Skip to main content

Soundtrack: Yanagi Nagi - Just Because! Original Motion Soundtrack (2018)

86 / 100
The Just Because! OST is not merely background music but an emotional trigger—intimate, melancholic, and deeply personal.
Ah… this is all because of that damn post-rock/ambient!

Because of those two genres, I started feeling emotional while watching anime during the pandemic era—especially Just Because!. Even though it is “only” a romance/slice-of-life anime, I admit it is a melodrama with a chest-piercing, underrated soundtrack.

The composer behind it is the well-known singer Yanagi Nagi, who also performs the opening theme, which was quite surprising at the time. One of the most important tracks here is “Shinkan no Mae wa,” which inspired me to form Oaksean, despite having no instrumental background whatsoever. Somehow, almost magically, I was able to grasp the notes of its opening part, which I approximated in C4 as far as I know:

C–D–E C–C–A3–G3
C–D–E C–C–E–D
C–D–E C–C–A3–G3
C–A–G– …

Yes, that’s all I could really follow. But it truly changed the color of my life. I started randomly playing on the Walk Band piano, producing hundreds of tracks. They were extremely amateurish and low-quality, and unfortunately I couldn’t save them all. What remained, I eventually uploaded to Bandcamp with whatever polishing I could manage.

Besides that track, there is also the anthemic and memorable “In Unison.” Then there is the instrumental version of the opening theme “Over and Over,” which appears as “Signs and Wonders.” Some tracks even sound like children’s songs, such as “Little Toy Box,” while others feel tense, for example “Kuubaku no Frustration.”

Out of the 43 tracks, it is very clear that I gravitate toward those driven primarily by emotional piano and violin. After this anime, I gradually became unable to watch Japanese dramas or anime anymore, because their new age/cinematic background music would make me pause and choose to sink into sadness instead. Unfortunately, digital access to works like this is very limited. Even buying physical releases is mostly restricted to Japan.

Comments

Popular posts from this blog

Breakcore: Subheroine - End. (2025)

77 / 100 End. is Subheroine ’s most immersive and emotionally textured work yet ... Is being a week late enough to make a new release feel cold and stale? Maybe it’s the effect of our fast-paced modern world and the FOMO trend. Who knows. Whatever. Alright then, let’s welcome a new breakcore/drum & bass album (though it runs under 30 minutes) from Subheroine : End. ! End. by SUBHEROINE Released just on November 7 via Japan’s veteran breakcore label, Lost Frog Productions , End . delivers a noticeably more atmospheric vibe this time. So, tagging it as atmospheric drum & bass makes perfect sense, while the “depressive” tag seems to apply only to the cover art. But is that really the case? As always, there are surprises when reviewing music—those unexpected moments that make certain tracks sound more intriguing than expected. The most prominent depressive elements appear in the sampled voice of an anime girl sounding shocked or weakened in...

Electronica/IDM: 4T Thieves - Humanoid (2018)

70 / 100 Humanoid is a compact and tastefully crafted slice of IDM-leaning electronica that blends futuristic elements without overwhelming the listener. I opened my December with an electronica release by 4T Thieves , an EP titled Humanoid , which came out back in February 2018. A brief profile and the project’s track record can be found on RYM or Last.fm , and it’s clear that this act has been active since the 90s, although only arriving on Bandcamp around 2018. Humanoid by 4T Thieves As the name suggests, Humanoid presents a modern environment tinged with a futuristic sci-fi atmosphere, supported by drum work leaning toward IDM and prominent synth/bass that paints the image of a future city gate on “ Elemental .” This is followed by “ Codex ,” which is given a special dose of classic IDM-style glitch effects , and the rest continues into “ The Looking Glass ,” which gives off a nighttime-shadow feel through its slightly dark synth melodies. “Band...

Psychedelic Rock, Experimental: 32 Partials - In Degradation (Part I + II) (2017)

76 / 100 A dual-EP venture that expands 32 Partials ’ sonic universe, In Degradation showcases both their desert-tinged psych rock and a bold leap into experimental ambient/noise. The journey of 32 Partials continues with a descent into desert territory in In Degradation (Part I) , accompanied by an experimental/noise backsound presented separately in In Degradation (Part II) . Both were created during the summer and released together at the end of August 2017. Each EP contains three tracks, so I figured it would be more efficient to summarize them in one review instead of two. In Degradation (Part II) by 32 Partials What’s presented first is a Middle Eastern–styled rock performance using bouzouki and flanged guitar without distorted accompaniment, making it less clearly aligned with desert/stoner rock . The same goes for the two psychedelic rock tracks that follow—they don’t feature synths as strongly as the previous release, but overall t...