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not_sophieThis post only covers the musical artist comments from the first 13 episodes. For everything from The Last Song, that will go here.
Last Update: 2/20/2026. (Added the last two comment sections for the first cours. The Last Song stuff will be in a separate post, when I feel like going back it. And when I feel not sick, why can't the middle schoolers go easy on me with their constant contagions.)
Had to get to these eventually too. These are the last things on the official site's Special section left for me to translate (other than the event reviews, but those don't seem to have anything of any interest since they're basically just descriptions of what happened at the event in question). So here we are, a few words from the various music artists who were involved in the vocal songs used in the show, including the OP/ED theme creators as well as the guest artists who provided insert songs. I'll be splitting the post between the first cours of the show and The Lost Song, since there's, um, actually quite a lot of insert song artists who have comments, and I don't want any of my posts to be outrageously long! I'm adding a note in parentheses to each of these titles too, that says what the artist's song is for, since it's not necessarily clear from their comments where their song was used either.
Comments from ZAQ (creator of the opening theme) have arrived!! (September 18, 2015)
--Tell us about the recording process for the opening theme song, "Katararezu Tomo."
Between the lyrics and the composition, I think this song has the most passion put into it. Being included in an anime like this, I tried to make the lyrics show the two-sidedness of the thing we call "Justice." That way, the song lyrics make sense from Jirou's standpoint, and also from the opposing standpoint. It gives a wide array of emotions when it's made that way. Singing with the feelings of both of those sides took an extreme amount of energy, though, so I made sure to get 24 hours of sleep before the recording because I wanted everything to be perfect!
--Where in the song would you say the "passion" was put into?
By "passion" I mean things like zeal or hot-bloodedness. As you'd expect, that passion was packed into the song's hook.
In this part of the lyrics: "What can I do in this hopeless world? Only what you pursue can become your future. The revolution begins!" the lyric inversion on "The revolution begins!" emphasizes its meaning, and at the same time, it's the place I changed my voice the most to sound fired up.
--Do you have a message for the audience?
I'm looking forward to the premiere of Concrete Revolutio: Superhuman Phantasmagoria too! I'll be really happy to see everyone enjoy the way that "Katararezu Tomo" matches with its setting!
Comments from Makoto Kawamoto (singer of Episode 1's insert song) have arrived!! (September 18, 2015)
--Tell us about the recording process for the song you sang, "Ano Subarashii Ai wo Mou Ichido."
Since I wasn't the lyricist or the composer, I was thinking at first about how to put it together. But for this song, instead of having to match the original composition, I was allowed to sing as I always do, without going against my own feelings. I think that however a song is created, your inner feelings at the time always come out in it. You can't hide them, not in songs. That's why I feel like the song became 100% my own.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
From the summary and storyboards I was allowed to read, I think this work has a very new kind of feeling that's both futuristic and nostalgic. It has a kind of pop use of color, giving it a feeling of looking forward to the future. I'm interested in seeing what kind of effect its visuals have when they're joined with the insert song.
--Do you have a message for the audience?
This is a work that really shows how much its creators loved making it. I'm looking forward to the moment when I can see the insert song join in with that quality!
Comments from Yohske Yamamoto (creator of ED theme) have arrived!! (October 5th, 2015)
--What kind of theme did you compose for the ending sequence?
Making an instrumental anime ED was quite the challenging endeavor, and on top of that, it was also my debut song. I created it while confronting both the work and myself. The result was a powerful composition that blended well with the work, as well as myself.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
When I first saw the scenario and storyboards, I felt like it was packed with a lot of elements that were undeniably exciting. The heroes look cool, and it has a pop art style look, but there are very provocative parts and times that bring out an emotional bitterness. I think it's an anime with a lot of depth to it.
--Do you have a message for the audience?
Even though being in charge of the ED alone was something special, I also worked on seven other pieces between the anime's background music and the PV music. Actually, in the OP theme "Katararezu Tomo," I'm the guitarist... From the start to the end, my guitar resounds through this exceptional work. I want you to be able to get your eyes and ears absorbed completely into the world of Concrete Revolutio: Superhuman Phantasmagoria!
Comments from Takashi Utsunomiya (singer of Episode 2 insert song) have arrived!! (October 9th, 2015)
--Tell us about the recording process for the song you sang, "Sora ni Hoshi ga Aru Youni."
