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Haruka Shimotsuki

Haruka Shimotsuki performed the theme song in "Look Up, Look at the Stars in the Sky."

Additional information
Works and division of laborLook up and see the stars in the sky: theme song performance
fortissimo EXA//Akkord: Bsusvier positionPerformed by the singer
Harmonia position2015 Theme Song CD Full Vocal Version Performed
Harmonia positionJUKEMATA's "To the Eternal Star" rearrangement recording: vocals

The production of "Look Up, Look at the Stars in the Sky."

Performing the theme 'Star Map' from 'Starry Nights', PULLTOP's preview video announcement clearly assigns roles to performers and music production.

fortissimo EXA//Akkord: Bsusvier-related production

Haruka Shimotsuki participated in 'REW', with vocals under the credit.

Harmonia-related production

Haruka Shimotsuki was credited as the vocalist on the complete vocal version of the 2015 theme song CD.

Haruka Shimotsuki was credited as the vocalist on the complete vocal version of the 2015 theme song CD. Haruka Shimotsuki performed the vocalist in the recording of the JUKEMATA's "To the Eternal Star" rearrangement.

Choir and Independent Creation

Haruka Shimotsuki had eight years of choir experience during her student years, and around 2001 began pursuing singing and composing as a hobby. Selling self-produced records at events like Comiket and M3, expressing fantasy stories through music; Afterwards, he began accepting vocal commissions for games and animations, making his commercial debut in 2005.

Composing and sound production

Since 2012, she has provided works to other singers, composing the ending theme "Hana no Atosaki" for the anime performed by mao. In 2016, he was responsible for sound production, including BGM, for the game 'Beasts and the Princess'; She is also involved in songwriting, arrangement, and content planning.

Joint planning and grouping

She collaborated with Hiyama Hisashi on music content projects at CRAFTSCAPE, and participated in the development of fantasy albums for manga, novels, and sound dramas. He was responsible for singing and composing on canoue, and vocals and lyrics for kukui, and has also participated in albums and performances as a support member of Sound Horizon.

Transitioning from company work to professional music

During her time at the company, Haruka Shimotsuki often rushed to record performances after workdays to make up for the lack of weekend time. The TV broadcast of "Transparent Shelter" allowed her family to see her music work, and with the invitation to debut as a solo artist, she received support and left at the end of June 2005.

She compiled a collection of work songs, hoping that the ending songs that could only be heard after playing until the end of the game could also reach listeners who love her voice. This became the reason she continued producing anthologies of vocal work.

A fantasy project with Hisashi Hiyama

In 2007, Haruka Shimotsuki and Hisashi Mukoyama submitted a joint project titled "Seeds of Tindaria." The two decided to create a setting materials collection beyond the music CD; After seeing the archive, the comic editor proposed adaptation, and soon after, invited him to a radio drama CD.

Independent collections and early recordings represented

"SACRED DOORS vol.1" envisioned her own story as an RPG, first creating an imagined soundtrack collection. The 2001 record was burned by her home computer, and she printed, cut, and packaged herself.

In the 2015 tenth anniversary project, she included this collection as a bonus with the "PREMIUM COMPLETE BOX," featuring the original audio from that year. She believed listeners might expect a re-singing or a shorter version of the envisioned theme song, but she ultimately chose to preserve the original form of the early recordings.

Collaborated with Katakiri and Chata in split vocals

When Katagiri was producing "Keep The YOUTH." Initially, the idea of a three-person duet was not clearly envisioned. After finishing the piece, she clearly thought of which sections suited Haruka Shimotsuki and which suited Chata, forming a three-person version; Another version uses piano and vocals.

Nanairo Score: Collaborative recording

When producing the song of the same name for "Nanairo Score," Shimotsuki wanted to convey the experience of the melody constantly evolving after handing it over to others. Therefore, she played together with arrangers and musicians for the first time in the studio, experiencing the changes in the song as they recorded.

Heretical Wings: Lyrics after a song is solicited

"Heretical Wings" was first composed by the record team. Shuangyue listened repeatedly to the candidate works, selecting a song that resonated with the imagery she wanted to try, then expanded the story and wrote the lyrics. This is her first time creating her own work using this method of song selection.

Specific singing coaching in 2012

When writing lyrics for "Mutual Conflict Libra," Shuangyue paired the war theme with a heavy chorus, choosing more difficult words; During recording, Kenji Ito requested a more mature singing style, and she adjusted her expression accordingly.

During the recording of "RAINBOW," Sato Tenpei requested that a genuine smile convey brightness and hope. To obtain this voice, Shimotsuki repeatedly re-recorded it, even guiding the subtle changes brought by her expressions.

When Shuangyue performed "Unnamed Place," she had to handle the rapid enunciation and octave harmonies in the transitions; She also tried to make her singing style more electronic in tone, rather than using her usual soothing expression.

In 2012, when Shimotsuki reviewed "Tsuki no Kyo," she characterized the song by combining MANIO's rhythm changes, complex unfolding, and mysterious atmosphere of the series.

Compositions and stages for fantasy works

The writing of "Concerto of Thought" was inspired by the collaborative experience at the 2012 Fantasy Concert: Shimotsuki wanted to preserve the power of the voice actors, performers, stage staff, and audience in the same moment within the song.

In the 2012 Fantasy Concert, Shuangyue participated in singing and reading, and invited radio drama performers to provide narration; Stage lighting adjusts according to the role of the song's expression or the narrator's position in storytelling.

