If you’re at all a fan of anime or Japanese rock and metal, you’ll have seen one name dominating discourse time and time again in the last few months: Chainsaw Man. Written by the eccentric mangaka/inflictor of pain that is Tatsuki Fujimoto, the serialised manga was picked up by MAPPA and began airing in October. Aside from being one of the craziest narratives adapted in 2022, the production quality is, on all fronts, exquisite. Already being a beloved manga afforded this anticipated adaptation budgetary and personnel opportunities seldom seen outside of theatrical releases. The way in which the studio and director Ryū Nakayama leveraged this was, notably, in the musical space.
Chainsaw Man season 1 experimented with a rather unique approach to its commercial music: every single ED (ending theme) was completely unique, crafted specifically for the show and accompanied by distinctive visuals for each episode. Unique ending themes are not entirely unheard of in the history of anime, with Oreimo and the little-known Shounan Bakusouzoku having toed the lines, but they have generally been limited to artisanal passion projects – ways of accentuating the story being told for hardcore fans. Chainsaw Man’s approach, on the other hand, is marketable.
The idiosyncratic music is itself a draw. Never has it been attempted with such scale, nor seen this degree of audience reception. Reputable artists, beloved source material, and visuals crafted in sync alongside the music makes each song an experience, one which thrives both in isolation and within the context of the Chainsaw Man domain. This is something that can only be achieved en masse by larger studios such as MAPPA, but the success of it is undeniable – views for the songs on YouTube alone total well over 250 million in under 3 months. Compare that to the most prominent track of the show’s OST, “Edge of Chainsaw”, which sits at under 400,000 views despite being composed by the virtuosic Kensuke Ushio, and the impact of the ED status is undeniable.
When the studio first announced the format, the general response seemed to be one of scepticism. Would it be a gimmick? Would the quality fluctuate? Could so many different artists capture the essence of the show? As it turned out, each was instantly iconic, becoming one of the most talked-about aspects of each episode and sparking a plethora of ‘Chainsaw Man ED tier lists’ within the community. If this was an experiment, a trial for a new stylistic paradigm, then it was a successful one; several are already the respective artists’ most successful songs. Moreover, they span a variety of genres. Pairing the subtle dreariness and dejection of Chainsaw Man with a spectrum of melancholy – from frenzied metal to haunting lo-fi pop – has turned out to be a match made in heaven, and perhaps a model for the future.
At the conclusion of the season, MAPPA uploaded a compilation of the OP (opening theme) and all ending songs from season 1, further associating them with the Chainsaw Man brand. These songs will forever be known for their role in one of anime’s hottest properties, and will continue to be discovered by new watchers for many years to come. They have an indelibility that is so hard to come by for many artists, achieved by both the importance of the source material to the community and the novelty of the formula. Certainly, anime OPs of the past have achieved infamy, such as TK from Ling Tosite Sigure’s “Unravel” and Eve’s “Kaikai Kitan” (both artists who were enlisted for the music of Chainsaw Man’s first season), but the season’s OP, “Kick Back”, is statistically well on its way to equal status – with twelve other songs sharing the spotlight.
OP: Kenshi Yonezu – KICK BACK
“I wrote KICK BACK for the anime adaptation of Chainsaw Man. This is such an honour, as I love the original manga series. Finding the right sounds for this immensely powerful series was challenging, but I created this song by patiently building it up, one piece at a time.”
“KICK BACK” is the most successful OP of the year, having rapidly surpassed SiM’s “The Rumbling”, attesting to the success of this endeavour. Its achievement in capturing the essence of Chainsaw Man was instantly recognised, and, moreover, it shows MAPPA’s musical direction: it might not be an outright metallic track, but neither is it safe and stagnant. Like every track commissioned for this first season, it has a strong identity; prominent bass, groovy funk, and as many tempo switches as you could possibly hope for. That such a track was made the face of the series is bold – and just the tip of the iceberg.
