White Album 2 Concert – Booklet

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Text:                     White Album 2 Concert

November 24th, 2013 in Tokyo

Round-Table Discussion


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Text:                     -On a certain day in January of 2014, two groups gathered in the conference rooms of the Aquaplus headquarters in Osaka and its branch office in Tokyo. What followed could be called a “commentary”—a discussion held while viewing the concert footage.


From Tokyo:

Fumiaki Maruto (scenario writer), Hitomi Nabatame (fan representative & VA), Madoka Yonezawa (performer), Yu Kamikawa (fan representative), Marie Miyake (fan representative)


From Osaka:

Naoya Shimokawa (producer), Rena Uehara (performer), Akari Tsuda (performer)


-Video start

Yonezawa:          You two [Kamikawa-san and Miyake-san] were both there for the whole thing [both daytime and night-time performances], right?

Maruto:               I watched it all the way through, too.

Nabatame:          I only saw the day show. It’s my first time seeing this [footage of the nighttime performance].

Yonezawa:          Yeah, we had different outfits and all.

Miyake:                Everyone has glow sticks! There weren’t as many during the day.

Nabatame:          You’re right!

Maruto:               Those penlights they had for sale at the merch counter.

Nabatame:          [The line for those] must have been what I saw when I was loitering around [after the daytime show].

Yonezawa:          Loitering? [laughs]

Shimokawa:        There were those penlights from the merch counter, but I think once people realized glow sticks were allowed, a lot more of them showed up. They completely sold out at the electronics retail store nearby.

Nabatame:          People might have wondered whether it was okay to wave [glow sticks] around for a show in a concert hall.

Yonezawa:          They were all very considerate.

Shimokawa:        Maybe the word “concert” in this case didn’t really give them the impression of standing up and jumping around.

Maruto:               There aren’t all that many songs like that [for jumping around], anyway.

Shimokawa:        Fair enough. [laughs] Though, it would be pretty weird just to sit there perfectly still and listen for two hours, wouldn’t it? I mean, this is a live show!

Nabatame:          I feel like that could happen when it comes to White Album 2, though.

Kamikawa:          Definitely.

Miyake:                Getting lost in the music, thinking about the game, as it slowly soaks into your heart…

Kamikawa:          You’d be too busy to cry.

[all laugh]

Miyake:                I had a lot of fun seeing the people around me looking down and imagining how they felt. Like, “Ah, they must have been affected by the same part as me.”

Shimokawa:        I see.

Maruto:               Also, at the very end, after the concert was over, everyone hunkered down in their seats.

Yonezawa:          Wow…

Shimokawa:        Like Haruki-kun… [laughs]

Kamikawa:          We really did all have our heads in our hands.



Miyake:                We did!

Nabatame:          Oh, wow.

Miyake:                During the night show, when “After All” started, I saw people who’d been waving [their glow sticks] quiet down and stop waving them, and sort of go stiff…

Yonezawa:          They froze?

Miyake:                It was almost kind of… soft?

[all laugh]

Nabatame:          Like you were all in it together?

Miyake:                Like, “Hey, you were sitting there, too!” I was emotionally compromised, too, but I guess I was [unconsciously] looking for signs that it wasn’t just me.

Nabatame:          Looking for kindred spirits.

Miyake:                There was a girl sitting next to me [*note: Miyake-san was not in a reserved seat, but purchased an SS seat (a ticket for both shows together) herself. Accordingly, the people sitting next to her were also there for both shows], but she was the type to cheer by silently waving her glow sticks, and she didn’t cry at all. She had a perfectly serious face the whole time. It really was just me… [muttering]

[all laugh]

Miyake:                That’s why I was looking for kindred spirits!

Maruto:               The problem with this commentary so far is that we haven’t heard a word from Uehara-san, who’s already sung two songs [in the video]…

Rena:                    Well, I’ve mostly been focused on this [footage of the conversation happening in Tokyo]. I’m watching all of you.

Maruto:               No, no, watch the concert!


-“Happy Memories”

Yonezawa:          Just sublime!

Nabatame:          Yeah, you look really great!

Uehara:               I was super nervous, honestly.

Yonezawa:          What!

Kamikawa:          Even for the night show?

Rena:                    Yes! The night show was the one being filmed, and there were a lot of people who had already seen the day show…

Maruto:               There were people who were watching to see how it differed from the day show, which may have raised the hurdle a bit higher for the night show, in a sense…

Miyake:                Could you tell that there were more glow sticks than there were for the day show, while you were singing?

Rena:                    I could tell from the first song.

Nabatame:          Wow.

Uehara:               In a big hall like that, [the audience members] are kind of far away, right? So, if I was wondering whether they were getting into it, I could tell from watching their glow sticks. It was a relief.

Yonezawa:          Definitely.

Nabatame:          Right, it wasn’t like a show where you would judge by [the audience’s] screams, so you used the movements of the glow sticks…

Miyake:                Then, when it comes to White Album 2, it’s a good idea to show your enjoyment by waving your glow sticks.

Yonezawa:          Also, we couldn’t really see the audience very well…

Shimokawa:        Listening quietly is all well and good, but from a coordinating standpoint, if people are just staring silently,


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you start to get nervous, like, “Oh, am I doing this poorly?”

Yonezawa:          It really was difficult to gauge whether [the audience members] were having fun…

Shimokawa:        They were probably all half in tears, so I can understand why they wouldn’t be up and screaming…

Kamikawa:          Definitely.

Shimokawa:        Whenever one of the tearjerker songs ended, only hearing applause was a little unnerving.

[all laugh]

Yonezawa:          I get that.

Maruto:               Should we ask them to raise up their voices and weep out loud, then?

Nabatame:          I’m just imagining a concert hall full of crying sounds… [laughs]

Maruto:               Like, “Gaaaah!!”


-“Sound of Destiny”

Yonezawa:          [along with video] Hello, everyone!

Nabatame:          You’re all in white, Yone-chan.

Yonezawa:          Y-Yes, I’m in white.

Maruto:               This is the nighttime show.

Yonezawa:          When you think Setsuna, you think “white.”

Nabatame:          It’s a completely different vibe from the day show.

Yonezawa:          It is.

Shimokawa:        Were you nervous?

Yonezawa:          Well, of course I was nervous! I mean, if I messed up, every person there would—

Maruto:               Right, plus, if you messed up, it would end up on the Blu-ray.

Yonezawa:          That’s true…

Maruto:               A flub etched into history. [grins]

Yonezawa:          …Well, I… Hey!

Miyake:                Normally when you come on, Madoka-san, you say something like, “Hey, get on your feet!” or “Let me hear you!”, which makes me think, “Okay, she’s relaxed.”

Yonezawa:          Ah… Yeah, I really wasn’t. [laughs]

Nabatame:          Is everyone standing up here?