The second part of the concert brought the thirty-minute suite "Aria of Falling Sand" to the stage, inviting four composers and arrangers as guest performers; Besides singing and reading, Shuangyue also plays the flute and accordion.

Shimotsuki tried the accordion in 'Harmony of Guidance,' which was later used on stage as well. Before her 2010 birthday concert, she couldn't complete the chorus dialogue alone and asked the audience to join in the chorus.

Orchestration and expression of commissioned songs

While producing "Flowers Blooming in the Town," Shimotsuki received a commission with a style close to "Atelier," so she conceived the sound with European street corner sounds and personally played the accordion; When composing, he also considers the range of his own performances.

When performing the ending theme "Stardust" from "Kudowafutaー", Shuangyue considers the listener's emotions after experiencing the entire piece, amplifying emotions where needed to be advanced and carefully expressing where to cherish them; She also pointed out that the adagio itself is difficult to sing.

Hoshizora Ensemble performed the same recording on site

In 2011, when recording the title track "Starry Sky Advisor," Shuangyue recorded simultaneously with her usual collaborating band in a large studio; She felt that the feeling of performing together matched the concept of the piece, and the atmosphere was created with glow sticks during the event.

Preparing for Kazahane-style works

When writing lyrics for the ending credits of the anime "H2O" "カザハネ," Shimotsuki also played the original game and wrote her feelings into messages close to the work.

Track order editor for 'Concerto of Feelings'

When editing the 2012 anthology "Concerto of Feelings," Shimotsuki first decided to end with the song of the same name, then repeatedly rearranged and auditioned the remaining tracks to balance different worldviews and listening experiences. She starts with the RPG and fantasy atmosphere of "-HISTORIA-," hoping to showcase her album's vibe right from the start.

Preparing for singing in the Gust collaboration

Akira Tsuchiya invited Shimotsuki via email to participate in the music production for "Iris's Atelier." When first recording "White Night Fantasia," she followed the requirements to try ethnic singing styles and multi-layered vocal recordings; Since she had no prior experience, she practiced and imitated on site.

Afterwards, Shimotsuki, Katakiri Rekka and others went to a cultural school in Ikebukuro to study Bulgarian-style singing. She turned what she learned into a musical style, applying it to her own songs and works such as 'Altonerico.'

While participating in 'Artonerico,' Shimotsuki received materials on the character 'Hyunnosu' sent by Tsuchiya and learned the original language of this work. She also recalled that the "EXEC_ViiBaCi_MjiiRa/." for "Artonerico 3" took one day to record.

Facing a new commission for 'Arnosage,' Tsuchiya hopes she will try Torrent Metal; Shuangyue started by listening to this style first, preparing for a new singing style.

Discussion of the original Astral Flow and recorded vocals

Before recording the character song "Astral Flow" for the light novel "Star Strike Dragon Knight," Shuangyue first read the original work. The production manager in the same interview explained that the original author Ruizhi Ji submitted two sample songs, each containing the lyrics and melody of the first section; Yuu Inai developed the concept into two parts and added the lyrics for the second section.

During recording, the production team wanted the chorus to emphasize transparency and atmosphere, rather than just strengthening the power. Shimotsuki discusses with the person in charge and Inai on site, determining emotional changes based on the protagonist's gradual encounter before they meet.

Shuangyue pays special attention to the second section of "Astral Flow," Part B, expressing it with a sense of approaching encounter and moving toward hope.

Edited two discs of 'Yubi Otone Ribbon.'

In 2017, when organizing "Yubi Oto Ribon," it was found that songs from the past two to three years could not fit into one album, so Shimotsuki split it into two discs. The farewells and losses around her also prompted her to write a new song of the same name, themed around cherishing current interpersonal and musical connections, and named her entire anthology after it.

Kokoroon Session-style Ensemble Concept

"Kokoroon Session" combines both a bird's-eye view and a down-to-earth perspective. Based on this, Shimotsuki named the two discs Sora no Oto and Daichi no Oto. She conceives music based on Irish ensemble, allowing performers to retain their own voice while listening to the whole, using this collaborative approach to correspond to the song's message.

In 2016, they collaborated on the recording of 'Mirakolitto.'

When Hajime Kikuchi was producing the eufonius mini-album 'Sora Furuhate' for 'Mirakolitto,' he emailed Haruka Shimotsuki to invite her to add a more ethnic-style vocals; She agreed and participated in the recording.

Collaboration with mao: Beyond the Forest, Beyond the Light

When mao was producing "FOReST" in 2012, they first decided to end with "Beyond the Forest, Light no Saki," then explained to Haruka Shimotsuki the concept of musical forests, hope, wind, and greenery. Shuangyue provided the melody and accompanied the recording, also participating in the interlude vocals at the last minute. Arranger Toda soon joined in as an interlude accompaniment.

Lyrics, composition, and recording for 'Tsukichai no Toshi'

During the production of "Tsukichai no Toshi" in 2005, Hiyama wanted to use music box tones related to the world setting. At the time, Shimotsuki found it difficult to realistically reproduce it through programming, so she created three physical music boxes based on the melody of the song "The Watchtower Rolls Around the Moon (月の満ち欠けけを刻む)," leaving them for each collaborator and used for recording.

Hiyama recalled that the lyrics of "The clock winding the twister marks the waxing and waning of the moon" had already formed around 2001. It is the only song in 2005's "Moon Chasing City" for which the lyrics were written first; After seeing the lyrics published online, Shuangyue first composed the music herself, and such collaborations later led to joint works.

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References

Data compiled on: 2026-10-12.

本版编辑：免费机器翻译 · 2026-10-23

内容许可：CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/

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