The Formation of Manikyua-Dan

The works explored in the previous posts were indications of developing styles of music that would later become a symbol of otaku culture - in particular, the denpa-moe music that would dominate otaku culture the next decade. In this post, I will expand on the events behind the formation of the band Manikyua-Dan, but before we begin, I have one comment to give. The production of SYNERGY MUSIC NETWORK compilation albums MCMLXC, MCMXCI and MYSTERY CASE IN HI! SCHOOL!! provided the opportunity for amateur and professional composers, arrangers and lyricists to interact with one another and work together. From MCMLXCI, they would include comments on their experience within the circle. With any BBS they may have used no longer being maintained in this day of age, these comments are invaluable. Despite this, there is an even better source of information - the websites put up since the advent of the Internet in Japan, somewhere around 1995. My work is nothing compared to the documentation these people put on the Internet more than twenty years back, so my thanks goes out to them.

Artist comments from within the MYSTERY CASE IN HI! SCHOOL!! booklet

Shinji Hosoe (細江慎治) and Takayuki Aihara (相原隆行), game composers from Namco, joined together to form TROUBADOUR RECORD in 1991. One year later, in Winter Comiket C43, TROUBADOUR RECORD released their first compilation album Be filled with feeling. Design wise, it was similar to the previously released SYNERGY MUSIC NETWORK compilation CDs. Note the flavor text and bizarre graphs. I think there is also likeness in the sound, with elements of amateur DTM and professional game composition combining together into one.

From SYNERGY's MCMXCI

From TROUBADOUR RECORD's Be filled with feeling

Following their success , TROUBADOUR RECORD would go on to record two albums for the next Summer Comiket C44: GREAT WALL, an album imaged around outer space, and KAKI-IN 1993・夏, a compilation album in the same style as the first. The likeness to SYNERGY in design was to the extent of the latter being mistaken for a new SYNERGY release, as described in the album information page.  Shinji Hosoe and Ikuko Ebata (江幡育子), both of which previously participated in SYNERGY albums (Hosoe as たま "tama" and in name, Ebata as Nekoyo and under alias 谷川むつみ "Mutsumi Tanikawa"), encountered one another in one cherry blossom viewing in April 1993. They conversed about the past Nekoya (猫屋) works and if perhaps Hosoe had listened to them before, and then decided to collaborate for the release of KAKI-IN. Together with lyricst Shinji Makino (牧野進司) they created "マニキュア団のテーマ" (Theme of Manikyua-Dan)

Manikyua-Dan website logo (February 1997)

The success of the theme of Manikyua-Dan prompted the first live appearance, which took place in November within venue Shin-Yokohama Space Alter (新横浜スペースオルタ). For the live event, Hosoe and Ebata enlisted the help of three more to liven up the stage: Ayako Saso (佐宗綾子), Nobuyoshi Sano (佐野信義) and Hiroto Sasaki (佐々木宏人). The three were associates of Hosoe and Aihara, working together under Namco on the game Ridge Racer. Saso was placed behind an electronic keyboard, with Sano and Sasaki as dancers at the front of the stage. The three would later become Manikyua-Dan members.

(Below are member portraits from the official website. In top to bottom, left to right order: Ebata, Hosoe, Saso, Sano and Sasaki)

Despite their success, TROUBADOUR RECORD could not yet afford to dedicate an album towards Manikyua-Dan, and so a four-track 8mm CD single was released in Winter Comiket C45, December 1993. Their song from KAKI-IN was rerecorded as an extended single version alongside new songs, like "ぷあぷあ" (Pua Pua). The singles planned to be serial numbered 1~2000, with numbers 1~5 belonging to the five unit members. That is not to say, however, that 2000 CDs were actually printed, or otherwise if they were all sold. Live appearances resumed alongside CD sales, with number of guests coming to the event increases. Their appearances included both original songs and comedy skits. Up until then, they operated under the name of Shinji Hosoe's band 劇団しょうが (Gekidan Shouga), but following their popular live appearances, they decided in favor of naming themselves after their first song "まにきゅあ団のテーマ" (Theme of Manikyua-Dan). It was then that the band name was officially made into Manikyua-Dan.
In December 1994, they released their first full album, ラジヲまにきゅあ1374Khz (Radio Manikyua 1374Khz), featuring new original songs as well as versions from their live events.