It's a song I've heard since I was young, so it was very easy to sing. The mix of covering a Showa-era song with present day music was something I particularly liked. I haven't sung for music that has so much focus on string instruments, so it was a valuable experience for me.
Do you have a message for the audience?
I think this is a song that's enjoyable to anyone, whether they're familiar with me or not. I just did a concert where I sang a lot of Showa-era pop songs, so the timing for this was perfect. I think the end result is really good.
I hope you'll look forward to it.
Comments from Gouta Nishidera (singer of Episode 3 insert song) have arrived!! (October 16th, 2015)
--Tell us about the recording process for the song you sang, "Seinen wa Kouya wo Mezasu."
It was truly a good experience. I've sang a lot of songs before, but this was a genre I hadn't sung before. The Western-style rhythm and modern electronic beat were a curious match, and made for an interesting song.
I heard this anime is going to be broadcast overseas, so I hope this song can become like "Ue wo Muite Arukou" (AKA "Sukiyaki") and become beloved all over the world.
Comments from Toru Hidaka (singer of Episode 5 insert song) have arrived!! (November 1st, 2015)
--Tell us about the recording process for the song you sang, "Kaze ga Naiteiru."
The chord progressions were more sophisticated than I thought they would be, and that moody way of singing that's unique to the Showa era sounded paradoxically fresh to my Heisei ears. It was very much like rediscovering a nostalgic song.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
The setting is of course novel, but since even countries overseas have this kind of "What if this thing happened this other way..." kinds of parallel world-type stories, I also think this amazing work will fit in well with global trends. The possibilities are just endless, so I'm pumped and anxiously waiting to see how the story unfolds.
--Do you have a message for the audience?
Music, on a basic level, has some aspects that are like a battle of "voices." So if you suddenly hear a song for which you don't really know the details, enjoying the show while letting your imagination swell up with thoughts like "Who is this in this song?!" will be at least twice as interesting!
(Toru Hidaka from THE STARBEMS)
Comments from Shokichi Ishida (creator of an Episode 6 insert song) have arrived!! (November 9th, 2015)
--Tell us about the recording process for the insert song "Time Slipper."
The order I was given was to combine a modern-day electronic-style mix with a sound that smelled of 60s British music. That happens to be my specialty, so I was in high spirits and had fun producing it! The Merseybeat feeling I packed into the singing and choruses became the most interesting part of the song.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
The vehicles and interior design depicted are in the form of 60s Japan. I thought it was very moving how it depicted the Showa era feeling on a microscopic level.
--Do you have a message for the audience?
I think this is a revolutionary work that uses its chronological setting and music as a tool to connect time and space. I made "Time Slipper" with the hope to connect people's memories and history by crossing them over in a variety of different ways. This was a really interesting job!
Comments from TECHNOBOYS PULCRAFT GREEN-FUND & Hideaki Matsuoka arrived!! (November 9th, 2015)
--Tell us about the recording process for "Gensou Revolution."
TECHNOBOYS: We were pretty aware of the "Shinka" era setting while we made the song. We're also people who lived in that era, so we produced a modern sound while remembering the past. It was really fresh and really fun. We were obsessive about having a kind of music group feeling, so we hope you'll listen to it and pay particular attention to the guitar-driven sound.
Matsuoka: I've collaborated with TECHNOBOYS many times, but when they approached me for this song, I had finally hit my stride, so I'm really proud of how the melody line in this song turned out. I was put in charge of the singing and lyrics, but I still did my work while thinking about the topic of the difference between the Showa era and Heisei era ideas of justice. I hope you'll listen to it with that in mind, too.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
TECHNOBOYS: Each of the themes this anime explores are deep and make you think about a lot. It's a very ambitious work that isn't just about heroes defeating kaiju, but actually tries to respond to the doubts that people begin to have when they're adults, like, "Why do kaiju have to be defeated in the first place?" It's also really interesting to see how the two time periods fit together while it jumps between them!
--Do you have a message for the audience?
Everyone: This collaboration between anime and music is a fascinating production! "Gensou Revolution" has quite the dense arrangement, so if you take a liking to it after hearing it in the anime, please give th efull version of our song a listen.
Matsuoka: The CD goes on sale Wednesday, December 23rd, which is my birthday. You have to buy it!! (laughs)
Comments from Angel Stars (singers of an Episode 6 insert song) have arrived!! (November 9th, 2015)
--Tell us about the recording process for the song you sang, "Chiisai Glass."