Miyake:                They are, they are.

Yonezawa:          Yeah, when I came out for “Sound of Destiny” during the daytime show, everyone was still sitting down, and I was like “Oh, uh…”

[all laugh]

Yonezawa:          And I told them, “Come on, you can stand up! Stand up, guys!” which may be why everyone was on their feet from the start for the night show, when Rena-chan was singing. I think people during the day show had the idea that this was the sort of thing where you just sat and listened.


[Before “Sound of Destiny” guitar solo]


Shimokawa:        The guitar solo is the big highlight for this song.

Maruto:               It’s coming up.

Shimokawa:        Yes, this is a massive highlight! This moment when everybody is excited. The guitar really was the biggest hit. You could hear everyone screaming and cheering.

Maruto:               Goto-san said he was really happy at the closing party.

Shimokawa:        Hideto Goto, the guitarist. The other musicians were all prodding him, like “C’mon, Hide-chan, that felt good, didn’t it?”

[all laugh]

Shimokawa:        Goto-san is kind of a quiet guy, so he said something like, “Well, um… Yes, it felt pretty good.” You don’t see that a lot, the guitarist getting the kinds of cheers a leading actor would normally get. So it was a lot of fun for him.


[Guitar solo starts with perfect timing]


Kamikawa:          I’ve never touched an instrument, so I don’t know what level of challenge Haruki-kun was facing here.



Maruto:               He’s playing it!

Yonezawa:          This would be impossible.

Nabatame:          Yeah.

Maruto:               Yeah, no way.

Yonezawa:          It’s pretty hard.

Maruto:               Getting this down in a week.

Kamikawa:          Kazusa-san managed to teach him, though.

Nabatame:          Yeah… Really.

Kamikawa:          That Kazusa-san can play it too is also amazing.

Nabatame:          Because she practiced!

Maruto:               She practiced, definitely.

Yonezawa:          She got it down because she wanted to teach it to him.

Nabatame:          I said she practiced it!

Kamikawa:          And there’s Haruki-kun… What a cool guy!

Nabatame:          Wow, everyone is looking at the guitar!

Kamikawa:          So this is Haruki-kun.

Yonezawa:          This Haruki-kun is playing it easily, though.

Maruto:               Very easily.

Kamikawa:          Wow, that was really great, Haruki-kun.

Yonezawa:          What?!

Kamikawa:          Sorry, I was just projecting. [heart eyes]


Nabatame:          How was the track order for the set list decided?

Maruto:               We have the concert producer right here.

Nabatame:          Give us the story, Producer!

Yonezawa:          Who made up this set list?

Shimokawa:        Well, there were some proposals… But we started with the matter of how to handle Matsumoto-san’s secret appearance as our focal point, and went from there to how to show the involvement between Setsuna, Haruki, and Kazusa, and how to work “The Magic of Time” in. But we decided from the start that we were going to begin and end with “Love Out of Reach.” We did a lot of switching things around based on various factors, like putting an energetic song at the end, or what position a mellower song might take.

Maruto:               But before the encore, for the first closing track, like you do for every show and concert, you used your own track, “Closing.”

Shimokawa:        I’m being completely serious. I didn’t do it…

Maruto:               Now, you don’t have to be serious about this…

Shimokawa:        No, no, no. [laughs] …Well, it does tend to happen this way, now that I think about it.

Nabatame:          Uh-huh.

Shimokawa:        It’s the same from the audience perspective. You tend to have some level of established procedure, I guess. …Well, somehow or another.

[all nod]

Shimokawa:        You have the melody. Sure, there’s the title, but the rhythm and overall impression very much give the sense of “this is the end now.”

Yonezawa:          Right.

Shimokawa:        I don’t really like having to explain my own song, though!

Maruto:               That’s why we’re making you do it.

Shimokawa:        Seriously! This is hard…

[all laugh]

Nabatame:          Well, for you two big fans, were there any moments where you went, “Yes, this order is perfect!”?

Kamikawa:          I was feeling it pretty well… At the very beginning I got very excited and swept up in it, and then partway through the fact that it was the ’13 version really hit me and made me cry… I was completely captive. I was in tears yelling “Thank you!”

Miyake:                I’m always antsy wondering when “After All” is going to show up! Every time!!


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Miyake:                It keeps showing up in completely unexpected places.

Yonezawa:          “After All,” huh. [laughs]

Miyake:                It takes me by surprise!

Maruto:               In the anime, too, we did a lot of thinking about where to use “After All”… Not that that has anything to do with the concert.

Shimokawa:        How many emails did we exchange? Episode 10, 11, 12, 13…

Maruto:               “Is it too much to use ‘After All’ in four straight episodes?”

Shimokawa:        …It’s not like there were any other songs that would work.

[all laugh]


-“I’m Fallin’ in Love”

Maruto:               We’ve moved to “I’m Fallin’ in Love.” Now, has everyone played Dream Communication?

Nabatame:          She really is like an idol in this one.

Maruto:               The idol Madoka Yonezawa.

Miyake:                The idol…

Yonezawa:          Setsuna! Not Yonezawa, Setsuna!

Miyake:                Idol Madoka Yonezawa!

Maruto:               Idol Madoka Yonezawa!

Yonezawa:          Not Yonezawa! [laughs]


Nabatame:          Look at everyone waving their hands. They’re really good with those glow sticks!

Kamikawa:          Like a conductor or something.

Yonezawa:          Like “when we get here, do this.”

All:                        Whew!

Maruto:               Us old men, though, near the end of the night, we get sore… Our arms get tired and we can’t hold them up any more.

Yonezawa:          Did you try switching to your left hand sometimes?

Maruto:               No, I insisted on using the right hand the whole time. [laughs]

Yonezawa:          Why?!


-“Loving Heart”

Yonezawa:          Ah, Tsuda-chan!

Tsuda:                  Hellooo.

Maruto:               “Loving Heart” was a “dummy song” that Shimokawa-san and I worked very hard on.

Nabatame:          ?

Miyake:                “Dummy song”?

Maruto:               It plays during Setsuna’s Ending in CC, so we put this very happy song in for the ending, and then when it’s over, Kazusa appears.

Yonezawa:          Ahhhh!

Miyake:                Whoa, you’re right!

Kamikawa:          Oh, god, that’s scary!

Nabatame:          Ahaha! You’re all scared.

Maruto:               Everything about it was made as deceptive as possible, including the melody.

Shimokawa:        The happiest song possible, to make you go, “Ah, thank goodness.”

Maruto:               The lyrics, too.

Nabatame:          Wow… [looking slightly pleased]

Kamikawa:          Haaaaaaah…

Shimokawa:        Thinking about how far it falls in Coda.

All:                        !!!