Over 1995, Manikyua-Dan saw its most immense period of activity yet. Besides three live events across the year, they also recorded two new songs for the TROUBADOUR RECORD compilation album TROUBADOUR to be released in August. Then in September, they released their second full album, らじまに2号 (Radi Mani #2), which contained まにまにステ～ション (Mani-mani Station) original comedy skits as well as recorded songs from live appearances. Manikyua-Dan members participated in the TROUBADOUR compilation album ZUKI-iN 1995・冬 to be released in December, and released a full album of their own the same month, みんなのまにきゅあ (Minna no Manikyua).

Right at the beginning of 1996, they conducted their 8th live appearance. This live appearance was recorded by tape, and later converted into RealMedia video and uploaded on the newly created Manikyua-Dan website somewhere around 1997 (Before then they operated under TROUBADOUR NET, which I believe to have been a BBS). Other RealMedia clips were put on the website as well. After TROUBADOUR RECORDS migrated their website, the section was closed off, but fortunately the files could still be salvaged. For the time being, one clip from the live appearance has been uploaded onto YouTube. The song is "パラ・レ・モーション" from the previous year's TROUBADOUR. Note the position of each member on stage. Please excuse the low quality recording, as that's the extent of what could be shared at the time.

So the first half of the 1990s was sealed for Manikyua-Dan. In the next post we will continue to watch the growth of Manikyua-Dan in the latter half, alongside separate ventures in doujin music within units and bands such as Manikyua-Dan Sepia, O.M.Y., Sound Terror-Rhythm, ANAKREON and the aforementioned Nekoya.

Lyrics - 言えなくて (Ienakute) by ANAKREON (1996)

 From circle ANAKREON's 1996 album 告白 (Kokuhaku). My translation is not enough to fully deliver the maidenly heart that shines through the words of this song. Composed and arranged by Aki Hata, written and performed by Ikuko Ebata.

告白 (1996)

あなたのその思い
邪魔したくないから
なんとなく避けていた
ふたりのことなんか
見ていたくないから
目をそらしていたの
そうしてできた深い溝に
はまってしまって抜けられない

「平気なフリももう限界　つらいよ」

好きなのに好きなのに好きなのに
離れてく　離れてく　離れてく
好きなのに好きなのに好きなのに
離れてく　離れてく　離れてく

「もっと仲良くしたい
言いたいけど言えなくなった
それは······いつから？」

ぎこちないねどこか
よそよそしいねなぜ？ (なぜ？)
わからない原因　空気が違うみたい
通じない読めない
かみ合わないふたり
いつしかそこの深い溝が
埋めてしまいたい埋められない

「元気なフリはから元気　焦るよ」

行かないで行かないで行かないで
言えなくて言えなくて言えなくて
行かないで行かないで行かないで
言えなくて言えなくて言えなくて
「前はどうしていたの？
わかんないよ　思い出せない
たぶん······あのとき？」

好きなのに好きなのに好きなのに
離れてく　離れてく　離れてく
好きなのに好きなのに好きなのに
離れてく　離れてく　離れてく

あなたのその思い
邪魔したくないから
平気なフリをしたふたりのことなど
見ていたくないから
見ていたくないから······



Your very thoughts
I didn't want to disturb, so
I sort of avoided us
being together, or something like that
I didn't want to see you, so
I was looking away
In the deep ditch made this way
I got stuck and I can't get out

"I can't stay calm, it's too cruel!"

Though I like you, though I like you, though I like you -
we're far apart, we're far apart, we're far apart
Though I like you, though I like you, though I like you -
we're far apart, we're far apart, we're far apart

"I want to get to know you more -
is what I wanted to say, but I couldn't
That sort of thing... since when?"

In what way am I awkward?
You're so cold, why...? (why...?)
For a reason I don't understand, the mood seems to have changed
I don't get what's going on
The two of us who do not cross paths
Before one knows there's a deep ditch
I want to cover it all but I can't at all

"I'm only pretending to be fine, I can't stay calm!"

"Don't go away", "don't go away", "don't go away" -
I can't say, I can't say, I can't say
"Don't go away", "don't go away", "don't go away" -
I can't say, I can't say, I can't say

"What is it I've done before?
I don't understand! I can't remember
Maybe... that time?"