It's a somehow nostalgic song with a retro-style band sound, but from the intro to the outro it's also uncompromisingly rock, so no matter what part you hear, it's a really cool piece! Recording it was a really good experience, because it's a song in a genre we love but haven't had many chances to sing. It felt like every time we sang, it got funner, so we didn't want it to end!
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
There are cool battle scenes, there's Kikko's cute transformation scene, and we think the anime really is packed with a lot of aspects that make it enjoyable to both boys and girls. Of those aspects, there are various character costumes that are super cute, so we really hope they become merchandise at some point!! (laughs)
--Do you have a message for the audience?
There's an awesome lineup of insert songs, but we think that all of the music in this anime is really cool. We hope you listen to our song and come to like it! We suggest listening to it at critical moments in your life, or before a competition!
Comments from Keiichi Sokabe (singer of Episode 7 insert song) have arrived!! (November 13th, 2015)
--Tell us about the recording process for the song you sang, "BANG BANG BANG."
I got to be surprised yet again by this super simple song that's packed with a crazy amount of efficient pop elements. While respecting that, I tried to make a cover that would appeal to all the synthpop lovers that have shut themselves up in garages.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
It's set in a mysterious world. It's old, yet new. It's new, yet nostalgic. It's like a future we all knew, but could never get to.
--Do you have a message for the audience?
Please dance in front of the liquid crystal display.
Comments from Kyouko (singer of Episode 13 insert song) have arrived!! (December 21st, 2015)
--Tell us about the recording process for the song you sang, "Jiyuu ni Aruite Aishite."
What can I say? It was a song from a supergroup, so I was extremely happy to sing it. That said, I had a hard time figuring out how I should sing it. After all, I wasn't simply singing "Jiyuu ni Aruite Aishite." Since it's a song that would be played in an episode of Concrete Revolutio: Superhuman Phantasmagoria, I had to arrange it while keeping in mind the anime's setting and story.
--Do you have a message for the audience?
Since figuring out how to sing it was a challenge I hadn't had before, "Jiyuu ni Aruite Aishite" gave me a great chance to discover another aspect of myself. If you find you take a liking to it, then please, come into Kyouko's world.
Last Update: 2/20/2026. (Added the last two comment sections for the first cours. The Last Song stuff will be in a separate post, when I feel like going back it. And when I feel not sick, why can't the middle schoolers go easy on me with their constant contagions.)
Had to get to these eventually too. These are the last things on the official site's Special section left for me to translate (other than the event reviews, but those don't seem to have anything of any interest since they're basically just descriptions of what happened at the event in question). So here we are, a few words from the various music artists who were involved in the vocal songs used in the show, including the OP/ED theme creators as well as the guest artists who provided insert songs. I'll be splitting the post between the first cours of the show and The Lost Song, since there's, um, actually quite a lot of insert song artists who have comments, and I don't want any of my posts to be outrageously long! I'm adding a note in parentheses to each of these titles too, that says what the artist's song is for, since it's not necessarily clear from their comments where their song was used either.
Comments from ZAQ (creator of the opening theme) have arrived!! (September 18, 2015)
--Tell us about the recording process for the opening theme song, "Katararezu Tomo."
Between the lyrics and the composition, I think this song has the most passion put into it. Being included in an anime like this, I tried to make the lyrics show the two-sidedness of the thing we call "Justice." That way, the song lyrics make sense from Jirou's standpoint, and also from the opposing standpoint. It gives a wide array of emotions when it's made that way. Singing with the feelings of both of those sides took an extreme amount of energy, though, so I made sure to get 24 hours of sleep before the recording because I wanted everything to be perfect!
--Where in the song would you say the "passion" was put into?
By "passion" I mean things like zeal or hot-bloodedness. As you'd expect, that passion was packed into the song's hook.
In this part of the lyrics: "What can I do in this hopeless world? Only what you pursue can become your future. The revolution begins!" the lyric inversion on "The revolution begins!" emphasizes its meaning, and at the same time, it's the place I changed my voice the most to sound fired up.
--Do you have a message for the audience?
I'm looking forward to the premiere of Concrete Revolutio: Superhuman Phantasmagoria too! I'll be really happy to see everyone enjoy the way that "Katararezu Tomo" matches with its setting!
