The spring anime of 2020 is blowing in the opposite direction! Here are 10 ani-songs that will powerfully enliven the works in the midst of such a situation! Hiroyuki Deguchi's "Just Shut Up and Listen to Anime Songs! in 2020 Spring"!

Hello to all 10 million anime song fans in Japan. I am Hiroyuki Deguchi, a wandering bassist and DJ of anime songs and special effects music. It's that time of the year again, when all the new season's anime releases come out, and it's time for my well-known column, "Just Shut Up and Listen to Anime Songs! The future continues to be difficult.

The difficult situation continues with no clear future ahead, but I hope everyone is doing okay.

The effects of the new coronavirus have spread to the anime industry, forcing many anime productions to suspend or postpone their broadcasts. I myself am bewildered and anxious about the situation, which I have never experienced before, but I believe that all we can do now is to take all possible measures to prevent infection, maintain our health, and keep our minds relaxed.

I know that this is not the time to talk about ani-songs in a carefree manner, but I thought I would write this column, which as usual is too subjective and biased, in the hope that those who have lost their composure due to social networking sites that needlessly fuel anxiety and news that changes daily will have a little time to "think only about what they like. I have come up with the idea of writing this column, which, as usual, is too subjective and biased.

To explain once again, this is a column in which I, Deguchi, listen to all the songs (openings and endings) of newly broadcasted animation works of each season and choose 10 songs based on my subjective and biased tastes.

In short, this column is not about ranking songs or works, but rather, "I really like this song! I love this song!

I'd like to start off by saying that I'm going to choose 10 songs from this year's list!

Come on out, 10 songs!

I've been reincarnated as a villainous daughter with nothing but doom flags in an Otome game...

[OP] angela "Otome no Root wa Itsuwanai!

Kaguya-sama ga Kesshirasai ka? ～The love brain battle of the geniuses!

OP] Masayuki Suzuki "DADDY ! DADDY ! DADDY ! feat. Airi Suzuki

Kingdom

OP] BiSH "TOMORROW

Gyaru and the Dinosaur

ED] TAKAHASHI Ryuko "Peaceful Days

Ghost in the Shell SAC_2045

OP] millennium parade × ghost in the shell: SAC_2045 "Fly with me

Hakuneko Project ZERO CHRONICLE

ED] Rei Yasuda "through the dark

New Sakura Taisen the Animation

OP] Sakura Amamiya (CV. Ayane Sakura), Hatsuho Shinonome (CV. Marei Uchida), Azami Mochizuki (CV. Hibiki Yamamura), Anastasia Palma (CV. Ayaka Fukuhara), Clarice (CV. Saori Hayami) "Proclamation! The Imperial Guerrilla Army (New Chapter)".

7SEEDS

From The Seeds" by Mone Kamihiraishi

HAKUSHION Daimaou 2020

Tamio Okuda "SATES HACTION

MUGEN NO SHODUNIN -IMMORTAL- [OP] Kiyoharu "SURURFACE" [OP

Kiyoharu "SURVIVE OF VISION" (OP)

Yes, there it is!

Did you find your favorite ani-songs and works in the list?

If you found the same song or work, I would like to have a drink with you sometime! I would like to have a drink with those who said "Yes!

I had the impression that there were many simple, straightforward and strong songs in this season. I chose songs that could be a benchmark for anime songs in the future, considering the strength of the songs and their individuality (or should I say "energy"?).

First of all, the OP "Otome no route is not one" from "I've been reincarnated as a villainous daughter with nothing but a doomed flag in an Otome game...! .

It may sound like a miscellaneous song, with the style and tune changing from scene to scene, but in fact it is all a carefully calculated musical collage. Personally, I think this miscellaneous and excessive amount of information is what makes angela unique.

This kind of music is not for everyone, and its strong individuality and assertiveness may make it a clear "fit" or "not fit" for some. However, as music, it is actually very important.

Rather than a mediocre, uninspiring song that is pleasant to the ear but does not remain in the memory after listening to it, a song should have "something" that grabs your attention, regardless of whether it fits or not. The same applies to all genres of music. angela's "something" is the overload of information in their music, which is made possible by atsuko's rich expressive ability.

One of the most important things to listen to is a passage from Beethoven's "Fate," which is one of the biggest stories of all, but it is also made possible by atsuko's excessive versification as well as her vocal performance. The finesse with which he gives a big punch to the classical zone in a short number of bars cannot be created by a haphazard arrangement.

Music, or any artistic field for that matter, can become stoic when pursued, but music should be fun. I feel that this song embodies such a simple and important thing. It's a great song, a silly song with a backing, a song that if categorized by character type would be like "I'm usually goofy, but I'm actually super strong.