Miyake:                Here I was, going, “Finally, it’s over!”

Maruto:               Thinking about how far we could elevate that feeling of “Oh, Setsuna, you’ve finally made it! Thank goodness!”

Yonezawa:          …And then, after that, there’s a massive nosedive! Ugh, that’s terrible!



Nabatame:          And everyone’s heart drops! [definitely pleased]

Maruto:               Is that what we call “affectation”?

Yonezawa:          Ugh…


-“My Heart is Always With You”

Maruto:               “My Heart is Always With You.”

Shimokawa:        We put this one in the anime, too.

Maruto:               Actually, at first, Shimokawa-san suggested that we put this in the scene with Setsuna and Haruki [in the music room] in Episode 7, and what we wound up discussing at that point was, whose song is “My Heart is Always With You,” really?

Shimokawa:        Right, was it a song for Kazusa, or Setsuna?

Kamikawa:          Really…?

Nabatame:          Huh…

Maruto:               So, everyone, what do you think?

Yonezawa:          Now that you ask, it sounds like Kazusa to me…

Maruto:               To most people, it very much has an image as Kazusa’s song.

Yonezawa:          Yeah.

Maruto:               So, I was hesitant to put it in a scene with Haruki and Setsuna.

Yonezawa:          Ah.

Maruto:               However, I can understand that the one who wrote it might also see it as Setsuna’s song. Therefore, Shimokawa-san chose it for use as a Setsuna song here. Really, it’s written to be applicable either way.

Shimokawa:        Yes, yes.

Maruto:               Played during the ending when you’re parting from Kazusa, it sounds a bit like Kazusa’s theme, but before that, you have [Haruki] betraying Setsuna and then coming back to her, so it could be Setsuna’s song.

Miyake:                This song left me with a strong impression of “nestling up together” as an image, which makes me think Setsuna.

Maruto:               However, when “nestling up” is a matter of physical difference it’s Setsuna, whereas when it comes to emotionally nestling up it’s Kazusa. So, you can really take it either way.

Shimokawa:        Right.

Miyake:                Ah…

Tsuda:                  Th-That’s really deep.

Nabatame:          The one who’s singing it is calling it deep…

Shimokawa:        Deep? Hang on. [laughs]



Shimokawa:        What was the atmosphere like in the audience during “Answer”? Since we’ve got people here who were in the audience, I’d like to hear your views.

Kamikawa:          Ah…

Maruto:               Fatality song 1, fatality song 2, et cetera.

Miyake:                I think everyone was silent, focused on listening…

Shimokawa:        I see.

Miyake:                Since, starting with “My Heart is Always With You,” the attacks just kept coming steadily.

Maruto:               Eroding?

Shimokawa:        So you weren’t looking at the people around you?

Miyake:                With “Gentle Lies,” everyone was remembering, “Ah, I heard that, it played in this scene.” It was painful that way.

Kamikawa:          Because that cursed story was starting to…

Shimokawa:        “That cursed story”!

Miyake:                We were all withdrawing into our own worlds.

Yonezawa:          There aren’t any glow sticks on.

Kamikawa:          That’s right!


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Miyake:                There’s no waving going on!!

Kamikawa:          They were all turned off.

Nabatame:          Ah…

Miyake:                Like, “Maybe it would be best to stay quiet for this one.”

Kamikawa:          Turning a light on would be disruptive to the others.

Miyake:                Plus, the thought of whether it would be disruptive to Tsuda-san or Uehara-san. All of that was figuring into turning them on and off.

Shimokawa:        That’s a pretty powerful sense of control.

Kamikawa:          It was.

Nabatame:          You’re right, it’s completely dark!

Uehara:               It felt super dark.

Miyake:                We all turned them off deliberately because we wanted you to be fully focused on your singing, Uehara-san!

Uehara:               Thank you! It worked!!

Yonezawa:          I’m getting this sense from the audience like, “We’re going to do everything we can to make this concert succeed, in our own way.” It makes me really happy.

Shimokawa:        Very kind… Wow.

Miyake:                Um, we turned them off because we thought doing so would make it more enjoyable [for the singers, too], so please don’t be so nervous about it!

Yonezawa:          Nervous?

Uehara:               Thank you. Going from singing in a live venue to singing in a concert hall like this, the sense of unity among everyone was really impressive. I felt the love every time. It’s not physically closer than in a live venue, but more of the little thoughts and feelings come through.

Tsuda:                  That love really does come through…

Yonezawa:          Ah, Rena-chan, you’re just divine.

Miyake:                My heart started hurting really bad around here. I’m not sure how to take this one.

Maruto:               Oh?

Miyake:                With this combo [of songs], it gets hard for us to chatter.

Shimokawa:        No one made any noise after the songs were done around this point. Even the applause was weak.

Kamikawa:          We didn’t have the energy to applaud…

Miyake:                Our stomachs all hurt.

Shimokawa:        You can tell from watching all of it from behind. That there was some energy lacking.

Miyake:                My windpipe can’t hold up…

Yonezawa:          You’re gonna die!

Uehara:               That’s not good…


-Wave between songs

Miyake:                Here comes the wave.

Uehara:               So pretty… You could only really get this in a concert hall.

Maruto:               If you were at the back of the second level, you’d have no idea when the other levels were doing anything, or what anyone else was doing…

Miyake:                I did my best so the three of them would be happy!

Yonezawa:          Wow…

Tsuda:                  Thank you.

Rena:                    Thank you.

Kamikawa:          I was really happy with it. Like, “Yay, we managed to pull it together well.”

Miyake:                “They reacted well.”

Yonezawa:          We figured, with everyone in sort of a low mood from what had just been sung, if we did something like that, it would bring things right back around.

Kamikawa:          Definitely, definitely.

Shimokawa:        This concert—this might be a weird way of putting it, but I feel like maybe the audience came there to be brought down. To be brought to tears, to be depressed. What would that even mean? Some kind of emotional masochism?

Kamikawa:          I was very that.

Shimokawa:        “Very that.” [laughs]



Miyake:                The biggest thing was that I wanted to go and hear the songs, and then I imagined I would end up crying over what I remembered while listening.

Shimokawa:        You came to compromise your windpipe! [laughs]

Miyake:                I was also curious to see what other kinds of people were there.

Shimokawa:        I see!

Miyake:                Who came to listen, how they listened. I had fun people-watching.

Kamikawa:          Sort of like coming to meet your kindred.

Yonezawa:          There aren’t a lot of concerts like this.

Miyake:                I wanted to see if everyone—if everyone took the same damage while they were playing.

Kamikawa:          Our comrades who survived the carnage with us!

Yonezawa:          Your fellow soldiers!

Miyake:                As we were listening to the songs, we sort of [connected] indirectly over how painful the game had been for us.

