said that it is often regarded as one of Frith's best solo albums.

In 1991 East Side Digital Records and RecRec Music re-issued Speechless on CD with six additional tracks. In 2003 Fred Records issued a remastered version of the original Speechless LP on CD with no extra tracks

Tracklist 

1 –Fred Frith With Etron Fou Leloublan Kick The Can (Part 1)

Bass – Fred Frith

Bass, Voice – Ferdinand Richard

Drums – Guigou Chenevier

Organ, Harmonium – Jo Thirion

Soprano Saxophone, Tenor Saxophone – Margot Mathieu

2:19

2 –Fred Frith With Etron Fou Leloublan Carnival On Wall Street

Bass, Voice – Ferdinand Richard

Drums – Guigou Chenevier

Organ, Harmonium – Jo Thirion

Soprano Saxophone, Tenor Saxophone – Margot Mathieu

2:51

3 –Fred Frith With Etron Fou Leloublan Ahead In The Sand

Bass, Voice – Ferdinand Richard

Drums, Tenor Saxophone – Guigou Chenevier

Organ, Harmonium – Jo Thirion

Soprano Saxophone, Tenor Saxophone, Voice – Margot Mathieu

3:16

4 –Fred Frith With Etron Fou Leloublan Laughing Matter/ Esperanza

Bass, Voice – Ferdinand Richard

Drums – Guigou Chenevier

Organ, Harmonium – Jo Thirion

Soprano Saxophone, Tenor Saxophone – Margot Mathieu

7:47

5 –Fred Frith With Etron Fou Leloublan Women Speak To Men; Men Speak To Women

Bass, Voice – Ferdinand Richard

Composed By [Co-composed By] – Tina Curran

Drums – Guigou Chenevier

Organ, Harmonium – Jo Thirion

Soprano Saxophone, Tenor Saxophone – Margot Mathieu

5:39

6 –Fred Frith And Massacre (2) A Spit In The Ocean

Alto Saxophone – George Cartwright

Baritone Saxophone – Mars Williams

Bass – Bill Laswell

Drums – Fred Maher

2:17

7 –Fred Frith And Massacre (2) Navajo

Alto Saxophone – George Cartwright

Baritone Saxophone – Mars Williams

Bass – Bill Laswell, Fred Frith

Drums – Fred Maher

Saxophone [Snake] – Steve Buchanan

Tape, Bass – Tina Curran

3:05

8 –Fred Frith Balance

Bass, Drums – Fred Frith

5:04

9 –Fred Frith And Massacre (2) Saving Grace

Alto Saxophone – George Cartwright

Baritone Saxophone – Mars Williams

Bass – Bill Laswell

Drums – Fred Maher

1:57

10 –Fred Frith Speechless

Bass – Fred Frith

3:05

11 –Fred Frith And Massacre (2) Conversations With White Arc

Bass, Composed By – Bill Laswell

Drums – Fred Maher

1:14

12 –Fred Frith Domaine De Planousset

Tape, Bass – Tina Curran

2:59

13 –Fred Frith Kick The Can (Part 2)

Bass – Fred Frith

2:14

14 –Fred Frith The Entire Works Of Henry Cow

1:00

15 –Fred Frith And Massacre (2) So Schnell Ich

Bass – Bill Laswell

Drums – Fred Maher

Engineer – Jean-Marc Foussat

Guitar, Keyboards – Fred Frith

3:25

16 –Fred Frith I'm Still Here And I Know What Time It Is

Noises, Drums – Fred Frith

Voice – Tina Curran

1:06

17 –Fred Frith No More War

Bass, Keyboards, Composed By – Steve Gore

Drums – Steve Kretzmer

Voice, Tape – Fred Frith

4:46

18 –Fred Frith Typical American Family

Voice, Instruments [Homemade Instruments] – Fred Frith

1:01

19 –Fake (4) Dig

Alto Saxophone – Masami Shinoda

Bass – Tetsuto Koyama

Drums – Miyamoto

Effects – Fred Frith

Kokyu – Chie Mukai

Strings [Taisho Koto] – Kenichi Takeda

Voice – Keiji Haino, Tenko

3:07

Personnel

Fred Frith, Jo Therion, Ferdinand Richard, Guigou Chenevier, Margot Mathieu, Mars Williams, Bill Laswell, Fred Maher, George Cartwright, Steve Buchanan, Tina Curran, Steve Gore, Tetsuto Koyama, Chie Mukai, Miyamoto, Keiji Haino, Tenko, Keichi Takeda, Masami Shinoda

[juujinkan]

KONO OTO TOMARE! AND THE BEAUTY OF JAPANESE TRADITION

(No spoilers, some hints in the attached videos. 

