Minori Chihara (affectionately referred to as ‘Minorin’ by her fans) is a Japanese singer and seiyuu signed to Lantis. Kyoukai no Kanata is her 18th single.
Release date: 30th of October, 2013
1. Kyoukai no Kanata
Minori’s final single of the era begins with peaceful, composed vocals alongside a setting of acoustic guitar and piano, before gradually quickening in pace and becoming a positive song full of promise. We are presented with a conventional anison song, possessing similar dynamics as the preceding A-side of this era (namely, Kono Sekai wa Bokura wo Matteita) with the controlled use of drums, as well as moderate string presence. Minori offers a range of vocal qualities in this song, employing a spirited, compelling articulation, or performing the lyrics in a playful, high-pitched manner. The bridge is simply made up of a lively piano tune crossfading into some electric guitar backed by strings, which I think is not enough to match the rest of the song. It is finished off with the same line that started it, as the last syllable is dragged out and another one of her A-sides gains my overall approval.
2. NO LINE
A brief introduction of quick electric guitar chords, filtered vocals and a steady drum beat leads to a forceful and loud instrumental, soon being silenced by Minori over a gentle electric guitar background. Immediately following a few seconds of that, however, we begin to hear the same forceful and loud rock instruments returning with the pounding of the drums. Minori sings with the charisma and confidence required for any bold, brazen rock track, successfully establishing her presence within the song. The arrangement is relentless and unchanging, remaining powerful from start to finish. The middle eight section unfolds with a short sequence of guitar chords, which is followed by a heavily distorted Minori repeating one sentence four times underneath a filtered Minori singing a simple melody. A fierce and daring guitar solo finishes off the middle eight, leading to the final chorus and ending with various chants and that familiar short sequence of electric guitar chords.
This is quite an impressive single from Minori. To the B-side, although it probably is/will be criticised for the vocals, I personally think they are quite fitting for such an intense rock song. The flaws, however, are: I feel like this needs a third song (fulfilled by Fountain of mind in the other editions), and Kyoukai no Kanata just feels a bit too similar in dynamics to Kono Sekai wa Bokura wo Matteita for me (I prefer the latter, by the way). In my humble opinion, this does not transcend her preceding single (which is like a great big YAYYY to me), but, like I said, it is still impressive.