Maruto:               No, no, this is the sort of thing where you blank out your mind and just enjoy the entertainment.

[all laugh]


-“Liebesträume No. 3”

Miyake:                I haven’t really listened to classical music since I was a kid, but as I was listening to Matsumoto-san’s performance here, I was thinking, “Even as a layperson, I can tell that this is amazing.” Something in the feel of it…

Shimokawa:        It really is amazing. Among the staff we called this group of three tracks “The Classical Corner,” and everyone had very high opinions…

Kamikawa:          I was so glad to hear it.

Shimokawa:        A friend of mine was there, and said, “That part in the middle was really astounding. I would have loved more [even if it made things longer].” I’ve heard much the same thing from other audience members. However, having these three tracks was something I arranged as the producer. I enjoy going to hear classical music, myself. I like it. But, by the time you get to the fourth track, an orchestra starts to wear you out. Not that it isn’t interesting, but it requires too much concentration, and so at the fourth piece you’re getting tired, or sleepy. You can seriously end up listening to too much of it.

Yonezawa:          Wow.

Shimokawa:        I decided at the start that in order to leave the strongest impression, three pieces would be the maximum.

Nabatame:          It sort of left me wanting more—

Shimokawa:        Exactly. So we had everyone wishing they could have seen more.

Yonezawa:          Like eating without stuffing yourself.


-“The Magic of Time”

Maruto:               “The Magic of Time.” We’ve reached Setsuna’s Ending.

Yonezawa:          Yes.

Shimokawa:        We’ve got Haruki, Setsuna, and Kazusa together.

Maruto:               For this acoustic part, we had “White Album” during the day show and “The Magic of Time” at night, but for the people who were only at one show or the other and could only see one of the two songs, it must have been a difficult choice. Wanting to hear them both, not being able to. Since these are the songs that begin and end White Album 2, respectively.

Yonezawa:          There were a lot of people who saw both shows, so I’m sure they were able to enjoy both.

Miyake:                I was in the SS seats for both shows, so I just got more and more emotional.

Shimokawa:        Apparently, the string players could see the audience’s faces pretty well. They were backstage going, “There were a ton of people out there crying.”

Maruto:               I guess when you’re a pro musician, you can easily perform and observe at the same time.

Shimokawa:        Seems like it.

Yonezawa:          Of course, Haruki-kun probably wouldn’t be able to do that at all.

Maruto:               It’s incredible… While they’re playing these instruments where you have no idea how the sound is coming out.

Yonezawa:          Well, their instruments are like extensions of their own bodies for them.

Maruto:               All right… What did you think, Kazusa-san?!

Nabatame:          What?! Sorry, I was only at the daytime show, and this was my first time seeing this song, so I was staring at it, focusing on it… Suddenly being addressed just startled me.


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Miyake:                What they’re doing here is extremely valuable!


Nabatame:          Rena-chan, Tsuda-chan, did you know there would be strings?

Rena:                    I’d heard about it, but this was my first time. I was nervous at our first rehearsal. But hearing them come in after the interlude felt very nice.

Tsuda:                  The breadth of their sound was completely different. I was really impressed.

Rena:                    Like, “Wow, here’s another new experience I get to have.”

Yoneawa:            This was also my first show with strings included. Without them, we wouldn’t have been able to perform the “’13” versions, so I feel like it would have been a very different show.

Shimokawa:        At this point, the ’13 versions of “After All” and “Twinkle Snow” hadn’t shown up in the anime yet.

Maruto:               They’d found their way out anyway, though.

Shimokawa:        When Kamikawa-san came to see me after the day show was over, she went, “Hey, there was something different about that, wasn’t there?!”

Kamikawa:          Like, “What did they change? What did they change?!”


-“White Album”

Shimokawa:        The song that started it all.

Maruto:               All the way from 1.

Shimokawa:        The colors of the glow sticks seem to be fairly well controlled from song to song. There was a lot of white for this one.

Maruto:               The ones that were sold as merch were white, right?

Shimokawa:        They were super colorful for songs like “Sound of Destiny.” But once it came to “White Album,” everyone went white.

Yonezawa:          I didn’t know there were glow sticks with colors you can change.

Maruto:               By the way, you had a pink one, right, Nabatame-san? Were you there?

Nabatame:          I was there before it started, and I waved. You were looking back like you weren’t sure, but I waved just in case, and you waved back, so I went “Okay, good, he noticed.”

Shimokawa:        You were on the third level. Wasn’t that up pretty high?

Nabatame:          It was. I felt like everyone was super far away. Up until then I’d been watching up close in a little box, so I felt like the box had suddenly gotten bigger and I’d moved away, but at the same time I was like “Wow, this is seriously impressive. They’ve come so far.”

Shimokawa:        Like seeing your child all grown up.

Nabatame:          “Ah, look at all these people around… Yone-baby!”

Kamikawa:          Ryoko Ono [VA: Akina Ogiso] was watching with me, and she seemed very proud, too. Somehow.

Yonezawa:          Mom…


-“Like Love”

Maruto:               I have quite a bit to say about “Like Love.” It’s a song from the ending of To You, My Sworn Enemy from the PS3 edition, and since the story involves Setsuna and Kazusa clashing and then reconciling, when Shimokawa-san was trying to figure out what to do with it, I suggested that we make it a duet. I wanted Setsuna and Kazusa to sing together. In other words, I wanted to consider having Yonezawa-san and Nabatame-san both sing. Even with the lyrics, the idea was for the first verse to be Setsuna, and the second to be Kazusa. The finished song has a lot of ambiguities, but ultimately Setsuna is singing most of it.

Shimokawa:        Right, a lot of ideas came up as the two of us were discussing it, and after a lot of meandering around, this is the shape it landed in.

Maruto:               Ultimately a bright ending, just second to “The Magic of Time.”

Shimokawa:        We decided to run with the idea of a Rival Ending—or a Beloved Rivals Ending.

Maruto:               It does make you wonder where Haruki-kun went.

Yonezawa:          Haruki-kun isn’t in the picture. [laughs] The presence of this song gives a bit of a sense of salvation. For Setsuna and Kazusa’s relationship, I mean.

Maruto:               Meaning there wasn’t any before To You, My Sworn Enemy?

Yonezawa:          There isn’t.



Shimokawa:        There isn’t.

Maruto:               Wow!

Kamikawa:          That story was a major relief. I went, “Oh, thank goodness.”

Yonezawa:          Yeah.

Miyake:                Actually, while that was being written, I wound up with the opposite feeling. Like, “Oh, there’s no way they would give that back so easily.”

Maruto:               Really?

Miyake:                I didn’t think we’d get to finish the Cheating Ending with “And the two of them lived reasonably happy lives.”

