A mystery set in a fictional Meiji-era Japan still in the age of steam, Sparks of Tomorrow is Kyoto Animation’s newest series. Anime Trending had the opportunity to interview opening theme singer and lyricist Luna Goami and ending theme singer and composer Ginger Root to ask about their involvement with the anime, their creative process for the songs, and their impressions of the show’s characters.
Luna Goami
Can you tell us about how you were approached to work on Sparks of Tomorrow?
Luna Goami: The music had already been completed, and they were looking for an artist who could bring its world to life. It features frequent leaps in vocal range and changes in tempo, so I heard they were carefully considering what kind of singer and lyricist would be the right fit.
One of the main reasons I became involved was a longstanding connection with someone at the company handling the project’s music production. In fact, it was our first time seeing each other in more than 15 years. They had known about me since I released a CD independently while I was a student, and apparently had continued to quietly follow my work. I’m very grateful that, after all these years, our paths happened to cross again in such an unexpected way. At the same time, this was a long-awaited opportunity to perform an anime theme song, so I remember thinking, “I’m so glad I kept on singing and creating!”
I’ve been a huge fan of Kyoto Animation’s works for a long time, so the whole thing felt almost unbelievable. I ended up taking on both the lyrics and vocals, and I remember becoming strangely calm as two feelings came over me at once: the joy of being involved as a fan, and the sense of responsibility that came with knowing, “I’m going to contribute my own words and voice to something so precious.”
Oftentimes, the anime opening animation sequence is aligned and synced with the song melodies. What was the collaborative and creative process like with the anime staff and the staff in charge of the OP animation?
Luna Goami: First, the music team shared a demo of the song with me, along with materials about the project, including the scenario, character profiles, and art direction. Director Minoru Ota also put into words the kind of image he had in mind for the song, which became an important guide throughout the creative process.
Two illustrations in particular left a strong impression on me. One was the project’s key visual, showing the protagonist, Kihachi, standing with his back to us in a smoky town, holding a light bulb aloft, with a brightly colored piece of cloth above his head. The other, the director’s image illustration for the theme song, was an abstract painting-like image drawn by Director Ota. I think the impressions I received visually also influenced the lyrics.
After that, we had a meeting at Kyoto Animation’s studio. The director asked me to explore the theme of “remembering what is important” through the words “believe” and “doubt,” to make the song one that encourages people who have experienced setbacks, and to give it a slightly strange atmosphere. He also requested a memorable phrase at the beginning of the chorus, so based on that, I came up with “Eureka Evrika” during the lyric-writing process.
I was also able to meet Kohei Okamura, the character designer and chief animation director. He said that once the lyrics and guide vocals were finished, he wanted to incorporate their imagery into the animation, which made me very happy. There are actually scenes that feel as though they echo the lyrics, and I was deeply moved when I saw them. The music team’s support has also been wonderful. They have guided and supported me throughout the process.
After the meeting, I was able to tour the studio and see the production process firsthand. Seeing the meticulous, passionate work of the staff and the lively character drawings covering the walls left me completely overwhelmed! I didn’t want that creative energy to cool down, so I decided right there, “I’m staying in Kyoto tonight” (laughs). I had originally planned to return home that day, but instead I walked around the city and immersed myself in the world of the lyrics.
You mention on the Sparks of Tomorrow website that you walked in Kyoto to get inspiration while working on the song. Is there anything particular from those walks that had a big influence on the song or the lyrics?
Luna Goami: I listened to the demo on repeat as I walked through Fushimi Inari Shrine, an important location in the story. The sight of the countless vermilion torii gates stretching into the distance was, of course, spectacular. As I walked, I had the sensation of moving through time and space, from the past where Kihachi and the other characters lived, to the present we live in, and then into a future we have yet to see. I found myself strangely moved by the thought, “The fact that I can listen to music using electricity even now is possible because there were people like Kihachi who dreamed of the future.”
It felt as though the world of the story and the present day had become connected by a single circuit, and the phrase “Eureka Evrika” came to me for an important melodic passage at the beginning of the chorus. I took the sound of “Eureka,” a word that expresses the joy of discovery, the feeling of “I found it!” or “I get it!” and expanded it into a phrase unique to this anime. I was honored that the phrase was ultimately incorporated into the anime’s Japanese subtitle.
In the lyrics, I use words associated with electricity and invention, such as “light,” “glow,” and “filament,” while using words like “blueprint” and “circuit” to evoke maps and paths. I also wanted to evoke one of the story’s important themes: “rebirth,” or starting over. Another interesting aspect of this anime is its human drama, with the various feelings of the characters intersecting and intertwining, so I also took hints from different episodes and scattered words inspired by them throughout the lyrics.
Kyoto is also a place where old and new exist side by side. I felt that this somehow echoed the story of people dreaming of the age of electricity, so I incorporated words that evoke Japanese aesthetics and a distinctly Japanese sense of harmony as well.