ED1: Vaundy – Chainsaw Blood
“This is my favourite work, and I am very happy that I was able to create music for a work that I love so much, and that I was able to face it so firmly. I read the original story over and over again, chewed and swallowed the flavour of Chainsaw Man that I got in the process, and I think I was able to come up with music that I think is appropriate for this work in my own way.”
This was certainly the surprise of the list for me; the darker tone and distorted guitars of “Chainsaw Blood” are not something commonly associated with Vaundy, and yet the first of the season’s EDs feels so natural. The Megadeth-adjacent lead offset by both punk-rap and flawless clean vocal melodies makes for an extremely textured genre-blending track which buries metal influence in an accessible package.
ED2: ZutoMayo – Time Left
“[Chainsaw Man] was a work that had helped me at emotional milestones, so I was happy and didn’t want to finish it… I created a song that, for me, was about the process of enrichment. I was empowered by the unyielding spirit to make this song.”
ED 3: Maximum The Hormone – Hawatari Nioku Centi
“The pace at which I write new songs for the band is unusually slow for me, but if it’s for my favourite manga work, I’ll be happy to make songs as fast as a dog wags its tail in the heat. It’s always been my dream to have a song used in the Chainsaw Man anime… If there’s a sequel, please use [more of] Hormone‘s music.”
Maximum The Hormone are known, quite frankly, for being chaotic and insane. Thus, a perfect fit for any work penned by Fujimoto. “Hawatari Nioku Centi”, particularly, delivers on that promise. Downtuned guitars, manic vocals, and a breakcore section which somehow manages to make raw static melodic, Maximum The Hormone’s contribution is one which is unapologetically them, and will most definitely be a song which teens exploring heavier genres will show to their friends on account of its lunacy. After all, it is the track here most likely to induce a moshpit.
ED4: TOOBOE – Tablet
“There are many influences of Tatsuki Fujimoto in my work. I never thought I would be involved in the ending song like this three years later (after reading the manga). I am very honoured. I would like to enjoy Chainsaw Man’s anime with everyone like me who has been addicted to reading it.”
ED5: syudou – In The Backroom
“When I was put in charge of music for Chainsaw Man, I wondered what kind of music I would make if I were Denji. I thought that he would probably scream out his emotions. That’s how the song turned out.”
ED6: Kanaria – Rendezvous
“Chainsaw Man was a work that had a big impact on me, and I was very surprised when I received an offer to do the ED. I always think about how I can be a part of the unique world of Chainsaw Man.”
ED7: ano – Chu, Tayousei
“I am very honoured to be able to [create] the ending theme song for Chainsaw Man, which is loved by many people. I made a song that is perfect for the moment [in the anime] I was in charge of, and I made the song with my own expression.”
ED8: TK from Ling Tosite Sigure – first death
“I was able to create a permanent perfect organ with the blood that oozes from the story and the drawings. I will pick up the Chainsaw that lives in me and dedicate all my killing power to this work.”
When it comes to anime accompaniments, TK does not miss. From Tokyo Ghoul to Psycho-Pass to an official cover of “will-ill” for Code Geass‘ rebroadcast, TK’s catalogue ranges from alternative rock to progressive post-hardcore, replete with intricate guitarwork and his trademark manic screams. “first death” is up there with “Abnormalize” (from Psycho Pass) for his highest-tempo anime song, blending rapid percussion and disorientating, pinched guitars. Like the show, the track does not sit still for a minute.
ED9: Aimer – Deep down
“I created Deep down as one of the ending theme songs for the Chainsaw Man TV anime. It’s a song that I created while expanding the inspiration I received from the work, focusing on episode 9 I was in charge of, and layering my own thoughts. I would be happy if this song could leave a little something in the hearts of everyone who loves the work.”
Given the metal-centred focus of the site, the balladic “Deep down” might seem a strange choice of song to focus on, but it hits upon all the notes of what I love about modern rock: storytelling, ambience, and the escalating contrast of elegant and intricate instrumentation. Violin, piano, synthlines and electronic drums are melded flawlessly, with guitarwork when the track opens up that is both technical and infectious. It is equal parts haunting and enchanting.