Maruto:               Oh, well, er… [unusually inarticulate]

Miyake:                I was thinking, “Well, all right, they could get on okay, even if they fight over some little thing or another here and there,” but that didn’t end up happening, because realistically…

Maruto:               In the course of those “little things” worse things kept popping up? Ah…

Miyake:                He’d end up falling into depression again with Setsuna…

Maruto:               Ah, well… It is that way, yes.


-“Twinkle Snow ‘13”

Maruto:               Now we’re entering the climax of IC.

Shimokawa:        And what a lineup.

Maruto:               You could say the climax of the anime, too.

Shimokawa:        “Twinkle Snow,” “After All,” “On Saying Goodbye,” “Closing”…

Kamikawa:          Augh, it was so much…

Shimokawa:        No “salvation” to be found here.

Yonezawa:          Considering “After All” is what comes after this one.

Kamikawa:          “Twinkle Snow”… I’ve really listened to this song a million times, so I assumed I wouldn’t cry all that much… but I was sobbing, during the day show too, and Ryoko Ono who was sitting beside me actually went, “Are you okay?”

Maruto:               The arrangement is different, too.

Kamikawa:          Also, I asked what was different, and learned that the arrangement had been changed… At first, I had no idea what had happened.

Yonezawa:          To have someone crying that hard over your singing must feel really great as a singer, right, Tsuda-chan?

Tsuda:                  Yes, thank you. I do appreciate it. I was on the verge of tears while I was singing, too.

Yonezawa:          White Album 2 songs have a way of bringing you to tears!

Tsuda:                  They do!

Kamikawa:          So even the singers are suppressing [their own feelings] while singing!

Shimokawa:        I’d love to hear more about that! I’m definitely impressed that the people singing songs like this manage not to cry.

Kamikawa:          Seriously!

Yonezawa:          Right?

Shimokawa:        You put all this emotion into it, and the more you try to put that across as you sing, the more you feel like crying.

Yonezawa:          I want to know how you keep it under control!

Uehara:               Well, I’m just on the verge of tears. …The verge of tears, but I stop it…

Shimokawa:        That you can stop it is amazing. If I were to try singing this at karaoke, I would definitely cry.

Yonezawa:          If you get too much into it…

Shimokawa:        Halfway through, my windpipe would give out…

Nabatame:          There’s that old saying again!

Miyake:                My windpipe is dying!

Yonezawa:          Word of the day!

Maruto:               We’ll have to put a scalpel in your throat to open it up.

Miyake:                You’re the one shutting [our windpipes] in the first place, Maruto-san!

Shimokawa:        Whenever I watch the voice actors dubbing, I’m amazed that they can do it without crying. All the staff in the studio control booth, who have to check the voicing, end up crying themselves!

[all laugh]

Shimokawa:        Once the dubbing for a crying scene ends, there’s always a pause. No one can make a sound. A short pause, and then, “Okay, done.” I’m surprised the performers can avoid crying. That’s being a pro for you.


Page 7


-“After All (Feelings Spelled Out)”

Miyake:                I was really startled by how vivid the backdrop was for this one.

Maruto:               We took it to a new level specifically for this song.

Shimokawa:        I gave the visual team explanations for each song, and for this one I explained that it was an extremely important one. I told them it was a key track for the players.

Maruto:               It was used twice in the anime, too. Different sections of it.

Shimokawa:        …Bringing the strings in gives it a classy feel.

Kamikawa:          My first impression changed after I watched the anime.

Uehara:               After the end of the second chorus, where the strings come in, it’s so gorgeous. Up until that big hook…

Kamikawa:          Yeah, seriously.

Shimokawa:        The part where the strings go ba-da-da-da-daaaah, you mean!

Uehara:               I love the interlude, too.

Shimokawa:        That’s the part where Haruki takes off running.

Yonezawa & Miyake: No! Noooo!

Maruto:               He does a lot of running, in quite a variety of ways, in the anime. Sending those persistent messages and everything.

Yonezawa:          With their contents getting shorter and shorter…

Kamikawa:          I got the salvation feeling here, listening to this version.

Miyake:                Right? Something sounded almost bright about it…

Kamikawa:          It was such a purely excruciating song before… This is painful, but in a good way.

Maruto:               We probably wouldn’t have been able to use the last big hook in the anime, so I hope everyone enjoys this arrangement from this concert Blu-ray and the CD.


-“On Saying Goodbye”

Maruto:               Here it is, Shimokawa-san.

Shimokawa:        Oh, who cares! It’s no big deal. [embarrassed]

Yonezawa:          Yes, it is!

Maruto:               It’s a new song, isn’t it?

Shimokawa:        One that I was menaced into writing. You told me, “Hey, write me a good song”!

Maruto:               You had one song, I had to write 13 episodes!

Uehara:               Wait, so if Maruto-san hadn’t told you to write it…

Shimokawa:        I never would have written it.

Uehara:               Ah! Well, then, good job, Maruto-san! [claps]

Maruto:               But I did write 13 episodes in order to put this song out there.

Nabatame:          Wow!

Shimokawa:        Hang on, I’m looking like the bad guy here. There were already so many songs, and I didn’t think there was any more room to squeeze a new song in. In the middle of all these songs that have drawn all this emotional attachment and been absorbed throughout the drama, I wasn’t sure about bringing in some upstart.

Yonezawa:          An upstart.

Shimokawa:        Yes, an upstart, suddenly showing up in the anime.

Maruto:               But, well, in the game it would be an ending after one large story sweep had come to a conclusion, so a very mellow song would fit, but for the anime it’s a stopping point to a 30-minute episode, so a more sweeping song wouldn’t work. That’s where this brighter, key-changing device comes in.

Shimokawa:        Yes, I put a lot of hard work into it… At first, I had in mind that it would play in all 13 episodes.

Maruto:               …Right!

Shimokawa:        Though it only wound up in seven or eight. [laughs] I started with the brightness, the feeling of a school comedy or love drama, and since it falls so far by the end, I had to write a song where darkness and brightness coexisted. Hence, the hook is bright, the A and B verses are minor, and the intro was inspired by trendy dramas in the early 90s.

Maruto:               You were talking about how [the intro] would absolutely overlap with the drama going on.

Yonezawa:          You’re right, the hooks are brighter. I had no idea there was a gimmick like that at work.

Maruto:               They really are bright. But they couldn’t be too bright…



Uehara:               It was hard, singing with that kind of condition. I had to change my expression not just within one song, but within one chorus… Also, the tempo was unexpectedly quick, so it was difficult to switch.



Maruto:               And “Closing” only showed up in Episode 2…

Kamikawa:          That caught me off-guard. “Wait, here?!”

Yonezawa:          Already?!