This is just my personal vision of this series, and it has a lot of text. I wrote the original in Spanish, so my apologies in advance for the mistakes I may have committed translating it).

One of the series that caught my attention in 2019, mainly for having a musical topic, is Kono Oto Tomare! (or Stop this Sound!, hereinafter KOT), whose story was split into 2 seasons. 26 episodes of slice of life, drama, comedy and of course, traditional Japanese music.

Synopsis: a group of high school students form a koto club, with diverse personalities as well as diverse approaches to this instrument, and who struggle to get a quota to participate in Nationals. So far, it is your typical series of the genre.

However, KOT has a beautiful story, credible characters and conflicts, excellent music ... and genuine emotions. Perhaps, this is the reason why it has a high rating (for example) in MyAnimeList site, with an average of 8.47 in its 2nd season. (If you haven't watched it yet, please give it a chance!)

I won't extend into unnecessary details, so I will concentrate on episodes 10, 11 & 12 from 2nd season (or 23, 24 and 25 in general count), which belong to the competition for a place in the Nationals, focusing among the 3 most outstanding schools, each one with its own characteristics. I attached videos of each performance, which are explanatory in themselves and allows the viewer to know the characters' motivations or thoughts.

Series dedicate an episode to each school, to emphasize how important they are in the competition, how close they are as competitors, and deepening in the details that led them there.

# 1: Ep. 10 - Himesaka High School // Name of the piece: “3 Paraphrases”

Himesaka shines for a beastly teamwork. The piece requires to be played in perfect synchrony, with many notes and quick changes. Its sound is overwhelming, and the viewer notices it immediately, becoming increasingly complex and even dark.

https://vimeo.com/383800271

# 2: Ep 11 - Hakuto High School // Name of the piece: “Katakago”

Simple in appearance, but with greater depth by the performers, the piece privileges Mio's individual work over the group. And we'll understand why.

https://vimeo.com/383790987

# 3: Ep 12 - Tokise High School // Name of the piece: “Tenkyuu”

The most eclectic group of the three. A difficult piece, arranged in such a way that everyone stands out. Of a distinctive beauty, it shines by itself.

https://www.youtube.com/watch?v=ixVExga_DUs&t=2s

Each one of these pieces also reveals how the schools have been shown in the series. In Tokise's case, due to the fact they are the main protagonists, we see its growth and effort in a closer way. I have to mention how surprised I am for the dedication that students put into this type of clubs. I can't say if this is “true” in real life, but the responsibility they assume is worth admiring. A cultural matter, I imagine.

Another highlight is the animation. The staff really did a great job, because we can see in detail how characters play their instrument, not with simple shots away but showing their hands in full execution: the fingers sliding gracefully down the strings, the arms stretching, bridges moving. It is really illustrative for those who don't know at all the complexity of their execution (including myself). As well as how uncomfortable and heavy its transfer can be, and at the same time how delicate it is.

Perhaps the only point against it is the excess of dialogues in the performances, which “conditions” our perception of them and at the same time hinders their enjoyment, approaching what Nodame Cantabile series did time ago. In that sense, perhaps what Hibike! Euphonium 2 did at its beautiful final presentation of "Mikazuki no Mai" would be more succesful: no dialogues, no inserted memories (except Kumiko's, but it is short and doesn't have dialogues). The camera moves between the musicians, the director, their music stands; but it always takes place on stage, and at most it takes a slight look behind the scenes. Music is always the protagonist.

https://www.youtube.com/watch?v=cHQJX8a8CWc

Beyond this detail, the function is equally fulfilled: to thrill through music. The pieces themselves are a vehicle that leads us to remember, empathize and get carried away by what we see and hear.

