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Text Interviews » Consolation Twitter Event


On March 30, 2013, Yuki Kajiura held a twitter event for the release of Kalafina’s 4th album “Consolation”. The first round started at 22:00 and the second at 23:00, Japan time. You could participate on any round suited you best, or on both if you could. Note that Yuki was the only one replying; Kalafina didn’t participate in the discussion. Below is a collection of fan questions and replies to them organised by song.

Thanks to Hatouchan, jac117, and yuki.n for translating, and valeriana runa for compiling the tweets. Click here to see them in Japanese. Click these links to navigate:

Song Comments

al fine

al fine now. The lyrics are packed with all of the songs’ essences in Consolation.


Q: What does “Quo Vadis Domine” mean? What language is it in?

A: It means “LORD(GOD), where are you going?” in Latin. It’s a famous line from an episode of (Saint) Peter and Jesus. I used “Quo Vadis” but it’s not that I intended for there to be any Christian implications/nuance. In this case, “God” is really just referring to an existence within myself/oneself.

It’s fine even if Consolation isn’t consoling! In the end, more than consoling, it’s a song for those who pitch forward!
We mustn’t/can’t pitch forward a performance though!

(TN1: pitch forward “Tsun no mette” is a line from the lyrics of Consolation)
(TN2: she uses “damon” here, which is a really cute way of insisting on something, child-like even. It’s hard to translate it and its nuance though, sorry… I’m not sure how. Maybe when I get more experience translating…)


moonfesta.  Then it suddenly changed…

♪(((*^-^)八(^∇^*)))♪tsuuki no festa-♪

The rabbit of the moonfesta PV is cute…

That (person chasing someone famous?) wants to sing♪

I wonder if that’s the figure/shadow of Fujiki Seiji.


Q: This is regarding “Door”. I think what you felt and what you could do while you were young is different but, have you ever wanted to change part of the lyrics or the melody?

A: I have changed just a single line in the lyrics. I felt that there wasn’t a need to change the other parts, so I left it as it was. Just as there are some things that I can only make now, there are some things that I could only make back then. This is one such song. I added an arrangement to the melody and lyrics that were left the same as before, an arrangement that I probably would not have been able to do back then, and had it sung for me.

Q: Is the boy in Door the German boy at the raspberry thickets??

A: No (laughs)

Q: The boy you mentioned in Door. Is it the same freckly German boy from Kiichigo no Shigemi ni??

A: No (laughs)

Q: Why do you talk about “the morning on a Saturday” (do youbi no asa) in Door?

A: That’s probably because there’s no school on Saturdays! (I was a student at the time – when I was writing this song)


Mirai. A bright, bright song♪. If the original song (Credens justitiam) or Madoka Magica didn’t exist, I really would have never thought of making this type of song with Kalafina. I am grateful to met this series because of this.


Hanataba. This is the first time an Accordion was used in a Kalafina song. I could do it only because it was the 4th album.

Ah.. Now that I recall, there was a song where I received some input from Kalafina’s members. In Hanataba, there was a line「獣の声を上げ」(Raise the voice of the beast). One of the staff questioned the use of “beast” in the lyrics. Keiko then said, “I like those lyrics so please don’t change it!!” So I left it as it was.


signal. This song was made (completed/finished/composed) as we recorded it. I let Korenaga-san play around with it for me. A lot of areas in the song were formed after that.

Among all of the songs in the album, signal was the song for which I received the most positive and negative feedbacks (ie. it was a polarizing song) (laughs). Sorry. It’s (the song) what I enjoy/like/my taste (preference).

This part with Kaida-san’s high chorus, we recorded it and only then formed the melody after.

Sequence wise, the synth’s phrase is like something out of the disco period in the 80s, isn’t it? (laughs) The accordion’s rather wild here as well. When I said I wanted to add the Accordion to this song, the staff went “EHHH?” (in shock) but I felt that it would definitely fit the song.

Q: You said that signal was made as you recorded. Are your songs commonly made like this?

A: For songs (those that are sung with lyrics), there is little to none that were made in this manner. I occasionally do it this way for soundtrack songs.

Hmmm, usually the recording sessions run quite smoothly so there weren’t any episodes or particularly any songs that took a long time (to record)… If anything, perhaps signal took a few days as we revised and played around with the arrangement(composition?)…

(When signal plays)



This song has an image of Turner’s (William Turner, a British painter) dark sea. Well, rather than a dark sea, it’s more an image of light piercing through into the dark sea, where there is a small boat. …sound-wise, it feels nothing like Turner though (laughs).