Maruto:               People who played the game would definitely fall for it. They would never even imagine that it would show up there, so we put it there. It was an easy trick to play.

Shimokawa:        Yes, I doubt anyone imagined it would happen. At first, when Maruto-san told me he was putting it in, I went, “Seriously?!” When we were at the script-reading [*after the anime script was finished] I said, “I don’t personally mind, but are you sure about this?” And he seemed sure about it.

Maruto:               Even the staff weren’t sure. The scene where Kazusa makes her appearance at the end of Episode 2 wouldn’t really fit with “On Saying Goodbye,” so I couldn’t put it there. This wasn’t a calm, smooth ending, it was an ending with a unique impact. So, I did a lot of thinking about it, and ultimately went with “Closing.”

Shimokawa:        All of that said, neither the opening theme nor the ending theme actually shows up more than a few times. There were so many scenes where they didn’t fit.

Maruto:               I wanted to hide the title up until the very last minute, so in the advertisements for the “Love Out of Reach ‘13” single I only alluded to it with “(+more).” A tracklist would have given it away instantly, and even writing the number of tracks would have made people suspicious… I had to be very careful of the timing for these ads.

Shimokawa:        Yes, we were careful with a lot of things.


-“Powder Snow”

Shimokawa:        Yonezawa-san, did you struggle with this concert at all? “Powder Snow” in particular was practically a cappella. Just the one guitar… Was that difficult?

Yonezawa:          Actually, it was easier to sing that way.

Maruto:               Then, maybe you’re more comfortable with setting the pace yourself rather than matching a bunch of other people?

Yonezawa:          Maybe? I don’t really understand why it is.

Miyake:                Because there’s less noise?

Yonezawa:          Maybe… I like this format. The one guitar, maybe with a piano too, and that’s all. I like it a lot. Of course, I like singing with a band, too, but…

Nabatame:          You’ve got nerve.

Yonezawa:          Nerve? [laughs]

Maruto:               You can’t use any tricks that way.

Kamikawa:          Having just the guitar accompanying you is like the concert in CC. Were you Setsuna-chan, up on that stage?

Yonezawa:          Good question…

Maruto:               Were you a snow-white angel?!

Yonezawa:          [laughs] …I take in the lyrics and sing them with Setsuna’s feelings in mind, but I’m not Setsuna, myself… I guess I could say I do my best to express Setsuna’s feelings as well as possible?

Kamikawa:          You’re the expresser…

Uehara:               I’d never sung in a large concert hall with a full band like this, so she’s sort of my senior in that regard. If it came to me, I think I’d be super nervous… But Yone-chan was able to bring this ephemeral world in even during rehearsals…

Tsuda:                  It was an aura she put off.

Uehara:               Showing that she really did have nerve.

Yonezawa:          I was nervous, though…

Uehara:               I couldn’t tell that you were nervous at all.

Tsuda:                  Yeah.


Page 8


-“Love Out of Reach ‘13”: another climactic moment

Shimokawa:        Lots of different glow stick colors at the end.

Maruto:               Maybe all the ones that were left were broken?

Kamikawa:          At the end, we were waving our sticks to thank them for such a fantastic show.

Shimokawa:        There really was a ton of energy there.

Yonezawa:          Yes. It’s not really the kind of song that normally gets you psyched up and going “Yeah! Woo!”, but it was the kind of energy that’s like, “This is it.”

Maruto:               Everyone in the audience sang along with this one in Osaka, right?

Yonezawa:          We definitely went “Come on and sing!”

Maruto:               Honestly, it’s Osaka. They probably sang along because it was a room full of Osakans.

Yonezawa:          Changing the pronouns to fit themselves. “Boku,” “watashi”…

Miyake:                “Ore!”

Yonezawa:          People in Osaka are all extremely self-assertive.


-After finishing the video

Shimokawa:        Kamikawa-san and Miyake-san, you were out talking with audience members in the lobby, right?

Kamikawa:          Yes.

Miyake:                We were.

Shimokawa:        How did it feel, interacting with the audience?

Kamikawa:          Since I’m such a big fan myself, I didn’t really have a sense or feeling like they were just “the audience.” I was there to see my friends, or my kindred spirits, like everyone else. There were even some people whose names I knew from Twitter.

Miyake:                I signed one of the autograph collections that fans were putting together in the lobby.

Yonezawa:          [When I was signing] I was like, “What’s Marietty doing here?!” It was hilarious.

Kamikawa:          We’re all steadily becoming connected through White Album 2. Now I’ve been brought into it, myself.

Miyake:                I want a concert with BGM included next.

Kamikawa:          The BGM was fun.

Miyake:                Of course, with BGM I’d end up a sobbing mess. Whatever played, just tears and more tears…


Kamikawa:          What was it like singing in a concert hall? Was it really different from a live music venue?

Uehara:               I’ve sung in a lot of music venues, while this was my first time in a concert hall, and the staff were telling me before it started that there was a huge sense of isolation. When I stepped into the hall for rehearsal on the day of the concert, the three levels really did make it seem far away, and there certainly is an isolated feeling, but a concert hall lets you have snowflakes or video footage as a backdrop, which was amazing. I will say I was even more nervous than in a live music venue.

Tsuda:                  You can’t see the audience’s faces at all.

Uehara:               There’s that pressure, the understanding that everyone is there fully expecting something astounding, which meant we had to make ourselves capable of fulfilling that, and that’s where the nervousness came from.

Kamikawa:          Is it easier when you can see the audience’s faces, then?

Uehara:               Yes. Seeing them smiling puts me at ease, like, “Ah, good, they’re enjoying it.”

Shimokawa:        Though I’m not sure how many smiles there would have been here. If anything, I feel like there must have been a lot more gloomy faces.

Uehara:               The women in particular always had big grins on their faces, and I was really happy about that.

Tsuda:                  Yeah! It was my first time in a concert hall, too, and I was anxious about it, but I was surprised to find that it was just as easy to sing as in a usual show. There was that question of “How is everyone listening to this?” since I couldn’t see their faces. But, having heard everyone’s comments, I can tell they thought it was great, which is a relief.

Shimokawa:        What about you, Yonezawa-san?

Yonezawa:          Hm…

Shimokawa:        Have you ever done any talking in a concert hall before? Outside of singing?

Maruto:               There are events and things.

Shimokawa:        Then, was there anxiety over doing both? Singing and talking?

Yonezawa:          Maybe it was the length of time I was onstage. At events, there are a lot of other performers.



Maruto:               There were mainly just the three of you this time, and during the pre-show huddle you were giving some rallying calls. Eh, Captain?

