Interview with Wednesday Campanella's Utaha and Hidefumi Kenmochi: Discussing "Summertime Ghost," Theme Song for TV Anime "Kowloon Generic Romance"

Kyodo News

09-05-2025

──How about the lyrics?
Kenmochi: During a past visit to Hong Kong for a performance, I was struck by a "photogenic spot" encircled by residential buildings. The sight of outdoor AC units on balconies conveyed a sense of urban density distinct from simple affluence, which I later integrated into my lyrics.
The slightly melancholic ambiance of Hong Kong felt akin to the world of "Kowloon Generic Romance," inspiring the mood for both the lyrics and music I created this time.
Furthermore, while adhering to the "Kowloon Generic Romance" aesthetic, I also drew upon my experiences last summer (2024) while producing this song.
──Last summer?
Kenmochi: Last summer was incredibly hot... So I sprinkled lyrics throughout the song that combined the manga's theme with the frustration of "I hope next summer won't be this hot" and "I wish this heat would end with just this year" (laughs).
In addition to the part where we sing about "Kowloon Generic Romance," I'd like listeners to decipher and analyze the lyrics, thinking, "Could this be what Kenmochi was referring to as 'the heat of summer 2024'?"
──So, Utaha-san, could you share your first impression when you heard the track?
Utaha: I thought, "This seems challenging" (laughs).
The recording went smoothly as usual, but as I practiced and performed it on TV, I felt that the melody line was "something I wouldn't create myself." I find the chorus particularly challenging.
Kenmochi: It's a bit odd for me to say this since I composed it, but... the pitch is incredibly difficult in this song. Even Utaha told me, "The pitch is crazy!" and I couldn't help but respond, "Yeah, it really is!" (laughs).
I wanted to try something that wasn't like a typical hummable melody, thinking it would sound more futuristic and interesting. Looking at the sheet music, the notes form a staircase pattern, so it's not a naturally comfortable melody to sing... It was definitely a challenge.
I thought we might struggle during the recording, but Utaha practiced a lot beforehand. We ended up recording a much better vocal performance than I had imagined.
──Were there any memorable episodes during the recording?
Kenmochi: Not only the
chorus, I think the rap part was particularly challenging. It's fast-paced with a lot of words, and the rhythm is tricky too. But she nailed the triplet timing perfectly, which made me wonder if she had been secretly practicing.
Utaha: I practiced with my vocal coach during voice training sessions. That's about the only notable practice I did.
──How does the recording process usually go for Wednesday Campanella's songs?
Utaha: There isn't much detailed direction. I usually take a look at the lyrics and say, "Okay, I'll do it." As for vocal direction, it's not very specific either. I'll sing it through, and if it sounds good, we move on. It's a pretty relaxed process, I'd say.
──So, for Wednesday Campanella's songs, Utaha-san takes the lead, right?
Utaha: Yes, that's generally the case. We have a clear division of roles where (Kenmochi-san) creates and (I) sing, so we don't usually interfere with each other's parts.
──Could you tell us again about the highlights of "Summertime Ghost"?
Kenmochi: I hope listeners can enjoy the unique phrasing and melodic turns that we haven't really explored in Wednesday Campanella's previous works.
Utaha: The melody line in the chorus is the most challenging part, so I'd like people to pay attention to that. Also, I hope they enjoy the contrast between the rap sections and the chorus.
How Wednesday Campanella Creates Tie-up Songs
──Do you two usually watch anime?
Utaha: Not so much recently...
Kenmochi: I often have anime playing on streaming sites while I work between production tasks.
──You've been responsible for several tie-up songs. Are there any fan reactions from anime viewers that left a strong impression on you?
Utaha: It makes me happy when I see people on social media saying, "Oh, that anime's theme song was by Wednesday Campanella!" after watching an anime we worked on.
Kenmochi: The reactions from people who discover us through a different entry point than our usual listeners are quite significant. It's both exciting and nerve-wracking. When we do anime tie-ups, I find myself wondering, "Were we the right choice for this?" while checking the reactions and comments.
We're grateful that everyone has been so receptive. For the anime "Red Cat Ramen," which aired in summer 2024, we even received comments like "I hope they use this song for the second season too!" It's reassuring to know we did well, and it makes us feel really happy.
──Is there a difference in the production process or approach when creating anime tie-up songs compared to regular songs?