What was your “Eureka moment” as an artist? Was there a point in time for you when you had a revelation about what you wanted to do with your music?
Luna Goami: First of all, what a wonderful phrase “Eureka moment” is! I think I’m going to start using it in everyday life (laughs).
It’s difficult to point to a single moment, but as I’ve continued my work, I’ve gradually come to realize that, for me, making music isn’t simply about creating sounds. I’m drawn to creating entire worlds through not only lyrics and singing, but also visuals, video, and the connections I make with other people.
For a long time, I didn’t know what the strength of my singing was. Then, at one point, someone told me that my very natural style of singing, creating melodies and made-up words through improvisation, was actually quite distinctive and almost instrumental in quality. That approach has proved especially valuable when singing for soundtracks.
For this project in particular, I was given the opportunity to perform at concerts overseas, and there may have been a “Eureka moment” aspect to my decision to produce my own costume. I had been deeply impressed by a designer whose work I discovered on Instagram, so I sent them a direct message and asked, “If I find obi sashes and kimonos that fit the world of the anime, could you turn them into a dress for me?” Because the anime has this hybrid quality of being Japanese, set in a fictional Meiji era, while also incorporating Western elements, I wanted to create a one-of-a-kind kimono dress.
The story takes place in a town covered in smoke, so I searched for four different obi sashes and kimonos featuring traditional haze patterns, which evoke clouds or mist. They were then remade into a one-of-a-kind “Eureka Evrika” dress. Since they’re vintage pieces, I had no idea what patterns or colors I would encounter until I started looking. But somehow, I found exactly what I needed, both by chance and as if it were meant to be. Every piece features patterns reminiscent of clouds or smoke, while the colors combine vermilion and red inspired by Kihachi with a clear, translucent blue reminiscent of Inako.
Which character from Sparks of Tomorrow do you relate to the most?
Luna Goami: I’ve been fascinated by sounds since I was little, so I initially thought it might be Kihachi, the otaku character. But I don’t think I’m quite as suspicious of everything as he is (laughs). Still, there’s something about Kihachi that makes me feel he’s skeptical now so that he can believe someday later. I think that kind of mindset is an important quality for an inventor, which is one reason I really love his character.
As for the character I actually relate to the most…perhaps Noriko Momokawa. I really identify with the way she watches over her younger sister Inako and supports her through both encouragement and stern words.
Ginger Root
During the AX panel for Sparks of Tomorrow you hosted, you said that the theme or vibe for the ED was supposed to be futuristic or looking forward. Where did that prompt or idea first take you during the writing process for the song?
Ginger Root: Just like the show, the start of the song feels as if there’s a heavy fog over the track, until progressing into a sound that mimics the feeling of Kihachi and Inako setting off on their journey to create a future filled with wonder, aspiration, and electricity. I remember getting a note from Ota-san (director) that in contrast with the opening theme, which uses a lot of acoustic and traditional sounds, he wanted the ending to be more electronic in nature just like if it was made from inventions from the Electricity Catalog itself. So weirdly I started with the bass sound. Normal Ginger Root stuff has a very distinct hollow-body bass sound, but for this ending theme I opted for a synth bass to support the rest of the track.
I normally just poke around with instruments until something catches my ear and then that usually flourishes into a full song. However, since I was given material to use as a guideline and inspiration for the ending theme, it was a fun challenge to write with more of an objective.
You’re in a different position than many other anisong artists, since Japanese is not your native language. What led you to choose a mix of Japanese and English?
Ginger Root: I started self-studying Japanese during COVID, and while I’m not 100% native (yet lol), it’s been an interesting journey with discovering how to use a different language to express a certain feeling or idea that otherwise would fall flat in another. So in writing the lyrics for the song, using both English and Japanese allowed me to express feelings to a greater depth than just sticking to one.
The aesthetic and world of your music is somewhat retro, with CRT setups in your concert stages and music videos (including “Soarin’”), videos that have an intentionally lossy look to them, and an entire concept album set in a fictional 1980s. How does someone who ties himself to the past in that way use those ties to express the future?
Ginger Root: I feel like all the things I find fascinating about past technology, felt super futuristic at the time. That concept of striving to create something new and never seen before can be felt in things like CRTs, analog synthesizers, cars, buildings, etc. And being that I didn’t grow up in the 80s myself, it’s an entire brand new world for me, which might explain why I feel so entranced by that long-gone era.
Which character from Sparks of Tomorrow do you relate to the most?
Ginger Root: I related to Inako a lot because I feel like I’m always pushing myself to just try. Try something just to see what happens! Although there are times where I feel like Kihachi in the sense of having crippling self-doubt. So I see why they make a good team.
“Eureka Evrika” is available now for streaming and download here.
“Soarin'” is available now for streaming and download here.
Interview questions written by James Mizutani. Interview conducted via email.