Yonezawa:          Because I was told to. [laughs] But, whether I’m in a live music venue or a big hall like this, I sing with the same level of enthusiasm. A hall has a large area of movability, which gives a sense of freedom and openness, and the awareness that I can use the stage as I like. I was glad to be able to get the glow sticks to go up like da-da-da-da-dah that way. In a live venue, even running around is tricky. [laughs]

Shimokawa:        When you’re looking up at level 3 from the stage, do you go, “Whoa, that’s really far away”? Or not? From a third-level seat, [the stage] looked really tiny and distant. Is it that far?

Tsuda:                  I was definitely noticing how high it was…

Uehara:               Definitely high, but not “far” as much.

Tsuda:                  Not as much.

Kamikawa:          But you felt the love from up in the third level, right?

Uehara:               Yes!

Tsuda:                  We did!

Kamikawa:          Oh, yay!


Uehara:               There was so much preparation to do leading up to it, so much nervousness, and it was difficult, but now that I’ve done it, I’m glad. It was fun, and I think I’d actually like to do it again.

Tsuda:                  Definitely. I’m hoping that this wasn’t the last time, and we’ll find some other opportunity to do it again.

Uehara:               Next time, we can have Nabatame-san sing “Love Out of Reach” with us.

Tsuda:                  Yes, yes!

Nabatame/Yonezawa: Pulled in again!

Shimokawa:        The audience would be so shocked!

Miyake:                With happiness, with happiness. Let’s bring Takahiro [Mizushima]-san in, too!

Shimokawa:        It would be hilarious if you gave some kind of sign to everyone in the concert hall, and then when Takahiro-san came on they all started booing.

[all laugh]

Kamikawa:          Don’t be mean to Haruki-kun…

Shimokawa:        What Setsuna says in Episode 7 about “Performing live is super nerve-wracking, but once you’ve done it once, you’ll never be able to stop,” did you feel that for real? Did it feel amazing?

Yonezawa:          More than feeling good, I would say it made me think about a lot. A lot more than I expected.

Uehara:               With that last “Love Out of Reach ‘13” that the three of us all sang, I feel like I could forget everything else…

Yonezawa:          Yes, exactly!

Uehara:               Honestly, that was the only place where I could put across all of my feelings of enjoyment and gratitude. Up until that, there were a lot of thoughts going through my head…

Shimokawa:        Then would you say that moment when “Love Out of Reach ‘13” ended, the band members played their last notes, and the audience members all roared, was the most fun moment?

Tsuda:                  All the anxiety and nervousness vanished, leaving just pure enjoyment. It was like, “Finally, everything is out there.”


Page 9


Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo

Text:                     Vocalists: Rena Uehara, Akari Tsuda, Madoka Yonezawa (VA: Setsuna Ogiso)

Pianist: Asuka Matsumoto


  1. Love Out of Reach ‘13
  2. Happy Memories
  3. Sound of Destiny
  4. I’m Fallin’ in Love
  5. Loving Heart
  6. My Heart is Always With You
  7. Gentle Lies
  8. Answer
  9. Liebesträume No. 3
  10. The Magic of Time
  11. As It Was Then
  12. White Album
  13. Like Love
  14. Twinkle Snow ‘13
  15. After All (Feelings Spelled Out) ‘13
  16. On Saying Goodbye
  17. Closing ‘13
  18. Powder Snow
  19. Love Out of Reach ‘13



Disc specs:          ¥9,300+tax|KIXM91030|132 min+bonus|AVC|2-layer single-sided|2014.3.26|Color|Hi-Def (16:9)|Not for rental/Cannot be copied|1920×1080 i/29.97 fps|1. Linear PCM (96 KHz/24 bit) STEREO/2. Linear PCM (48 KHz/24 bit) 5.1 ch Surround

Sales Agency: F.I.X Records

Distribution: King Records Co., Ltd.


BD-ROM info:    The Blu-ray Disc (BD-ROM) is a disc containing high-density audio and video recordings. Please play in a Blu-ray (BD-ROM) compatible player. For details on how to operate playback equipment, please refer to the instruction manual for the player or TV being used. May not work normally on some computers.


This disc is sold for private, in-home use only. Lending, reproduction, public transmission, or screening without prior written permission by the rights holder, whether for payment or free of charge, is prohibited.



Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo



Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo


Page 10

Instructions:       When handling: *Please handle disc carefully, so as not to leave fingerprints, dirt, or scratches on either side. *If disc becomes dirty, wipe off lightly with a soft cloth, such as a glasses cloth, in a radial motion from the center outward. Do not use record cleaner, solvents, or other chemicals. *Please do not write or draw on either side of the disc in pencil, ballpoint pen, or permanent marker, or affix any stickers to either side. *Do not use discs with cracks or deformities, or discs repaired with adhesives, as they are hazardous.


                              When storing: *Do not store in direct sunlight, or anywhere with high temperature or humidity. *After using the disc, store in its original case. *If heavy objects are placed on top of the plastic case, or if it is dropped, the case may be damaged.


BD-ROM info:    The Blu-ray Disc (BD-ROM) is a disc containing high-density audio and video recordings. Please play in a Blu-ray (BD-ROM) compatible player. For details on how to operate playback equipment, please refer to the instruction manual for the player or TV being used. May not work normally on some computers.


Warning:             This disc is sold for private, in-home use only. Lending, reproduction, public transmission, or screening without prior written permission by the rights holder, whether for payment or free of charge, is prohibited.


Page 11

Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo


Page 12


Tracklists:            Blu-ray

  1. Love Out of Reach ’13 (Rena Uehara)
  2. Happy Memories (Rena Uehara)
  3. Sound of Destiny (Madoka Yonezawa)
  4. I’m Fallin’ in Love (Madoka Yonezawa)
  5. Loving Heart (Akari Tsuda)
  6. My Heart is Always With You (Akari Tsuda)
  7. Gentle Lies (Rena Uehara)
  8. Answer (Rena Uehara)
  9. Liebesträume No. 3
  10. The Magic of Time (Madoka Yonezawa)
  11. As It Was Then
  12. White Album (Madoka Yonezawa)
  13. Like Love (Akari Tsuda)
  14. Twinkle Snow ’13 (Akari Tsuda)
  15. After All (Feelings Spelled Out) ‘13 (Rena Uehara)
  16. On Saying Goodbye (Rena Uehara)
  17. Closing ’13 (Rena Uehara)


18: Powder Snow (Madoka Yonezawa)

19: Love Out of Reach ’13 (Rena Uehara, Akari Tsuda, & Madoka Yonezawa)


