Kanon Channel

The TV anime “As Miss Beelzebub Likes” has been airing since October on ABC Television and has been released on other sources. It is an anime adaptation of the original manga in the same title, written and illustrated by Matoba which was serialized in a monthly magazine, Gangan Comics. It tells the romantic-comedy story between Beelzebub–a pretty-but-clumsy girl who is the ruler of the world of devils and a demon herself–and her pure-hearted personal assistant, Mullin.

At Music Natalie, we had an opportunity to hold an interview with Kanon Wakeshima and Naoki “naotyu-” Chiba who made the soundtracks for this anime and Mia―a member of Sangatsu no Phantasia who sang the opening theme song. We asked them about how the music was used to add colors to the world of Beelmama (Japanese abbreviation for As Miss Beelzebub Likes) 

Interviewed and written by Akira Sudo

English translation: Shunya

Original article (in Japanese)

The classical elements of my music would create synergy with the anime 

Wakeshima—this was your first time taking the role as the music director for an anime, right? 

Kanon Wakeshima: Yes, that’s right. I was quite worried about whether or not I could do it all by myself since I usually work with an arranger when I make my music. Thanks to the help and support I got from naotyu-, I think I was able to take this challenge.

I am assuming Chiba is an old friend of Wakeshima since he had been arranging songs for her for a long time now. On the other hand, by singing the opening theme song “Pink Lemonade”, I believe this was your first time working with Wakeshima who wrote the lyrics. Is that right, Mia? 

Mia: Yes, that’s right. I met her for the first time when we had a meeting to discuss the lyrics of the opening song. At that time I thought…  I am afraid to say this to someone who I respect and admire a lot—but I thought she was very cute.   

Wakeshima: What are you talking about all of a sudden? (laughs)

Mia: So I ended up not saying much because I was so nervous…

Wakeshima: I thought we talked a lot, didn’t we? 

Mia: I kept talking about myself and the meeting ended even when we didn’t really have a chance to talk about the lyrics. (laughs)

We’ll fully dive into the talk about the opening song “Pink Lemonade” in a bit. So for now, can we hear more about what it was like to be in charge of making anime soundtracks? How did you end up taking this role? 

Wakeshima: I have worked with producer Nakayama (Nobuhiro) before. So he knew my name… would that be it? 

Chiba: That’s it? (laughs)

We have producer Nakayama here today too. Can we have a comment on this from you?

Nobuhiro Nakayama: I don’t offer jobs just because I know the person’s name (laughs). I had been listening to Wakeshima sing her own songs as a singer. And I thought her style was a good fit with the anime Beelmama.   

Wakeshima: I’m very glad to hear that. I’ve been playing the cello since I was three and I’ve always liked composing music, so I’ve been exposed to classical music. I hope the classical elements of my music would create synergy with the anime. Also, I’ve taken this position to let people know through this opportunity that “Wakeshima could do this kind of work too,” to those who knew me only as a singer-songwriter or a vocalist.

Cherish Soft and Fluffy Vibe

As you said, your music is like a compilation of fancy chamber music and the anime soundtracks you made could be enjoyed by themselves on their own. I think there are all kinds of themes in classical music but what did you have in your mind as a theme when composing those soundtracks?

Wakeshima: “Soft and fluffy” was the theme I was given by the director Minato Kazuto at our first meeting. Classical music is sometimes too elegant or too serious so instead, he said he wanted to cherish “soft and fluffy” vibe, kind of? (laughs) 

Chiba: Actually before that meeting, Wakeshima and I prepared two demos after reading the original manga to ask him ‘what kind of vibe would you prefer?’ One was a typical elegant classical piece and the other was more light-hearted. The director said, “I want something more like the latter if I have to pick.”

Mia: There was a scene where Bell (Beelzebub) was eating a cotton candy at the beginning of the first episode, right? In that scene, I thought it was really nice that there was light-hearted music in a soft and gentle tone in the background. With that music in the background, I was instantly drawn into the relaxed and peaceful world of Beelmama.

Wakeshima: I think the xylophone was used in that piece.  

Chiba: Depending on the scene, I think we made a conscious effort to use toy-like tones, right? 

Nakayama: From my perspective of someone who had outsourced the music before, often times I’d get soundtracks that sounded too childish when the xylophone or the melodica was used to make soundtracks sound cute. But I didn’t get that impression at all this time. I think that’s because classical music was the bedrock of Wakeshima’s music. 

Wakeshima: I think it’s also because the director gave me freedom to make what I wanted to make. This is the first time I’ve been involved as a music director so I don't have any other experience to compare, but was it really okay for me to make the decisions all by myself?

Nakayama: Some sound directors would even specify what musical instruments and tones to use and give no room for flexibility. However, Motoyama, who was the sound director of Beelmama, has only provided a general guideline and said “this and that kind of music for each character to represent this and that kind of feelings and atmospheres”.

Wakeshima: Actually, I think I’m glad that I didn’t have to make those decisions.

