#Mitsumune Shinkichi

[animebackgroundmusic]

"Aphrodite Scat" by: Shinkichi Mitsumune from: Revolutionary Girl Utena

[majokkoradio]

"Aphrodite Scat" - Revolutionary Girl Utena - BGM

[empty-movement]

So looking on your website it seems like Ikuhara is the male voice for Zettai Unmei Mokushiroku, is that correct or am i reading your credits wrong?

Nope, you're reading that right! Ikuhara does indeed provide vocals for not only ZUM, but other chorus tracks from the series! There are complete scans of the OSTs in my Utena tunes history website, Audiology of Utena. To give you a breakdown of coolness:

The Student Council Saga's duels credit Suginami Jidou Gasshoudan (a junior choir), Maki Kamiya (who solos the Virtual Star Embryology ED), Kunihiko Ikuhara, and Shinkichi Mitsumune (the BGM composer) as the chorus for these recordings.

The Black Rose Saga's OST 2 is where it gets real wild! Not only are Ikuhara and Mitsumune credited on all the duel chorus tracks, Shingo Kaneko and Toshimichi Otsuki are credited on some: Utopian Past Tense Incantation (Kozue's), Conic Absolute Egg Archibras (Tsuwabuki's), Transparent Period of Adolescence (Keiko's), and Magic Lantern Butterfly Moth 16th Century (Wakaba's.) Kaneko is a storyboard artist and episode director, and Otsuki is a producer. Lol. This absolute party of nerds is also credited for the performance of the two songs from the Sega Saturn video game on OST 3, Herzen's Head and The Inversion of Me and My Room, and they are also the credited group for the Black Rose Saga's version of ZUM.

OST 3 covers the Akio Arc, where the auditory soundscape of the duel choruses shifts away from compositions of J.A. Seazer's work by Shinkichi Mitsumune, and those tracks are instead composed and recorded by Seazer with his own 'Theater Laboratory - Universal Gravitation.' No one else is credited in the chorus for those songs.

tl;dr: Ikuhara, as well as Shinkichi Mitsumune, are in the first two versions of ZUM, as well as the duel choruses for the first and second arc. They are occasionally joined in the second arc by other definite Not Singers from the production team. The Akio Arc and on however are recorded by Seazer with his musical theater group, and don't appear to include Ikuhara and co.

[vulpiximisa]

Starting a series just for the music composer is way worse than starting a series for a seiyuu because the vibes could be totally off and it’s not like you can generally hear it as much

But if anything I could maybe want to watch Kiratto Prichan for Tatsuya Kato alone

[1997thebracket]

Round 6 - FINALE

The winner takes all! Which piece of media deserves to be the Champion of 1997?

Revolutionary Girl Utena: If it cannot break its shell, the chick will die without ever being born. This sentiment, originally found in Hermann Hesse’s 1919 novel Demian, features during a repeated sequence in the 1997 anime Revolutionary Girl Utena. Hesse is far from the only reference to philosophical, surrealist, or heavily symbolic text in the show, which trades in visual metaphor and multi-layered subtext. Revolutionary Girl Utena follows the story of Utena Tenjou, a young orphan who aspires to princehood-- challenging or outright circumventing the place of gender in that aspiration-- and is entangled in a series of duels centered around a girl named Anthy Himemiya. Written by Kunihiko Ikuhara, Chiho Saito, and Yōji Enokido (known collectively as Be-Papas) and soundtracked by J.A. Seazer and Shinkichi Mitsumune, the show has an instantly recognizable style, combining lush fairytale visuals and French-inspired architecture with a choir that functions as a sort of Greek chorus to the internal worlds externalized in combat. Utena is a story about many things, arguably all things, taking a surgical scalpel to adolescence and using the flat of the blade as a paintbrush, leaving a deeply human, visceral work of art in its wake. It has been massively influential on feminist, queer & sapphic, and otherwise gender-deconstructive or gender-subversive modern media. Smash the world's shell! For the revolution of the world!

Radiohead's OK Computer: I go forwards, you go backwards, and somewhere we will meet. By the middle of the decade, Radiohead was weary of the ubiquity of their 1993 hit Creep; although the record that followed it (The Bends) was a lusher, more evolved album than their first, it had failed to produce a distinctive enough image for the band to undo what Creep had done. The song threatened to define the band entirely to those outside their devoted following. In 1997 the band swung for the fences with the haunting, abstract OK Computer. It was a move their label cast immense doubt on at the time, and its success then and now would cement Thom Yorke and his bandmates as soothsayers of a sort, draped not in bohemian silk robes but in white hospital sheets. It's an album that speaks to the future with dread more than wonder, that critics described as "nervous almost to the point of neurosis," but marries the uneasy experimental soundscapes with poetic, surrealist, and increasingly prophetic songwriting regarding the parallel lives we lead with technology. Featuring the singles Karma Police, Paranoid Android and No Surprises, OK Computer is hailed by many as the band's magnum opus: it's certified double Platinum in the US and five-times Platinum in the UK, and in 2014 it was included in the United States National Recording Registry as "culturally, historically, or aesthetically significant."