Special mention to one of the comments from the judges in episode 13/26, that I consider very accurate, and explains the reason why the winner school was chosen:

“A truly wonderful performance can go beyond experts and reach those who don’t know much about koto. Its heart can reach even those who speak a different language and live in a different culture”

Is this a wink to Western viewers? Maybe, but he's still right. Anime itself, manga itself, are Eastern works that attracts the Western viewer, and enjoys beyond language and culture. In the particular case of koto, it shows us the Japanese musical tradition, how is executed in terms of forms and styles, and how it is perceived by these young generations in these competitions. And, as usually happens in every anime competition, the arduous path of practice and devotion its participants follow until the moment of truth comes.

Returning to tradition, there are a few anime series in recent years that have been responsible for showing to the Western world the cultural benefits from ancient times in Japan:

- Shouwa Genroku Rakugo Shinjuu (2016-2017) did it with rakugo,

- Kabuki-bu! (2017) with the kabuki theater,

- Kono Oto Tomare! (2019) with koto

(Yes, it should be noted that Shouwa is unmarked from the other two since the latter are at a school club level).

There are also series based on some sports such as the amazing Sangatsu no Lion (2016-2018), which deals with shogi or traditional Japanese chess (although as with Shouwa, it is not the main theme but rather part of the plot), Tsurune: Kazemai Koukou Kyuudoubu in 2018, which shows the Kyuudou or archery, and Hinomaruzumou in 2019, with sumo.

And I'm only talking about the last 3 years.

It's nice to see that within all the seemingly infinite fantasy that Japan may be able to create, it also takes time to make these series that deepen into their traditional arts, shading them with either slice of life or other genres. An entertaining way to meet them, both for the new generations of young Japanese people and for those who want to meet them from the other side of the world, understand them beyond language or culture, and, why not, make them part of their own too.

[thatringboy]

Okay but not Inosuke being the coolest character in FS&S imo

The vast majority of his battles are fought by himself, despite him always comparing his strength to his friends, he’s been training longer than his friends combined which already puts him above them in skill, the way he doesn’t really develop feelings for Tanjiro until after he is assured that Tanjiro isn’t a threat (god I love that scene so much, you have no idea. I reread it all the time, it was the start of something magical) and like yeah!! Inosuke went toe-to-toe with Yuichiro BY HIMSELF for the majority of that fight!! He protected the front half Mugen Train with Tanjiro despite his fighting style not working in cramped environments with minimal assistance! He killed the Swamp Demon by himself! He killed fucking Gyomei with only one eye!! And with a weapon he really didn’t know how to use!! And the dude can play a 25 string koto?????

Gyomei can die mad a hundred times over, Inosuke Hashibira is the coolest mofo in this series hands down

Thank you so much! Inosuke’s character was one of the original ideas I had for the AU and I’m so so so happy that you liked him! His personal arc was hard for me to plan bc I didn’t want to rely on so many flashbacks with him. I wanted readers to piece together his growth as we went, but I understood that would be hard since he was absent for the first half of LM&D, so it became a balancing act of when to add Inosuke and when to back off

Again, I’m so happy that you love his character as much as I do!

[recentanimenews]

Kono Oto Tomare! TV Anime Makes Beautiful Music on April 06, 2019

  A new TV commercial and the Japanese broadcast schedule have been published for Kono Oto Tomare! ("Stop at this Sound!"), an upcoming TV anime adaptation based on the manga by Amyu about a high school music club dedicated to the koto (a traditional 13-stringed instrument) that is on the verge of shutting down until two unlikely new members breath new life into the club.

    The original Kono Oto Tomare! manga is serialized in Shueisha's Jump Square manga magazine. The story is set at Tokize High School, where the school's koto music club is on the verge of shutting down because it only has one remaining member, the club president, Takezou Kurata. All of this changes one fateful afternoon when Satowa Houziki, a genius koto player, and Chika Kudo, a former delinquent, barge into the nearly abandoned club room and demand to join the club.

    The Kono Oto Tomare! TV anime is directed by Ryoma Mizuno and features animation production by Platinum Vision. The series will broadcast in Japan in a pair of split cours, with the first cour running from April to June in 2019 and the second cour running from October to December in 2019. The TV schedule for the first cour of the show is as follows:

  Tokyo MX: every Saturday during the 25:00 time slot beginning on April 06, 2019.

BS11: every Saturday during the 25:00 time slot beginning on April 06, 2019.