Many of you may be interested in "Peaceful Days," the ending of " Gal and the Dinosaur," which has an intensely "current" anime-like hybrid feel that cannot be described as an anime work.

Ryuko Takahashi. According to her profile, she is the twin sister of Yoko Takahashi, the singer of "Cruel Angel's Thesis" and a newcomer debuting with this work. Although she seems a little too large for a newcomer, she is an outstanding singer.

Ms. Takahashi's songs are often associated with "Eva," but considering her roots and her own style, I feel that her songs are a better match for the black music context of the current album. Before "Eva" (I don't really like this expression, but I will use it for ease of explanation), he worked under the names "YAWMIN" and "YAUMIN," and was in charge of the music for "Universal Culture Cat Girl" under the name "YAUMIN" and "Ranma 1/2" under the name "YAWMIN. YAWMIN" was in charge of the music for "Ranma 1/2".

In particular, "Friends," the ending song for "Ranma 1/2," and the opening song for the OVA "Love! Panic" is a song under the influence of New Jack Swing (modern R&B, also known as progressive R&B, which was popular around the 1990s), and it matches Takahashi's voice and groove. This nuance can also be felt in "Peaceful Days" released in the era of 2021, which is evidence that anime songs always swallow the "good stuff" and keep updating themselves, but still come back to a universal approach.

Masayuki Suzuki, who was a big newcomer with "Love Dramatic" last year, is back with his second season of " Kaguya-sama ga Kesshirasai? 〜 DADDY ! DADDY ! DO ! feat. Airi Suzuki" for the opening of the second season of "Kaguya-sama ga Kesshirasai?

The song is more adult and soulful than "Love Dramatic," as the male and female parts of the song are more clearly separated, with the emphasis on the hammoly lines.

A very big-name singer joins the anime song world as a newcomer. From a skeptical point of view, there is an aspect of "large-scale promotion," but because of the strength of Masayuki Suzuki's singing and the outstanding popularity of the songs, there is no sense of discomfort, as if he has been singing anime songs for a long time. I think this is the case because I felt the same unusually high affinity for anime songs that I felt in the previous album in this album as well.

The guest vocalist for this album, former ℃-ute member Airi Suzuki, is wonderful. Speaking of Masayuki Suzuki, he is a "duet. He has left behind many great songs with many female artists, and has sung about the relationships between men and women in different eras in an adult mood. It is very interesting to see how he has firmly inherited this lineage. Since a duet song is only complete when there is a "game between a man and a woman," the majestic behavior of Masayuki Suzuki and Airi Suzuki, who does not show the difference in age, is nothing short of "wonderful. The expressions and gestures in her voice, which remind me of a strong woman rather than a strong woman, also match the mood of the song and Masayuki Suzuki's world view very well.

Those of my generation may have been numbed by "Survive of Vision" from " Infinite Dweller - IMMORTAL".

It was originally distributed on Amazon Prime Video, but since it was aired on terrestrial TV this season, I thought I should feature it here and selected it. The reason for my selection is because, as I mentioned earlier, I was struck at once by Mr. Kiyoharu in "SURVIVE OF VISION. Mr. Kiyoharu himself has changed the form of music he expresses from time to time, from Kuroyume to SADS to solo, but his central presence, "Kiyoharu," has not blurred at all. The music of this time is the music of the current "Seishun" who stands on the ground beyond Kuroyume and SADS. Since the music is based on a view of life and death and an exclusive worldview that is consistent from Kuroyume, it is music that chooses its listeners.

However, it is actually very "pop" in spite of its seemingly spiky appearance. Although "friendly" is not the right word to describe it, the centripetal force of the melody line is so compelling that you can almost feel its sigh. The song is incredibly sad, yet endlessly tender.

Speaking of generations, " Haxion Daimao 2020 " opening "Satesu Haction" is also likely to be responded to by a certain generation.

The image of Tamio Okuda among the public is that of an "interesting old man with relaxed shoulders. Indeed, he is not wrong. Since becoming a solo artist, he has consistently appeared to be relaxed and joking around moderately, so "funny old man" is correct, but not many people realize that he is in fact a very passionate rock big brother.

He is very good at intentionally incorporating his early rock impulses and musical roots into the edges of his songs. Deciphering that context is part of the fun for fans. Sometimes, the inspiration comes from a derogatory pun, which is what we have in this album, "Satisfaction". The dad gag, which is a pun on the Rolling Stones' "Satisfaction" and "haction," is a real power-booster.

But, however. The song itself is packed with rock impulses and has a pleasant finish with just the right amount of drive. While incorporating phrases reminiscent of the original "Satisfaction," Tamio Okuda's originality, rather than imitation, is what makes this song so great. I think the correct image of Tamio Okuda is not just a "funny old man," but a hot and funny old man who knows rock music and explores the depths of rock music.