Comments from Makoto Kawamoto (singer of Episode 1's insert song) have arrived!! (September 18, 2015)
--Tell us about the recording process for the song you sang, "Ano Subarashii Ai wo Mou Ichido."
Since I wasn't the lyricist or the composer, I was thinking at first about how to put it together. But for this song, instead of having to match the original composition, I was allowed to sing as I always do, without going against my own feelings. I think that however a song is created, your inner feelings at the time always come out in it. You can't hide them, not in songs. That's why I feel like the song became 100% my own.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
From the summary and storyboards I was allowed to read, I think this work has a very new kind of feeling that's both futuristic and nostalgic. It has a kind of pop use of color, giving it a feeling of looking forward to the future. I'm interested in seeing what kind of effect its visuals have when they're joined with the insert song.
--Do you have a message for the audience?
This is a work that really shows how much its creators loved making it. I'm looking forward to the moment when I can see the insert song join in with that quality!
Comments from Yohske Yamamoto (creator of ED theme) have arrived!! (October 5th, 2015)
--What kind of theme did you compose for the ending sequence?
Making an instrumental anime ED was quite the challenging endeavor, and on top of that, it was also my debut song. I created it while confronting both the work and myself. The result was a powerful composition that blended well with the work, as well as myself.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
When I first saw the scenario and storyboards, I felt like it was packed with a lot of elements that were undeniably exciting. The heroes look cool, and it has a pop art style look, but there are very provocative parts and times that bring out an emotional bitterness. I think it's an anime with a lot of depth to it.
--Do you have a message for the audience?
Even though being in charge of the ED alone was something special, I also worked on seven other pieces between the anime's background music and the PV music. Actually, in the OP theme "Katararezu Tomo," I'm the guitarist... From the start to the end, my guitar resounds through this exceptional work. I want you to be able to get your eyes and ears absorbed completely into the world of Concrete Revolutio: Superhuman Phantasmagoria!
Comments from Takashi Utsunomiya (singer of Episode 2 insert song) have arrived!! (October 9th, 2015)
--Tell us about the recording process for the song you sang, "Sora ni Hoshi ga Aru Youni."
It's a song I've heard since I was young, so it was very easy to sing. The mix of covering a Showa-era song with present day music was something I particularly liked. I haven't sung for music that has so much focus on string instruments, so it was a valuable experience for me.
Do you have a message for the audience?
I think this is a song that's enjoyable to anyone, whether they're familiar with me or not. I just did a concert where I sang a lot of Showa-era pop songs, so the timing for this was perfect. I think the end result is really good.
I hope you'll look forward to it.
Comments from Gouta Nishidera (singer of Episode 3 insert song) have arrived!! (October 16th, 2015)
--Tell us about the recording process for the song you sang, "Seinen wa Kouya wo Mezasu."
It was truly a good experience. I've sang a lot of songs before, but this was a genre I hadn't sung before. The Western-style rhythm and modern electronic beat were a curious match, and made for an interesting song.
I heard this anime is going to be broadcast overseas, so I hope this song can become like "Ue wo Muite Arukou" (AKA "Sukiyaki") and become beloved all over the world.
Comments from Toru Hidaka (singer of Episode 5 insert song) have arrived!! (November 1st, 2015)
--Tell us about the recording process for the song you sang, "Kaze ga Naiteiru."
The chord progressions were more sophisticated than I thought they would be, and that moody way of singing that's unique to the Showa era sounded paradoxically fresh to my Heisei ears. It was very much like rediscovering a nostalgic song.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
The setting is of course novel, but since even countries overseas have this kind of "What if this thing happened this other way..." kinds of parallel world-type stories, I also think this amazing work will fit in well with global trends. The possibilities are just endless, so I'm pumped and anxiously waiting to see how the story unfolds.
--Do you have a message for the audience?
Music, on a basic level, has some aspects that are like a battle of "voices." So if you suddenly hear a song for which you don't really know the details, enjoying the show while letting your imagination swell up with thoughts like "Who is this in this song?!" will be at least twice as interesting!
(Toru Hidaka from THE STARBEMS)
Comments from Shokichi Ishida (creator of an Episode 6 insert song) have arrived!! (November 9th, 2015)
--Tell us about the recording process for the insert song "Time Slipper."
The order I was given was to combine a modern-day electronic-style mix with a sound that smelled of 60s British music. That happens to be my specialty, so I was in high spirits and had fun producing it! The Merseybeat feeling I packed into the singing and choruses became the most interesting part of the song.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
The vehicles and interior design depicted are in the form of 60s Japan. I thought it was very moving how it depicted the Showa era feeling on a microscopic level.