Though I like you, though I like you, though I like you -
we're far apart, we're far apart, we're far apart
Though I like you, though I like you, though I like you -
we're far apart, we're far apart, we're far apart

Your very thoughts
I didn't want to disturb, so
The two of us who pretended to be okay
Because I didn't want to see you
Because I didn't want to see you

Lyrics - マニキュア団のテーマ (Theme of Manikyua-Dan) by まにきゅあ団 (1993)

I thought to share the lyrics of the song that signaled the beginning of circle Manikyua-Dan before I write in length of the role of Manikyua-Dan in the history of denpa music. See for yourself the elements that manifest in this song, the first track of TROUBADOUR album KAKI-IN 1993・夏. 

The song also received a single version later the same year (video uploaded by vocalist Ikuko Ebata herself). The mixing in that version emphasized Ikuko Ebata over the background sounds, and the vocals were rerecorded in such a way that they give an amateurish, maidenlike vibe. This results in a different, cute flavor, especially within the bridge in the middle of the song. The song later received an instrumental arrangement by Takayuki Aihara in 1995 album ZUKI-iN 1995・冬.

KAKI-IN 1993・夏  (1993)

3, 2, 1, GO!

最新鋭の宇宙服まとって
ひとりでスターダストに飛び立つロケット
噴射の音が 船の汽笛になる
宇宙の男に女はいらない
いらない いらない いらない～!?
自分勝手な理屈言ってると
キザな火星人になってしまう

ぼくはいつか きっとひとりでマニキュア団
ぼくはいつか きっとひとりでマニキュア団

(マニキュア)
(マニキュア)

金星のバーで月からきた女のコをくどく
宇宙についてのブ厚い知識も
こんなときには役立たず
宇宙の男に女はいらない
いらない いらない いらない～!?
自分勝手な理屈言ってると
キザな火星人になってしまう

ぼくはいつか きっとひとりでマニキュア団
ぼくはいつか きっとひとりでマニキュア団

(マニキュア)
(マニキュア)

マニキュア団さまあ～～～～～～っ
いったいどこに行けば会えるんですか!?
月? それとも金星?　それとも···どこぉーーっ
ぼくもぼくもマニキュア団になりたいんです
Take me with you! まにきゅああぁぁぁぁ

ぼくはいつか きっとひとりでマニキュア団
ぼくはいつか きっとひとりでマニキュア団
Yah!

ぼくはいつか きっとひとりでマニキュア団
ぼくはいつかままままままマニキュア団
まにきゅあ！ ダダッ だだだマニキュア団
ぼくはいつか まま マニキュ マニキュア団!
マニキュア

(ぼくはいつか きっとひとりでマニキュア団)
(ぼくはいつか きっとひとりでマニキュア団)
(ぼくはいつか きっとひとりでマニキュア団)
(ぼくはいつか きっとひとりでマニキュア団)
(ぼくはいつか...)



3, 2, 1, GO!

Clad in state-of-the-art spacesuit
A lone rocket taking off into the stardust
With jet sounding like a ship's steam whistle
Men in space have no need for women
No need, no need, no need...!?
If you selfishly spout your ideas,
you'll become a pretentious martian.

Surely one day on my own, I'll become a Manikyua-Dan
Surely one day on my own, I'll become a Manikyua-Dan

(Manikyua)
(Manikyua)

In a bar on Venus, hitting on a girl that came from the moon
As well as a wealth of knowledge about outer space
I'm completely useless at times like these
Men in space have no need for women
No need, no need, no need...!?
If you selfishly spout your ideas,
you'll become a pretentious martian.

Surely one day on my own, I'll become a Manikyua-Dan
Surely one day on my own, I'll become a Manikyua-Dan

(Manikyua)
(Manikyua)

O great Manikyua-Dan...!
Where in the world must I go to meet you!?
The moon? Or is it Venus? Or else, where...?
I too, I too want to become a Manikyua-Dan
Take me with you! Manikyua...!

Surely one day on my own, I'll become a Manikyua-Dan
Surely one day on my own, I'll become a Manikyua-Dan
Yah!

Surely one day on my own, I'll become a Manikyua-Dan
One day I'll become a Ma-Ma-Ma-Ma-Ma-Ma-Manikyua-Dan
Manikyua! Da-Da Da-Da-Da Manikyua-Dan
One day I'll become a Ma-Ma Manikyu Manikyua-Dan!
Manikyua

(Surely one day on my own, I'll become a Manikyua-Dan)
(Surely one day on my own, I'll become a Manikyua-Dan)
(Surely one day on my own, I'll become a Manikyua-Dan)
(Surely one day on my own, I'll become a Manikyua-Dan)
(One day I'll become...)