Aimer’s soaring vocals, backed by beautiful piano and a spectacularly produced atmosphere, turn a morose tale into something which speaks to the soul – simultaneously melancholic and uplifting. Twisted but hopeful. Foolishly moving forward in spite of suffering. Other offerings of this unique soundtrack might capture the visual aesthetic of the anime, but “Deep down” captures the story in a way which will undoubtedly resonate with manga readers.
ED10: PEOPLE 1 – Dogland
“I remember being very excited when I read the first chapter. At that time, I wasn’t doing PEOPLE 1 itself, so I never thought I would be in charge of the [Chainsaw Man] ending song. I think this will be the coolest and most aggressive song that will not be overpowered by the strong worldview of Chainsaw Man.”
ED11: Queen Bee – Violence
“I’m very happy I was able to provide “Violence” to the Chainsaw Man anime this time. I hope you feel the unrivaled feeling in the work, the jumping voltage, that vivid intensity, and the absurdity of life and death in the 4 minutes of the song (89 seconds for the anime ending) and let your heart go wild. I’m sure you’ll want to start screaming Vaaiorhensu!”
ED12: Eve – Fight Song
“I am very honoured to have the opportunity to be involved with the music. I wrote a song for Chainsaw Man that I think is special. I’m looking forward to not only the main story but also the ED that changes every week.”
One commonality to the artists’ contributions to this first season of Chainsaw Man is their passion for the project, and with that a reiterated emphasis on matching the correlating events. Whilst recruiting some of the biggest and most celebrated names within the anime music community (Kenshi Yonezu, TK, Aimer, and Eve), MAPPA did not lose sight of the purpose behind it – to compliment the show’s tone and lend greater impact to moments of what is a truly crazy story. This, they achieved in spades. Perhaps the modal whirlwind that is Chainsaw Man was the perfect vessel to test this format.
Season 1 offers up thirteen truly great songs from across the musical spectrum, and they do not hold back; Vaundy, an otherwise indie-focused artist, offers up a punky alternative rock classic complete with a captivating 2-step riff, Maximum The Hormone’s “Hawatari Nioku Centi” captures Chainsaw Man’s spontaneous insanity with their typically erratic brand of alternative metal topped off by blistering nu-metal vocals which would make Serj Tankian weep, and TK delivers once again with the disorientating “first death”, a New Music Friday staff pick which remains one of my favourite songs of 2022.
There really is something for everyone. Additionally, the fluidity of multiple EDs can aid the viewing experience itself; we’ve all seen shows where a dark episode is followed swiftly by the series’ standard slice of life theme (cough, Made In Abyss), which is every bit as discombobulating as reading a regular page of Fujimoto’s work. Chainsaw Man’s approach here is not a gimmick. What MAPPA have done with season 1 is mutually beneficial to both the artistic vision of the show and the artists who contributed the above songs. The adherence to the tone of the source material whilst being marketable on its own will be something that many artists strive to achieve in future.
Recently, metal bands such as Sleep Token, Spiritbox, and The Wise Man’s Fear have championed the preponderance of singles in marketing new material, and with Chainsaw Man MAPPA have adapted that philosophy into an animated space. Of course, emulations for smaller IPs might not be inherently as successful as this, but Chainsaw Man serves as a template for this commercialisation of anime OPs and EDs. With MAPPA’s bundling of the songs on their media platforms, the thirteen tracks are in effect a loose album, one which operates independently of the series but also will continually benefit from its origins and association. Given the reception, one can only expect that season 2 will pick off where season 1 left off, with another litany of songs for watchers and listeners alike to digest. More music being commissioned, particularly in conjunction with productions of this quality, can only benefit the industry, and push metal further into the mainstream – through one of entertainment’s fastest growing mediums. It will be interesting to see whether the rest of the industry gets left behind.