--Do you have a message for the audience?
I think this is a revolutionary work that uses its chronological setting and music as a tool to connect time and space. I made "Time Slipper" with the hope to connect people's memories and history by crossing them over in a variety of different ways. This was a really interesting job!
Comments from TECHNOBOYS PULCRAFT GREEN-FUND & Hideaki Matsuoka arrived!! (November 9th, 2015)
--Tell us about the recording process for "Gensou Revolution."
TECHNOBOYS: We were pretty aware of the "Shinka" era setting while we made the song. We're also people who lived in that era, so we produced a modern sound while remembering the past. It was really fresh and really fun. We were obsessive about having a kind of music group feeling, so we hope you'll listen to it and pay particular attention to the guitar-driven sound.
Matsuoka: I've collaborated with TECHNOBOYS many times, but when they approached me for this song, I had finally hit my stride, so I'm really proud of how the melody line in this song turned out. I was put in charge of the singing and lyrics, but I still did my work while thinking about the topic of the difference between the Showa era and Heisei era ideas of justice. I hope you'll listen to it with that in mind, too.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
TECHNOBOYS: Each of the themes this anime explores are deep and make you think about a lot. It's a very ambitious work that isn't just about heroes defeating kaiju, but actually tries to respond to the doubts that people begin to have when they're adults, like, "Why do kaiju have to be defeated in the first place?" It's also really interesting to see how the two time periods fit together while it jumps between them!
--Do you have a message for the audience?
Everyone: This collaboration between anime and music is a fascinating production! "Gensou Revolution" has quite the dense arrangement, so if you take a liking to it after hearing it in the anime, please give th efull version of our song a listen.
Matsuoka: The CD goes on sale Wednesday, December 23rd, which is my birthday. You have to buy it!! (laughs)
Comments from Angel Stars (singers of an Episode 6 insert song) have arrived!! (November 9th, 2015)
--Tell us about the recording process for the song you sang, "Chiisai Glass."
It's a somehow nostalgic song with a retro-style band sound, but from the intro to the outro it's also uncompromisingly rock, so no matter what part you hear, it's a really cool piece! Recording it was a really good experience, because it's a song in a genre we love but haven't had many chances to sing. It felt like every time we sang, it got funner, so we didn't want it to end!
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
There are cool battle scenes, there's Kikko's cute transformation scene, and we think the anime really is packed with a lot of aspects that make it enjoyable to both boys and girls. Of those aspects, there are various character costumes that are super cute, so we really hope they become merchandise at some point!! (laughs)
--Do you have a message for the audience?
There's an awesome lineup of insert songs, but we think that all of the music in this anime is really cool. We hope you listen to our song and come to like it! We suggest listening to it at critical moments in your life, or before a competition!
Comments from Keiichi Sokabe (singer of Episode 7 insert song) have arrived!! (November 13th, 2015)
--Tell us about the recording process for the song you sang, "BANG BANG BANG."
I got to be surprised yet again by this super simple song that's packed with a crazy amount of efficient pop elements. While respecting that, I tried to make a cover that would appeal to all the synthpop lovers that have shut themselves up in garages.
--What kind of impression do you have of Concrete Revolutio: Superhuman Phantasmagoria?
It's set in a mysterious world. It's old, yet new. It's new, yet nostalgic. It's like a future we all knew, but could never get to.
--Do you have a message for the audience?
Please dance in front of the liquid crystal display.
Comments from Kyouko (singer of Episode 13 insert song) have arrived!! (December 21st, 2015)
--Tell us about the recording process for the song you sang, "Jiyuu ni Aruite Aishite."
What can I say? It was a song from a supergroup, so I was extremely happy to sing it. That said, I had a hard time figuring out how I should sing it. After all, I wasn't simply singing "Jiyuu ni Aruite Aishite." Since it's a song that would be played in an episode of Concrete Revolutio: Superhuman Phantasmagoria, I had to arrange it while keeping in mind the anime's setting and story.
--Do you have a message for the audience?
Since figuring out how to sing it was a challenge I hadn't had before, "Jiyuu ni Aruite Aishite" gave me a great chance to discover another aspect of myself. If you find you take a liking to it, then please, come into Kyouko's world.