Kenmochi: From a practical standpoint, we need to be mindful of adjusting the song length, so we do create them with that slight awareness.
We listen to other anime songs for reference while ensuring we maintain our unique style. Our goal is to create songs that can serve as a gateway, attracting people to become interested in our work through the anime.
──I've noticed that Wednesday Campanella's tie-up songs seem to closely align with the anime in terms of both lyrics and the overall track atmosphere.
Kenmochi: Wednesday Campanella's songs are often created with the concept of being character songs for fictional personas, rather than directly expressing what Utaha or I want to say. I think this approach makes it easier for our music to connect with anime or drama series.
──By the way, Utaha-san, do you sing differently or put different emotions into anime songs compared to Wednesday Campanella's original songs?
Utaha: There's no difference, really. Even in Wednesday Campanella's songs, I rarely assert my own style. Instead, I use a voice color that fits each song's theme. So, I don't think there's a distinction between anime songs and non-anime songs in my approach.
For each song, I experiment with different voice colors, thinking, "What kind of voice would suit this song?" During demo recordings, Kenmochi-san often shares his vision, and I try to match that. Through this process, I believe I'm expanding my repertoire of vocal techniques and tones. Sometimes, what we try on the spot ends up being used in the final version.
──Kenmochi-san, do you also feel that you make new discoveries from Utaha-san's singing?
Kenmochi: Yes, indeed. This has been true since the time of Kom_I (who left the group in 2021). I believe that with Wednesday Campanella's songs, what I initially envision doesn't materialize 100% as I imagined.
During the recording and pre-production process, I often have moments of realization like, "Oh, this melody can be sung in this way?" or "These lyrics can be delivered like that?" From there, I might think, "Let's try changing this a bit," or even if it's different from what I expected, I might feel, "This works well as it is." There are many instances where the song improves in these moments.
That's why I think it's better not to write everything out completely. This applies to music videos as well. I try to leave some room for interpretation, allowing for moments that go beyond what I initially envisioned.
──It seems like there's a kind of back-and-forth, almost like playing catch, isn't there?
Kenmochi: That's basically how it works, yes. Even during recording and pre-production, I'm always thinking, "Ah, I see," as we create.
──By the way, are there any anime background music or theme songs that you thought were particularly good, or that made you think, "I'd like to incorporate elements of this into my own music"?
Kenmochi: Speaking of background music, I really liked the cool tracks by Hiroyuki Sawano-san, such as "UNICORN" from "Mobile Suit Gundam UC" and his work on "Kill la Kill". At the same time, I also enjoy the MADs (fan-made music videos) on Niconico that use music from "Mobile Suit Gundam UC" (laughs).
The combination of a cool, stylish world view with a slightly off-kilter, interesting perspective is one of my fundamental inspirations. I've always wanted to incorporate that kind of atmosphere into my own music.
──For both of you, what defines the unique sound of Wednesday Campanella?
Kenmochi: Originally, I was more focused on creating tracks, so I wasn't particularly skilled at writing lyrics. But I think that's where I found my niche - in the mismatch between lyrics and music. You know, where the track sounds cool, but the lyrics are quirky. I believe that's where my unique lyrical style comes from.
I wanted to create a unit that could embrace and enjoy this kind of 'mismatched buttons' approach. I think that's become a signature feature of Wednesday Campanella.
Utaha: For me, I feel that 'pop' is what really characterizes Wednesday Campanella. Most of our songs seem to fit well under the umbrella of 'pop' music.
Our previous album, "POP DELIVERY," had many tie-up songs and initially seemed to lack cohesion. But when we framed it under the concept of 'pop,' it surprisingly came together well. That's why I think the word 'pop' perfectly encapsulates what Wednesday Campanella is all about.
──When performing as Wednesday Campanella, do you also keep the "pop appeal" in mind?
Utaha: Yes, I do. When I'm on stage as Wednesday Campanella, my main focus is to be pop, bright, and fun. It's something I'm very conscious of.
──Kenmochi-san, do you also keep "pop" in mind when producing music?
Kenmochi: We've always been a pop unit, but since Utaha joined, I've been aiming to make our sound even more pop-oriented. When I saw Utaha's character and visual style, I thought, "This girl is really pop!" I believe various synergies came together, resulting in our current form.
The 'People They're Seeking' and the 'Open Approach' That Both of Them Envision
──Since we have both of you here together, if there's anything you've been curious about or wanted to ask each other, please feel free to do so now.