With just the a-melody’s guitar, I can go for three bowls of rice. Haa haa (panting).

“obbligato” means obbligato (in kanji), a sub melody. A different, independent melody that doesn’t necessarily harmonize with the main melody. It won’t mix and become one.

Q: you once said on twitter that you couldn’t decide if you should add in live strings into a certain song. Were you referring to “obbligato”?

A: Yup. You found me out. (^▽^;)

That’s me singing “ae ae”. obbligato now.
If I’m asked whether there is any need for such a long intro… I’d say it’s my preference/interest! M9っ`д´)
I feel like I can go for three bowls of rice again. I mustn’t~ (*/∇\*)

Q: there are a lot of songs with 3 or 6 beats(tempo/beat/rhythm?). Is that what you like?

A: Yes!

But to begin with, the beat is added in later so it’s not like i decide on what beat to compose with okay…

Kiichigo no Shigemi ni

The place I used live in, it was a place with many raspberry bushes. I used to just grab and munch on them. I remember having a kiss stolen by a freckly German kid/brat in the thickets of raspberry bushes ( ̄ー ̄). I punched him hard though. Ah! The song ended while I was talking about such trivial things!


I made this song from a bgm track (let the stars fall down), but the accumulation of the singing melody was very much like Kalafina (Kalafina-esque) and turned out very well. It’s a song that I like.

I often get asked a lot but, after “manten no chorus”, Wakana sings “of pain”

The key changes in this song isn’t too much of a problem for those singing it but it must have been quite a pain for the band members playing chords

Well, not like I’m the one playing it (´ー`)┌フッ (woi)

to the beginning

A song made for Fate/Zero……it was a good series (ノ_-。) when it’s put into this album, I feel that this song becomes very pop (no objections allowed), with a good accent (?). I really like the part “su-kuwa-reta-kute” where the two singers sound like they’re having fun♪

It’s pop! M9っ`д´)
“tsuki no hikari” (light of the moon), is as you can probably guess, an image of that work’s last scene.

Hikari Furu

Singing this song, I feel that the three of them (Kalafina) have evolved a little. But rather than it being because of the song, it’s probably due to the timing. It wasn’t originally a song with a melody for singing, so it’s an uncommonly difficult piece……It’s uncommon!

(TN:She was probably getting Tsukkomi responses, saying Kalafina’s songs are usually difficult, lol)

Kalafina’s (other) melody lines really aren’t that difficult… they have a proper song/singing melody.
Everyone sang well (for me)… (;・;)
I just feel that the harmonizing is difficult……(^▽^;)

Yume no Daichi

This type of song… I’m glad to be able to make this kind of song. It’s because I’m working with Kalafina, and because I’ve met this program that it exists. Thank you very much.

Even I feel like singing the chorus here ( ^0^)θ~♪

I’m glad we could end this album with this song… the feeling of being conned/tricked/lied to by the title, Consolation, was mitigated by this!

(TN: probably referring to how Consolation, as a whole, doesn’t feel very …consoling, lol)

Other Q&A

Q: What circumstances brought you to make songs like Mirai and Manten, amongst others, for Kalafina to sing – songs that were originally soundtrack bgm?

A: Melodies made for instrumental purposes are totally different from song melodies but, occasionally, there are melodies that can transition beautifully into a proper song as well.

Q: The violin is often used in Kajiura-san’s songs, isn’t it? Is it indeed an influence of your disposition to Germany?

A: There is probably no relation there (^▽^;). It’s because the violin is an instrument that sings.

Q: In making the album “Consolation”, have you adopted any suggestions or opinion offered by the three of them (Kalafina) in the songs?

A: I basically leave the way/method of singing the song to them, we then discuss afterward. Other than that, not really……?
(tn: she remembered the incident regarding “kemono no koe wo age” later)

Q: Mirai Fukuin and Hangyaku no Monogatari (madomagi), movies which you are in charge of musically, have both announced a fall screening date. Are you okay, schedule-wise?

A: Thank you for worrying. I’m fine…! (gutsy response)

Q: What was the song that took the longest to record this time? Please also share any interesting episodes with us, if there were any.

A: Mmm. The recording basically went really smoothly, so there weren’t really any songs that took a long time or any episodes…… if I had to pick one, it’d be signal. I had to redo the remix and played around with the song so recording took a few days to finish. That’s about it …

Q: Pardon me. Is there any difference in the approach to making a song that is a theme song for something, as compared to an original song in an album?