WOWOW: every Wednesday during the 24:00 time slot beginning on April 10, 2019.

    Please note that some Japanese TV schedules count early-morning programming as late-night programming of the previous day, so for example the 25:00 time slot on Saturday evening is actually on Sunday morning at 1:00 AM JST.

  Sources:

Ota-suke

Official Kono Oto Tomare! TV anime home page

  ---

Paul Chapman is the host of The Greatest Movie EVER! Podcast and GME! Anime Fun Time.

By: news+feed@crunchyroll.com

[agnieos]

さくら(Sakura)　25絃箏 (25 strings koto)

[dustedmagazine]

Listed: Dr. Pete Larson

Dr. Pete Larson runs Dagoretti Records now, he’s gotten there by an unusually long and winding road. Earlier in his career, Larson fronted 25 Suaves and Couch and ran BULB records. He also trained as an epidemiologist and spent time in Kenya studying the transmission of malaria. While in Kenya, he developed an interest in a lute-like eight-stringed instrument called a nyatiti and studied it with the master player Oduor Nyagweno. All these interests collide in a striking first album from Dr. Pete Larson and His Cytotoxic Nyatiti Band, where the nyatiti “cuts through a haze of electric rock distortion, pinging rhythmically and restlessly against floating euphorias of ululating vocals,” per Jennifer Kelly’s review. Here he lists some favorites from several continents.

I have been asked to create one of these lists for Dusted and here’s what I came up with. Making these lists is kind of difficult. I have a hard time remembering what I’ve been listening to at any moment, but here is a collection of old and new that get frequent airplay in my home. I play a Kenyan lyre, so this heavily leans toward lyre and harps and East African music in general, with some other choice cuts thrown in.

Musicians Of The National Dance Company Of Cambodia — Homrong (Real World Records)

I think I got this record (CD) back in the early 90s when I was selling music to Caroline Records. A friend sent me a box of CD promos, most of which wasn’t very interesting, but fortunately, this one was included. I don’t really know anything about Cambodian music, but for some reason, this collection of mid-tempo Cambodian court jamz plays every couple of months. Lots of weird sort of lurching rhythms and chorus singing with an erhu like instrument over it. A great listen.

Maleem Mahmoud Ghania w/ Pharoah Sanders — Trance of the Seven Colors

The Trance Of Seven Colors by Maleem Mahmoud Ghania w/ Pharoah Sanders

Trance inducing this is. Maleem Mahmoud Ghania is (was) one of the 20th century masters of Moroccan Gnawa music, a sort of spiritual, bass-heavy, rolling kind of music of Morocco. Any recording by Maleem Mahmoud is going to impress, but this mash of up of Gnawa with the great Pharoah Sanders is another level. If you are familiar with Gnawa music, it is a little disorienting to hear Sanders howl over the slow burn trance jamz but you are quickly drawn into what a perfect matchup this ended up being. Released on CD in the 90s, it fortunately has finally gotten a proper vinyl release.

Momoyama Harue — “Lullaby for the mother demon’s baby” (桃山晴衣* ‎– 鬼の女の子守唄)

I was playing the shamisen for a while (a three stringed lute from Japan) and found Momoyama Harue as part of my research. Shamisen is kind of a folky instrument for drinking parlors and entertainment of old Japan. The instrument and the music was nearly dead but saw a revival in the 1960s, similar to folk revivals in the US that brought the banjo back. Momoyama, however, was kind of an outlier, more arty than folky, and more poetry than song. Rather than box the music in an imagined past or try to hopelessly smash it into amplified rock music, she pushed it forward, blending it with ambient synth along with Indian and Middle Eastern musics. One of her best collaborations was with the great Egyptian oud player Hamza el Din that was nearly dead until the 1960s. All of the songs on this record are haunting (as the title suggests), but these tracks with el Din are truly singular. I have been searching for a vinyl copy of this record for years; one day I’ll get lucky.

Lucas Odote — “J. Oreng”

Nyatiti Singles Volume 1 by Lucas Odote

I spent several years in Kenya learning to play the nyatiti, an eight stringed lyre historically played by a group of people in an area around Lake Victoria. I also spent time collecting records, searching for hours in dusty boxes for Kenyan traditional music records. One of my best finds was at Jimmy’s Records in Kenyatta Markets, this record by the great Nairobi based nyatiti player Lucas Odote. Most nyatiti records are just a guy playing solo and more ethno than funky. But this one seems to be Lucas teaming up with what I think to be Nairobi funksters, the Loki Toki Tok band. At least that’s what I can guess. My copy is beat to hell. It took some doing to get some sound out of it, but this is one of my faves in my collection.