Kenmochi: Oh, do you have any questions?
Utaha: (thinking for a moment) ...I don't... think so?
Everyone: (laughs)
Kenmochi: Well, not having any questions makes me a bit nervous too (laughs).
──(laughs) Well then, Kenmochi-san, is there anything you'd like to ask Utaha-san?
Kenmochi: I always write lyrics and compose songs, then hand them over to Utaha. I'm curious about what she thinks of the humorous lyrics. I'm not writing comedy sketches or anything, but she always immediately says, "OK!" So I get a bit anxious, you know? I wonder if I'm really writing funny lyrics (laughs).
Utaha: Hmm... I don't really think much about it... (laughs). The thing is, it's not up to me to decide whether those lyrics are funny or not, right? It's up to the audience. If I, who's not the receiver, try to sing those lyrics in a funny way, they might lose their humor. So I believe that by singing them seriously, they become even funnier.
Kenmochi: That makes sense.
Utaha: So, I wasn't receiving it as something inherently funny. I was taking it in as "lyrics," and (whether it's funny or not) I thought that's for everyone else to decide.
Kenmochi: Sometimes we create songs without being certain if they're interesting until they're released to the public (laughs).
Kenmochi: Also... when you first listen to a song I've written, if you think "this doesn't quite work," I want you to feel free to say so.
Utaha: Hehe.
Kenmochi: Since my own repertoire might be a bit outdated, I'd like to hear opinions like "Isn't this idea a bit old-fashioned?" But so far, it seems to be okay, so I'm glad about that.
──Regarding the process of creating music, would you say you typically start with the lyrics or the melody?
Kenmochi: I usually begin by vaguely considering a theme, imagining in my head, "It would be interesting to combine this kind of title with this type of song." Then, I start by creating the track first.
Once the track is complete, I write and add the lyrics. Sometimes, the lyrics don't fit well with the track, so I'll modify the track or revise the lyrics. Through this trial-and-error process, I keep adjusting until I reach a point where I feel, "This is it!" That's how the final product comes together.
──Kenmochi-san, could you tell us about any influences on your lyric writing?
Kenmochi: I've always been a big fan of Nisio Isin-san's books and have read them for a long time. You know how he has that unique "Nisio Isin-esque" style, right? His writing is so distinctive that sometimes it can even overshadow the story itself! (laughs)
I really love Nisio Isin-san's quirky writing style, his worldbuilding, and how he manages to inject a bit of levity even into serious narratives. While I'm not directly emulating his style in my lyrics, I've always admired that ability to create scenes that feel both everyday and yet somehow extraordinary.
Also, I find that many manga and light novels that are being adapted into anime these days are treasure troves of inspiration for lyrics. They often have intricate foreshadowing, or titles that seem to give away the plot but then take you in completely unexpected directions once you start reading.
For instance, even within a single genre like "isekai" (stories about being transported to another world), there are so many different approaches. I draw inspiration from a wide variety of sources, and they all contribute to my creative process in different ways.
──Are there any works that have caught your attention recently?
Kenmochi: Speaking of the "isekai" genre I mentioned earlier, I've been reading "Isekai Izakaya 'Nobu'". I find myself thinking how enjoyable it would be for people from medieval times to visit a modern Japanese izakaya.
These kinds of works that bridge the past and present remind me of Wednesday Campanella's worldview, where you might see someone like Edison as a modern-day band member. I feel there's a connection between these concepts.
──By the way, Utaha-san, are there any manga you've been reading recently?
Utaha: I've been reading a lot of "isekai" manga lately.
While I haven't had much time to watch anime recently, I used to watch it a lot when I was in elementary school. These days, I'm more into manga than anime. When it comes to "isekai" stories, I think I've read a wide range, from well-known titles to more obscure ones.
──Have any of the anime you watched in the past or the manga you're reading now influenced your singing or performances?
Utaha: I don't think there's anything that has directly influenced my singing. However, I've always loved manga, especially fantasy works. I think it's because of this openness to fantasy that I can quickly accept the strong fantasy elements in Wednesday Campanella's songs.
The fact that I can sing lyrics without questioning them is probably because I grew up watching a lot of manga and anime. It's made me more receptive to imaginative concepts.
──It's clear that your deep knowledge of fantasy has contributed to your current performance. Could you tell us about what sparked your interest in singing?