Doujin Music and DTM

Before we delve deeper into what sort of music doujin denpa was, we should have a clearer image of how doujin music was in the first place. Doujin music was almost completely electronic at first, and a product of a rising amateur genere called DTM - "Desktop Music". The term generally referred to any music played by the combination of a personal computer and synthesizer. Our journey begins in the early 80's.

The year is 1983, and the Japanese MIDI protocol is developed in order to standardize communication between computers and synthesizers as to ease the work of electronic musicians. Before then, Japanese musicians would depend on programming languages for music such as MML, used in BASIC computers, or methods such as FM synthesis - a realm only accessible to people already well-versed in computers and electronics to begin with. The introduction of MIDI then made it possible for amateur musicians to create electronic music of their own, but it wasn't particularly quick to adapt. It took until 1991, when the General MIDI was adopted, for it to become popular. For example, amateur musician Ryoichi Kaku (加来量一) started using FM synthesis in 1986, when he was 14 years old, and only adapted MIDI in 1993. With the rising popularity of the MIDI standard, Japanese came to see music produced with MIDI as its own distinct genre. MIDI music could not reliably be used to share music with one another at the time, mainly due to the different reproduction of sound on each set of computer and synthesizer. Transferring MIDI data over the wire was also slow and unreliable, so people instead contacted one another through BBS to send floppy drives with the MIDI data over the mail. MIDI music could not yet be enjoyed by people other than the composers themselves and their immediate contacts.

The 1990 compilation album MCMLXC, mentioned in the previous post, was the first recorded instance of a pressed CD release of doujin music - that is, DTM made by amateur musicians. Such musicians joined together with several game composers to form the fleeting circle SYNERGY MUSIC NETWORK. The expense of CD pressing prompted artists to collect capital together and ask for financial support from friends and associates to see production through. SYNERGY released MCMLXC in either Summer Comiket 38 or Winter Comiket 39, when exactly is unfortunately still unknown, until the C38 or C39 catalogs are looked out to rule out a date. Their undoubtedly work left a mark, and by the next several years, more musicians would follow in their footsteps and gather into the first major doujin circles:

• In 1991, Shinji Hosoe (細江慎治), who participated in MCMLXC, and Takayuki Aihara (相原隆行), both Namco game composers, teamed up to form label TROUBADOUR RECORD, with their first album Be filled with feeling released in December of the next year. 
• In 1993, amateur musicians of the grassroots BBS MYU-NET, led by Keiji Itsukashi (嚴樫圭司) teamed up to form techno label MYU-RECORDINGS, with their first album INDIVIDUAL released in December of the same year. 
• In 1994, amateur musicians of BBS ASCII-NET's mplayers sig teamed up to form mplayers RECORD, with their first album junk.test released as tape in December of the same year.
• In 1995, MIDI musicians of Tokyo-BBS teamed up to form @MIDI's people Record, with their first album @MIDI's mind released in August of the same year.
• In 1996,  amateur musicians led by Daichi Nagao (永尾大地) teamed up to form anime theme song arrangement circle Whoopee!records, with their first album MEGUaMIx released in March of the same year. It was an arrangement album of Megumi Hayashibara (林原めぐみ) songs, and included a "doku-denpa" mix.

There were other, smaller doujin music circles at the time, as well.

• Circle ACTIVE GAMERS released FDs containing sound data as early as 1990.
• In 1994, doujinshi circle KIKU RETURNS released a music CD accompanying a story contained within the booklet.
• In 1995, Magome Tonshi (戸越まごめ) under alias STB formed personal circle Onpo Shinbusha (音波新聞社), "Soundwave News Agency", which would the following year be renamed into STB-lab.
• Units within TROUBADOUR RECORD and MYU-RECORDINGS released music under their own name, utilizing the labels as release platforms. 
• Circle Parsec Sound Group, which released two albums: P・S・G MusicCollection vol.1 in 1992 and P・S・G MusicCollection vol.2 in 1994.
• Circle MLA, which released two albums: OLIO in 1994 and OLIO2 in 1995. 

Unfortunately, the doujin music works of  the 1990s are almost all limited to secondhand sale, and besides TROUBADOUR albums, are in extremely low availability. This means that information about a particular album is hard to come by, unless the album owner shares knowledge of it.

Symbol of MYU-RECORDINGS

Generally speaking, almost all music released by these circles was a form of DTM, amended at times by vocals. More often than not, albums included songs of a wide variety of genres, though retaining a certain spirit for each label and circle.