[cleave-and-plough]

me: :driving:

the sun: :sets:

my brain without fail:

[nostalgiacored]

was tagged in spirit and the post was getting long so! making my own instead

rules are to put your music library on shuffle, then list the first five songs that come up in a poll to let people vote for which one they like the most!

links: rose & release / servant of evil / burial mound of arms / love & destroy / close in the distance

tagging whoever wants to! feel free to rb this post or the original or make your own or etc etc

[eraserheadadult]

the background music in utena kind of gets forgotten when talking abt the soundtrack because the duel themes are so iconic & loom so large over the show (ppl literally forget that shinkichi mitsumune exists and assume ja seazer composed all the music for the entire series lol). but man its all SO good every time i hear posion im fucking killing myself

[reggimuffins]

ok, here we go @just-a-got-otaku taged me to list 10 songs with names in the title. this took me way too long but I didn't want to post anything until I finished this. I almost did this whole thing wrong because I miss read the entire text! You can tell I love reading comprehension. Thanks for the taggy

Jerrod - Solange

Tina Montana - Megan thee stallion

Wanda’s cunty vision - Ocean Kelly

Sandy - Rico nasty (WATCH THE MUSIC VIDEO)

Shi no Aphrodite tsuioko - Shinkichi Mitsumune

Plain Jane - Nicki Minaj

Chun-Li - Nicki Minaj

Roman’s Revenge - Nicki Minaj

Mary’s theme - Stelvio Cipriani

Antonio's song - Michale Frank

ill tag @youthiscruel and @g0blinwitch

[smellpelt]

yugioh duel monsters soundtrack so good thank you shinkichi mitsumune

[bancho-zx]

【Saturn】

Revolutionary Girl Utena: Itsuka Kakumei Sareru Monogatari | 少女革命ウテナ いつか革命される物語 ~OP

[ Ohtori Gauken Kouka | 鳳学園校歌 ]

// Vocal: Tomoko Kawakami | 川上とも子 / Yuriko Fuchizaki | 渕崎ゆり子 / Jurouta Kosugi | 小杉十郎太 / Takeshi Kusao | 草尾毅 / Kotono Mitsuishi | 三石琴乃 / Aya Hisakawa | 久川綾

// Music: Shinkichi Mitsumune | 光宗信吉

// MiSTer FPGA / Saturn core // Y/C Composite // Sony KV-13TR20 CRT TV

[animebackgroundmusic]

"Campus Dandy" by: Shinkichi Mitsumune from: Revolutionary Girl Utena

[majokkoradio]

"Tasogare wa Mune ni Orite" - Nurse Angel Ririka SOS - BGM

[catboy-beb0p]

♫

Your playlist is:

Bathtub Mermaid-Mili

Fight Song-Eve

Genes and Jeans-Noa

STELLARCIDE-caseJackal

Earth as a Character Gallery-J.A. Seazer, Shinkichi Mitsumune, Suginami Jidou Gasshodan, Maki Kamiya, and Kunihiko Ikuhara

[koholint]

today’s playlist:

Marasy - Makuragawa Ryuunosuke no Kappa

Federico Mompou - Pessebres - I. Dansa (Mompou)

Pascal Rogé & Jean-Philippe Collard - Capriccio for 2 Pianos (Poulenc)

François-Joël Thiollier - Arabesque No. 2 (Debussy)

Shinkichi Mitsumune - Hikari Sasu Niwa

Rika Muranaka - Can’t Say Goodbye to Yesterday (Piano Version)

John R. Burr - Build 1 New Beginnings

George Winston - Colors/Dance

Philip Aaberg - The Big Open

William Allaudin Mathieu - By the Fireside

Otto A Totland - Pinô

Patrick Godfrey - All Along

Ryuichi Sakamoto - Tibetan Dance

Akiko Yano - Super Folk Song

thanx for listening!

[1997thebracket]

Round 5 - SEMIFINALS

It's the battle of albums and anime in 1997! Which will be the last anime standing?

Revolutionary Girl Utena: If it cannot break its shell, the chick will die without ever being born. This sentiment, originally found in Hermann Hesse’s 1919 novel Demian, features during a repeated sequence in the 1997 anime Revolutionary Girl Utena. Hesse is far from the only reference to philosophical, surrealist, or heavily symbolic text in the show, which trades in visual metaphor and multi-layered subtext. Revolutionary Girl Utena follows the story of Utena Tenjou, a young orphan who aspires to princehood-- challenging or outright circumventing the place of gender in that aspiration-- and is entangled in a series of duels centered around a girl named Anthy Himemiya. Written by Kunihiko Ikuhara, Chiho Saito, and Yōji Enokido (known collectively as Be-Papas) and soundtracked by J.A. Seazer and Shinkichi Mitsumune, the show has an instantly recognizable style, combining lush fairytale visuals and French-inspired architecture with a choir that functions as a sort of Greek chorus to the internal worlds externalized in combat. Utena is a story about many things, arguably all things, taking a surgical scalpel to adolescence and using the flat of the blade as a paintbrush, leaving a deeply human, visceral work of art in its wake. It has been massively influential on feminist, queer & sapphic, and otherwise gender-deconstructive or gender-subversive modern media. Smash the world's shell! For the revolution of the world!

Princess Mononoke: Cut off a wolf’s head, and it still has the power to bite. Princess Mononoke is a critically acclaimed animated film created by globally renowned director Hayao Miyazaki and Studio Ghibli, released in 1997. The film tells a complex environmental story, set in a fantastical ancient forest based on late Muromachi period Japan; we join a young warrior, Ashitaka, who becomes embroiled in a conflict between the inhabitants of the forest and a mining town encroaching on their land. At the heart of the story is San, a human girl raised by wolves, and Lady Eboshi, the leader of the mining community. Princess Mononoke is admired by Ghibli and non-Ghibli fans alike for its beautiful hand-drawn animation and its exploration of the themes of nature, industrialization, and the delicate balance between the consistent push of humanity and the weariness of a long-surviving environment. It was the highest-grossing film in Japan for 1997, and also held Japan's box office record for domestic films until Miyazaki’s 2001 release Spirited Away; for many, these films also filled a long-existing gap for skillfully-crafted Japanese animated films appealing to the wider Western market.