A: It’s a matter of the origin of the image. Songs that are tied to a particular work will be based on the work’s image. Album songs are unrestricted. That’s the only difference.

Q: Are there any instances where you come up with an arrangement for lives whilst recording? For example, to finish the musical score for the live arrangement at the same time.

A: Honestly, I don’t think about the lives while I am recording at all….

Q: Are there any instances where, after continuously working on writing songs (for singing with lyrics), you find yourself thinking, troubled by the narrowing of the melodies you create while making soundtrack music? And, when making a piece, do you start from creating the melody, or start from the chord?

A: The modes in which I create the songs and soundtrack music are different, so I have never really felt that way before. And I think I have never created a piece by starting with the chord. It’s always the melody first…

Q: Please put a hidden track featuring kei-chan’s “kogitsune” in the next album(´・ω・`) (laughs)

A: That’s going to make the album into something different. (^▽^;)
(tn: go youtube こぎつね. Did keiko sing this in kalafina club or something?)

Q: This question isn’t related to the current album at all but, in “Utsukushisa” and “Mata Kaze ga Tsuyoku natta”, there is a part of the melody that is similar. Was this intentional? Or did it just turn out this way naturally?

A: In most cases, it isn’t intentional(^▽^;)

Q: Recently, instead of having individual releases for the ost, they’re all included in the bd/dvd as privilege items. How do you feel about this?

A: Regarding that, it is not something that is decided by me so it’s a little difficult for me to answer.

Q: My question is regarding the image of the song. For songs that aren’t tie-ups, what do you usually form the image from (draw inspiration from)?

A: The story first, and then the lines/dialogue, the worldview of the work, including the atmosphere visually. Well, various things.
(TN: I think she misread the question… and answered regarding the tie up songs, rather than the non-tie up songs)

Q: Would/could you make a song that is all English for Kalafina?

A: Whenever possible, I think we should let Japanese singers sing Japanese songs. Whenever possible, that is. Though there are exceptions as well.

Q: Do you take part in the making of PVs?

A: First I take some time to talk about the concept and what (kind of image?) to aim for. After that while discussing….

Q: How long before do you prepare for an album?

A: ….The moment I have time to!

Q: How do you usually come up with the chorus lyrics (which are not included in the lyrics booklet)? I’m curious every time I sing Kajiura’s songs in karaoke.

A: I try singing it to myself first, then hear it (after recording herself?) before converting it into written music.

Other Comments

The story of Kiichigo is surely to everyone, “An image of a heroine’s secret garden. There will probably be a strong impression of a girl who may not be pretty but has big eyes and a slim figure.” It feels like it has that kind of heroine establishment (laughs).

Whether the story or the scene really existed, if she (they) was really there, or if it was just a dream, if now and forever they were there, or if it were a dream seen in someone else’s eyes, if it is the start of summer or the middle of winter…. if it were reality or not… even if there are a lot of questions asked.

If the person himself/herself believes it to be true, does it not matter whether that is reality or one’s delusions? For that is the real thing.

That’s why the main question isn’t whether it’s real or unreal (reality or not?). That’s all there is to it. ( ̄∇ ̄*)ゞエヘ。

What kind of girl she is, as long as it’s an image from your heart that’s fine. Each of the girls in Kalafina may have a different scene or image of the girl in mind, but if they sing this song and that is their truth/reality then that is fine.
(TN: Sorry I think my translation for this doesn’t do the source justice… A better constructed translation would be greatly appreciated)

The person who composed it, the person who sang it, the person who listens, if the truth found within the song differs from person to person, that’s fine.

…. That was it〜ヽ(*^^*)ノ. Well then, see you again. Thank you everyone!!

I’ll write a postscript. Perhaps music is, I feel, from person to person, a beautiful thing or memory inside one’s heart, nostalgia, pain, and many other things experienced, that becomes a helping hand or nothing more than a small stepping stone.

So I think even if there’s a beautiful scenery to be glimpsed from a song, that’s not because of the song itself, rather it is something beautiful within the listener’s heart.

For that, in order to let everyone (the listener) can find something inside themselves, BGM is okay to use. That is the music that I want to compose/create

That’s why, it’s okay to not bother about what the intentions of the composer were (laughs). I’m just presenting whatever I have in my mind/heart, so if you could freely interpret as you like while listening, that would make me the happiest ヽ(*^^*)ノ. See you.

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