Siti Muharam — Siti of Unguja (Romance Revolution On Zanzibar)

Siti of Unguja (Romance Revolution On Zanzibar) by Siti Muharam

I swear I saw Siti Muharam sing on the deck of a hotel bar while vacation in Zanzibar several years ago. I can’t be certain, but I am pretty sure it was her singing for the band I saw. The traditional form of Taarab music is something to be experienced. Taarab music comes from the Arab coast of East Africa, and is this fantastic mix of local feel and Arab sounds, overlapped with heart wrenching songs of lost love and longing. I think there are some foreigners involved in this production, but this is an excellent document of Taarab music at its best.

Grandmaster Masese — “Orogena rwa Baba”

Grandmaster Masese: New African Soundz Singles No.1 by Grandmaster Masese

It might be gauche to put records from your own label on a list like this, but I am first a music fan and second a musician and third a music seller… so this one stays. G-master is a friend of mine from Kenya and one of the best humans I know. One of just a handful of people who play the Obokano, a giant 8 stringed lyre that emits an unforgettable sub-bass buzzing sound and this was his first release in the US and one of my favorite records ever. We recorded this in his kitchen in Nairobi with just a couple of mics over dinner. G is a cool guy. You should listen to his music.

Yagi Michiyo — Seventeen

Yagi is another Japanese musician who specializes in what one would think is a “traditional” instrument, but who brings much more to the table than one would expect. Yagi is a koto player by training. You have probably heard koto in the background music for scenes of Japan in American movies. The version you hear there is mostly lifeless and flat, kind of like a plastic chair in the corner. Yagi, however, plays the 17 string bass koto, invented in the 1920s or so, to try and give new life to the instrument. Yagi creates weird percussive, dissonant music that I can’t really get enough of.

Asnakech Worku (featuring Hailu Mergia) — Asnakech

Asnakech by Asnakech Worku

Asnakech Worku was a lot of things; pioneer, actress, but most notably a female Krar player. Certainly there might have been other female Krar players in Ethiopia at the time, but Krar players are mostly men. The Krar is a lyre from Ethiopia, mostly played with one hand, though there are several playing styles out there. Worku plays haunting sounds on her Krar on this record, backed up by famous Ethiopian keyboardist Hailu Mergia, who really needs no intro.

Ogola Opot — “Domtila Ogola”

This will probably be the only 78 on this list. Ogola Opot is considered the grandfather of the Kenyan nyatiti, coming to prominence in the 1960s and 70s, and creating the genre we know as Siaya style “traditional nyatiti.” If someone asks me what nyatiti music sounds like, this is probably where I would have people start. I include this first because it is a great record and second because it was my holy grail for a while (though I always have new holy grails) and managed to find a pristine copy for sale from a place in France recently. I am not going to say how much I paid for it.

Sosena Gebre Eyesus — S/T (Little Axe Records)

Sosena Gebre Eyesus by Sosena Gebre Eyesus

I bought this record off the net because I am a huge fan of Begena music, this haunting, trance inducing music from Ethiopia that appears to be the go-to for Ethiopian Christians… but this record explained nothing of that. Just a picture of a lady with a begena and no other info…. It took me a while to put together what the record was and where it came from, but the sounds contained within are impeccable. Just 40 minutes of weird undersea tones on a giant bass lyre.

[op8englishblog-blog]

Soshite, Sekai wa Murasaki ni Somaru (Murasoma) Unit and Member Introduction ♪

Next, the fifth unit, Soshite, Sekai wa Murasaki ni Somaru ! (also known as “Murasoma”)

An unit that continues to challenge an innovative new sound with traditional Japanese musical instruments. The unit consists of 4 members who play shamisen (three-stringed Japanese lute), koto (13-stringed Japanese zither), wadaiko (Japanese drum), and shinobue (Japanese transverse bamboo flute).

*Soshite, Sekai wa Murasaki ni Somaru means “And then, the world is dyed in purple”.

