LogFAQs > #976267467

toki wo kizamu uta too low.

I love Jun Maeda's sense of rhythm. How can something with, when you write it down, practically free meter feel so natural? He extends and contracts meter the way most composers use mere dynamics, it's incredible. And then on the other hand, you have the perfect 5/4 syllable-for-syllable pulsing of the coda. It's just... wow. And the lyrics, too -- especially in the full version. The swap on the final chorus from "Kimi dake" to "boku tachi" -- from "I loved you and you alone" to "Time marched for us and us together, and now you want me to go it alone? NO! YOU CAN'T!" leaves me a blubbering mess every time. And the final coda, the cherry on top: "now and forever / i will remember / no matter how much / our town is changing / No matter how much / melancholy that / we are forced to face / there along the way / I still can show you / there was a time I / wholly and truly / managed to stay strong / Come on, let's go now / It's time to set off / Along that hilly road" with the callback to the first verse at the end too and god dammit I don't know what to do with myself anymore i'm gonna go cry now.

In other news, I am the weirdo who prefers Melissa most out of the FMA original OPs. No idea why that one sticks with me so much, but it very much has. Tobira no Mukou he is fantastic tho.