Chiba: Because there was a lot of freedom, however, we needed to set limits to ourselves. We have more-or-less designated an instrument for each character so that there would be a sense of order. Otherwise, it wouldn’t be interesting if all soundtracks sound similar when there are over 50 soundtracks. 

Specifically, what instruments did you have played for Beelzebub?

Wakeshima: I think it was either the cembalo or the harp?

Chiba: I’m quite certain that was the case. And it’d be a low-pitched instrument like the cello or the bassoon for Azazel and a high-pitched instrument that sounds a bit blunt for Belphegor. Of course, it’s just a guideline, not a strictly defined rule that you must follow. 

I haven’t heard Mullin’s name and he’s one of the main protagonists along with Beelzebub…

Chiba: I’m sorry (laughs).  What was it for Mullin? 

Nakayama: Mullin is a common, so-called standard character and he’s also the storyteller in the anime. So it’s really hard to designate him a sound or an instrument.

Chiba: That’s true. As for main protagonists Mullin and Beelzebub, it’s really hard to tie them into a particular instrument. 

Mia: But knowing that an instrument was designated to each character, I think that gives me a new perspective to watch and enjoy the anime.

Chiba: In fact, I was able to watch the first two episodes at the premiere event. I remember I was being very happy because what we are talking about right now was very evident at the Azazel and Belphegor scene. (The interview was held in early October)

Wakeshima: I was very impressed after seeing them too. I usually don’t think about the background music when I watch anime, but this time they just flowed into my ears. And I thought to myself, “Oh, they are playing the songs I know”, kind of? (laughs)

Nakayama: Anime soundtracks are fun to listen to once you notice and listen to them.

Connected the dots to outline the image I had in my mind

Continuing our conversation, we’ll hear more about the opening song “Pink Lemonade”. I was told that you gave keywords to Wakeshima which she then had “put together phrases to write lyrics based on the images she got from the keywords” you gave her. Can you tell me more about what kind of conversation you had with Wakeshima, Mia?

Mia: I’ve mentioned this earlier that I couldn’t really talk to Wakeshima at the meeting we had for the first time. But Kanon (Wakeshima’s first name) said, “Please let me know if there’s anything you want to talk about” and gave me her contact information. So I texted her and talked about the opening song and keywords then. And I said, “Please use them as a reference and don’t let them hold you back”

Wakeshima: They didn’t hold me back at all. (laughs)

Mia: I am glad to hear that (laughs). I had a cute love song in mind at first when I was reading the original manga. But I figured it could be more than that. So I thought it would be nice if the song was about the feelings you have right before you fall in love. At first, I told Kanon it would be nice if the song was about the excitement and anticipation you have when you know something is about to happen—you are about to fall in love and your heart is beating faster and faster with butterflies in the stomach. Then I passed on some keywords like “Beginning”, “Magic”, “Heels”, “Tip-toe”, “Kaleidoscope”, and “Sweets” which Kanon used all of them in the lyrics.

Wakeshima: I didn’t use all of them. (laughs)

Mia: Yes, you used all of them. I checked. 

Everyone: (laughs)

Mia: I was very happy when Kanon connected the dots to outline the image I had in my mind and turned them into the lyrics. So I immediately called her to thank her when I read the lyrics she wrote because I was so moved. 

Wakeshima: From my side, I was careful not to make the lyrics too cheesy. The style of Sangatsu no Phantasia and the fictional universe of the anime were very concrete and clearly defined, and Mia gave the impression that that’s how she wanted the lyrics to be. 

Mia: It was evident that Kanon was really trying to work with me even at the meetings we’ve had together. She often asked me questions like, “What kind of lyrics do you think is the best for Mia from Sangatsu no Phantasia to sing?” I truly admire this kind of professional attitude towards work and I think it’s really amazing. Not only that, she took care of me like an older sister taking care of the younger one. 

Wakeshima: Again, what are you saying? (laughs)

Mia: She invited me to dinner and unlike the meetings we’ve had before, I was able to see a charming, fluffy side of her. My heart skipped a beat every time I saw her. (laughs)

Wakeshima: Thank you. (laughs) 

By the way, whose idea was it to come up with the keyword “Pink Lemonade"?

Wakeshima: I think that was me. I thought of it as the color of Beelzebub or something along that line. I imagined her wearing pink suits with blond hair. Also I thought the title would put an emphasis on the rich colors of the anime, sweetness and bitterness of love and help the lyrics to bring out all kinds of feelings. 

In all honesty—was there any keyword that you found difficult to use?

Wakeshima: No, not really … but you know I didn’t use “Sweets” in the lyrics, right?

Mia: I must’ve thought “Sweets” was blended into “Pink Lemonade” in my head.

Wakeshima: Fair enough. (laughs) And also the 4th verse ended up being very emotional and different from the rest of the lyrics. And personally, it remarks me with an image of the night. I think that’s because I tried the style of Sangatsu no Phantasia in the 4th verse. 

Mia: When I told Wakeshima the keyword “Kaleidoscope”, I was imagining how the world changes its color every day and sparkle with lights similar to what you see in kaleidoscopes. I was impressed how she incorporated the keyword into the story of lyrics in this way. 

Click here to continue on to Part 2