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Akiko Shikata

The composer who performed the theme song of the PC game 'Umineko When They Cry Their Eyes'.

Additional information
Creative FieldPerformed the game's theme song
The post where the sea cat cries outComposer of the record version of 'When the Sea Falls (Akiko Shikata/KNIL-0003)'
The post where the sea cat cries outArranged for the record version of 'When the Sea Falls (Akiko Shikata/KNIL-0003)'
The post where the sea cat cries outPerformed on the record version of 'When the Sea Turns Down (Akiko Shikata / KNIL-0003)'
The sea cat disperses its post when it cries outLyrics for the record version of 'Shirayume no Cocoon ~Ricordando il passato~ (FFCT-0009)'
The sea cat disperses its post when it cries outComposer of the record version of "White Dream Cocoon ~Ricordando il passato~ (FFCT-0009)."
The sea cat disperses its post when it cries outArranged the album version of "White Dream Cocoon ~Ricordando il passato~ (FFCT-0009)."

Game theme song

The theme song of the same name for a PC game she sang was released on CD in 2008, and the official site VAGRANCY also posted a preview and related event announcements.

Productions related to 'Sea Cat Cry When the Sea Cat Cries'

Akiko Shikata credits the composer on the album version of "Umineko no Naku Koro ni (Akiko Shikata/KNIL-0003)." Akiko Shikata credits the arrangement on the album version of 'Umine no Naku Koro ni (Akiko Shikata/KNIL-0003)'. Akiko Shikata is credited as the vocalist on the album version of 'Umine no Naku Koro ni (Akiko Shikata/KNIL-0003)'.

Production related to the Sea Cat Cry Time Powder

Akiko Shikata credited the lyrics for the album version of "Shirayume no Cocoon ~Ricordando il passato~ (FFCT-0009)." Akiko Shikata credited the composer on the album version of "Shirayume no Mayu ~Ricordando il passato~ (FFCT-0009)." Akiko Shikata credited the arrangement for the album version of "Shikumume no Mayu ~Ricordando il passato~ (FFCT-0009)."

Produced the theme song for 'Moonlit Night Music Concert.'

Akiko Shikata wrote, composed, and arranged the ending theme song "Moonlit Night Music Concert" for "The Lying Princess and the Blind Prince," and was responsible for both vocals and chorus.

From original PC themes to anime themes

When producing the 2009 anime "Katatsu no Tori," Shikata initially considered a faster four-beat rhythm. Ryukishi07 wanted to preserve her original expression, which also took into account the feelings of both the original game audience and the anime.

Lyrics were written with Wataru Nano

"Katahi no Tori" first features Shikata's melody, then Wataru Nami submitted multiple lyric candidates. The two discussed how to avoid direct revelation, so that the lyrics could still be reinterpreted alongside the original work and the animation.

Main melody and multi-layered chorus

The choral parts of this piece gradually increase with different attempts at expression. The instrumental of the 2009 single retained the chorus, removing only the main melody vocals to make the vocal parts originally positioned after the main melody clearer.

Production of the solo album Harmonia

To make it easier for live audiences to clap and sing along, Zhifang kept the beat of "Wind and Compass" from his album "Harmonia" simple, with the vocal range set slightly lower; At the same time, the lively lead singer and chorus are used to preserve the performance of the album version.

Tsuchiya, the composer of "Salavec rhaplanca," recalled that after submitting a multi-layered choral request without a scale, the choral materials he received sounded more incantatory than his own request. Zhifang remembered that some sections in the score used pictures instead of regular notes.

When recording "Amnesia" included in "Harmonia," Sojiro switched to ocarinas of different sizes according to the melody and the scene to be expressed. During the preview, Shikata also noticed that instruments of the same size still have their own tonal differences.

Character conception and recording for VII

When Shikata created the 2009 single "VII (Sette)," he wanted to express his changed impression of the Seven Sisters of Purgatory after reading "Umineko" EP4.

She uses contrasts between the front and second segments to show the character's duality, and employs different effects for the music box at the beginning and end, hinting at the truth within the story. This piece also marked her first attempt at string quartet arrangements, and during recording, she gave the cello performance instructions that were playful and seductive.

The melancholic and vocal collaboration of "Istoria~Musa~"

After receiving Kenji Ito's demo song for "Polymnia" and the proposal for collaboration, Shikata worried that the vocal arrangement would damage the original melody. She created her own demonstration for Ito to judge, and after obtaining approval, completed the collaboration.

When selecting the composer for the astronomical goddess "Ourania," Shikata believed bermei.inazawa's voice was three-dimensional and visual, so they intentionally had him tackle this theme strongly influenced by Greek mythology, hoping for different expressive methods.

In 2013, he mixed game songs, layered vocals, and albums

In 2013, Zhifang recalled that when recording multi-layered vocals, she would slightly adjust her singing style, change dates, or microphones to create the desired sound.

She initially tried to reproduce the album live, then shifted to setting the concert concept, then rearranging her singing and arrangement accordingly to give the live performance a unique expression of the time.

When creating BGM for the game 'ShelloSaju,' she considers the PS Vitamin speakers and dialogue, controlling or cutting vocal ranges that might interfere with the dialogue; When compiling the 2013 soundtracks, the focus was shifted to focus on independent music listening.

《QuelI->{ein te hyme}; is used in the latter half of Act 3 of the game. The 2013 vocal CD's long version of the long version in the first half expresses Ian's unease about herself and emotional communication, while the latter half shifts to her state of standing on stage and expressing herself to the audience.

"The Boy Traveling Through the Radiant Desert" was originally intended for the ruins map but was not adopted due to incompatible temperaments; Later, Shikata recorded it as a travel theme in the original soundtrack. Using the bamboo flute and ocarina, she envisioned journeys across the Middle East, Asia, and the Silk Road.

Harmonia's vocals are arranged with four elements

The prototype for the track 'Track' from his solo album 'Harmonia' had been kept for about two years. Shikata wanted to create a song where Japanese vocal parts respond to each other, inspired by "EXEC_with. METHOD_METAFALICA/.》After collaborative inspiration, please write the lyrics by Noriko Mitose; The song uses seasonal changes as a journey, accompanied by reciprocating singing and Greek accompaniment to convey a sense of floating and wandering.

When recording the opening vocals of "Harmony ~The Wind Comes to Tie~," she often recorded phrases on set and layered them with the imagery of a spirit in the air, gradually merging scattered sounds into a flowing whole.

The four overtures to "Harmony" draw material from the lyrics and melodies of "Harmonia~" and adapt them separately, echoing the concept of the ultimate convergence of the four elements. The main section then changes the singing style according to wind, fire, water, and earth, allowing the lyrics to cycle in this order.

"Harmonia~Harmonia~" features a duet of seven recorders. The four elemental sections feature sopranino, tenor, soprano, and bass recorder solos, each expressing their own image through different ranges.

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References

Data compiled on: 2026-10-10.

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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