Special CD

  1. Love Out of Reach ’13 (Rena Uehara)
  2. White Album (Madoka Yonezawa)
  3. Sound of Destiny (Madoka Yonezawa)
  4. On Saying Goodbye (Rena Uehara)
  5. Twinkle Snow ’13 (Akari Tsuda)
  6. Happy Memories (Rena Uehara)
  7. Loving Heart (Akari Tsuda)
  8. Gentle Lies (Rena Uehara)
  9. My Heart is Always With You (Akari Tsuda)
  10. The Magic of Time (Madoka Yonezawa)
  11. After All (Feelings Spelled Out) ’13 (Rena Uehara)
  12. Closing ’13 (Rena Uehara)
  13. Powder Snow (Madoka Yonezawa)
  14. Love Out of Reach ’13 (Rena Uehara, Akari Tsuda, & Madoka Yonezawa)



Credits:                Staff Credits


                              Rena Uehara, Akari Tsuda, Madoka Yonezawa



                              Asuka Matsumoto



                              Keyboards, Piano & Arrangement: Shuntaro Kobayashi

Percussion, Flute & Chorus: Nona*

Electric & Acoustic Guitar: Hideto Goto

Electric Bass: Yoshinobu Takeshita

Drums: Yoshitaka Shirane

1st Violin: Sayuri Yano

2nd Violin: Toshihiro Takai

Viola: Shoko Miki

Cello: Masutami Endo

Manipulation: Go Katsuura


Stage Crew

Stage Manager: Kenichi Oba

Carpenter: Yoshitaka Aoki (Kugayama Kobo)

FOH Sound Engineer: Masashi Hashimoto (STUDIO SOUND DALI)

FOH Assistant Sound Engineers: Kenta Funayama (STUDIO SOUND DALI), Kimihide Moriuchi (Katoya Recording Service)

Monitor Sound Engineer: Toshiya Osato (Pikuon)

Monitor Assistant Sound Engineer: Junya Shidooka (KRS)

Visuals & Lighting: Tamotsu Nakano (D.O.G.), Matsuka Hirota (D.O.G.), Takahiro Yanagida (D.O.G.)

Backline Tech: Yuki Fujihira (JetONE)

Assistant for Manipulator: Hajime Asano

Assistant for Keyboards: Yuki Takumi

Hair & Makeup: Rinko

Hair & Makeup Assistant: Miyako

Artist Managers: Keisuke Abe (81PRODUCE), Kenichi Arimura (AQUAPLUS), Yuka Kinoshita (Flying Penguins), Reiko Kobayashi (Flying Penguins)

Concert Production: Yuji Takeuchi (SoL)

Concert Promoters: Sosuke Kikuchi (Sunrise Promotion Tokyo), Yoko Tanaka (Sunrise Promotion Tokyo)

Concert Manager: Ryunosuke Kusaka (F.I.X. RECORDS)

Concert Director: Kenichi Arimura (F.I.X. RECORDS)

Concert Producer: Naoya Shimokawa (AQUAPLUS)


Film Crew

Director: Shoji Kawasaki (pimientos)

Director of Photography: Takao Koshiishi (Take Five)

Camera Operators: Shinya Shiraishi, Masaharu Onodera, Eiji Kuki, Junpei Nakajima, Keisuke Doi (KYORITZ Video), Megumi Ebisawa (KYORITZ Video)

Video Engineers: Hirokazu Osawa (Chiyoda Video), Kenichi Hagiwara (Chiyoda Video)

VTR Operators: Hideki Fujioka (Chiyoda Video), Ken Imai (Chiyoda Video)

Assistant Cameramen: Kazuya Aoki (Chiyoda Video), Satoshi Onozawa (Chiyoda Video), Yuki Imo (Chiyoda Video), Kiyomi Tsuchida (Chiyoda Video), Shinnosuke Hata (Take Five)

Camera Operator for MAKING: Yukiho Nishihara (Take Five)

Key Grip: Hikaru Sato (NKL), Mie Nomura (NKL)

Instruction: Miko Koyama (COLORS)

Technical Producer: Tetsuya Nojima (Chiyoda Video)

Line Producer: Yoshihide Ueda (Take Five)

Live Recording Engineers: Mikiko Uochi (SCI), Yasuhiko Ohta (SCI)

Mixing & Mastering Engineer: Masashi Hashimoto (STUDIO SOUND DALI)

Assistant Engineer: Kenta Funayama (STUDIO SOUND DALI)


Authoring Studio: NSA, INC.

Menu Design: Aya Shitani

Art Direction: Hideaki Kawai (AQUAPLUS)

Photographer: Johney Terasaka (Johney’s Photo), Chihoko Izutsu, Takuya Magara

A&R: Ryunosuke Kusaka (F.I.X. RECORDS), Koji Sawahata (KING RECORDS), Toshiaki Sato (KING RECORDS)

Promotion: Masanobu Inao (KING RECORDS), Ko Ehata (KING RECORDS), Marie Wada (KING RECORDS), Renta Suzuki (KING RECORDS)

Sales Promotion: Natsuko Moro (KING RECORDS)

Desk Promotion: Mariko Kobayashi (KING RECORDS)

Supervisor: Akio Mishima (KING RECORDS)

Director: Kenichi Arimura (F.I.X. RECORDS)

Executive Producer: Naoya Shimokawa (F.I.X. RECORDS)



Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo


  1. Love Out of Reach ‘13
  2. Happy Memories
  3. Sound of Destiny
  4. I’m Fallin’ in Love
  5. Loving Heart
  6. My Heart is Always With You
  7. Gentle Lies
  8. Answer
  9. Liebesträume No. 3
  10. The Magic of Time
  11. As It Was Then
  12. White Album
  13. Like Love
  14. Twinkle Snow ‘13
  15. After All (Feelings Spelled Out) ‘13
  16. On Saying Goodbye
  17. Closing ‘13
  18. Powder Snow
  19. Love Out of Reach ‘13


Text:                     Vocalists: Rena Uehara, Akari Tsuda, Madoka Yonezawa (VA: Setsuna Ogiso)

Pianist: Asuka Matsumoto


Disc specs:          ¥9,300+tax|KIXM91030|132 min+bonus|AVC|2-layer single-sided|2014.3.26|Color|Hi-Def (16:9)|Not for rental/Cannot be copied|1920×1080 i/29.97 fps|1. Linear PCM (96 KHz/24 bit) STEREO/2. Linear PCM (48 KHz/24 bit) 5.1 ch Surround

Sales Agency: F.I.X Records

Distribution: King Records Co., Ltd.


BD-ROM info:    The Blu-ray Disc (BD-ROM) is a disc containing high-density audio and video recordings. Please play in a Blu-ray (BD-ROM) compatible player. For details on how to operate playback equipment, please refer to the instruction manual for the player or TV being used. May not work normally on some computers.


This disc is sold for private, in-home use only. Lending, reproduction, public transmission, or screening without prior written permission by the rights holder, whether for payment or free of charge, is prohibited.


CD 1

Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo


CD 2

Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo

Label:                   Special CD



Title:                     White Album 2 Concert

November 24th, 2013 in Tokyo