! Fun fact ! Purple color stands for royalty in Japanese culture. It is usually applied to Kimono that Japanese people wears for certain events, ceremonies, and rituals.

♪ Members:

(Note: We applied English format name for all the characters and the voice actors, so the format is nickname then the surname~)

Ren Mikami (CV: Ryota Osaka)

[The Leader of Murasoma]

 “Tradition, history... can’t you hear the sound of innovation?”

Tradition = dislike, innovation = like. A samurai who won’t listen to other’s talks.

Age : 19 years old

Birthday : July, 24th

Zodiac Sign : Leo

Height : 172 cm

Weight : 60.3 kg

Blood Type : A

Unit : Soshite, Sekai wa Murasaki ni Somaru

Musical Instrument : Shamisen

Hobby : He has no interest in things beside music, lately he started play Igo (Japanese board game)

Like(s) : Dainty dish

Dislike(s) : Traditional dish

 The successor of “Ryu Mikami”, school of shamisen. Currently he is running away from home.

Always brings shamisen wherever he goes and wants to do ensemble because “sound is eloquent than words”.

He is a straightforward Japanese boy, but his words are lacking, and he doesn’t really listen to what people saying.

He dislikes being caught up in “tradition” and always seeking for “innovation”.

He frequently makes his childhood friend, Shino Kagura, doing ensemble together with him.

 Ryohei Kotomiya (CV: Natsuki Hanae)

 “I’m not really remember about past things. I don’t have a good memory."

Behind the tender face, there are thorns hidden.

Age : 25 years old

Birthday : May, 8th

Zodiac Sign : Taurus

Height : 179 cm

Weight : 58.4 kg

Blood Type : A

Unit : Soshite, Sekai wa Murasaki ni Somaru

Musical Instrument : Koto

Hobby : Ikebana (Flower arrangement)

Like(s) : Sour things, eat everything with vinegar

Dislike(s) : Dainty tasted dish

 A young man who has delicate atmosphere and gentle manner.

He loves flower. The koto he plays sounded beautiful yet fleeting. But behind that gentle face, there’s one side of him that hiding thorns.

He seems to be fussy about cleanliness and always preparing wet wipes. He has known Yakumo Izumi for a long time. Because of that, he shows his real side of him a little bit to Yakumo.

He also began to shows his real side of him to Director gradually.

 Yakumo Izumi (CV: Yohei Azakami)

 “Ah, sorry... because I only can hit!”

A dependable former matsuri’s delinquent big bro

Age : 22 years old

Birthday : October, 20th

Zodiac Sign : Libra

Height : 185 cm

Weight : 75.3 kg

Blood Type : A

Unit : Soshite, Sekai wa Murasaki ni Somaru

Musical Instrument : Wadaiko

Hobby : Touring with motorcycle, participate in the festival that being held in various place

Like(s) : Gatsuri ramen

Dislike(s) : Something too sweet

 A former delinquent big bro who is good at taking care.

Largehearted and has a rough attitude.

There are still delinquent traces in him that made his voice sounds rude and his appearance looks frightening.

But, he is a meddling man who can’t leave someone in trouble. He likes festival. His hobby is touring with motorcycle. By having a great communication skill, he participates in the festival that being held in various place.

He knew about Ryohei Kotomiya’s past and concerned about him.

 Shino Kagura (CV: Kohei Amasaki)

 “If it's big bro, and not me.... will it be different?"

A negative otaku and extremely brother complex

Age : 19 years old

Birthday : November, 15th

Zodiac Sign : Scorpio

Height : 173 cm

Weight : 57.6 kg

Blood Type : A

Unit : Soshite, Sekai wa Murasaki ni Somaru

Musical Instrument : Shinobue

Hobby : Appreciate anime, game (likes RPG)

Like(s) : Energy drink

Dislike(s) : Fresh vegetables

 Extremely brother complex and on the top of that he is a hyper negative otaku. He worships his brother, always compares himself to his brother, and lives in inferiority complex.

Because of that reason, his self-esteem is low, until he comes through to self-denial.

He has communication disorder, but unexpectedly he has otaku friends and of course he also does offline gathering with his network friends.

His relationship with his childhood friend, Ren Mikami, is connected through music.

That’s all from Murasoma unit~! ♪

source: Op8 ♪ Official Website