MACROSS FRONTIER MUSIC CLIP SHUU: NYANKURI

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ANIME ActionMacross Frontier

REVIEWS

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  RedHat1987

  90/100
  When even the extra content turns out to be interesting. After all, good music is always appreciated

  __A thorough exploration of Sheryl Nome's songs__

  Superficially, Nyan Kuri presents itself as a collection of the most famous hit songs from Macross F, coming from both Ranka and Sheryl. However, it turns out to be quite a useful resource for multiple reasons: the first being that it is not just a mere compilation of the best songs from the series (including the new ones released with the franchise’s first film ‘Itsuwari no Utahime’, since the music video came out in 2010, a year after the latter) but is structured in the form of an interview with the two songstresses, with questions and corresponding answers, interspersed with the various songs. This makes the special much more engaging and interesting, giving us some additional curiosities (like all the extra specials) but, above all, showing us the beliefs of the two singers, adding more depth to their professional persona. And lastly, some songs have entirely new and unreleased music videos, offering, compared to others, further food for thought and giving more luster to these songs in a glorious and satisfying spectacle for the eyes. I’ll use this space to delve into a few songs – mainly those of Sheryl (yeah, it’s pretty obvious she’s my favorite…) – and their respective music videos, in what could be called a supplement to my analysis of the TV version of Macross F, cut for time reasons. Specifically, I’ll focus on three key pieces: __Diamond Crevasse__, __Northern Cross__, and __Iteza☆Gogo Kuji Don't be late.__ As always huge spoilers alert. >Diamond Crevasse

  The analysis will be divided into two parts: the first will focus on its role in the TV series – how it is used and in which episodes it appears – while the second will focus on the new music video related to it in Nyan Kuri, which we will briefly analyze. Diamond Crevasse is one of Sheryl’s flagship singles, and in my opinion, it contends for the title of the best song in all of Macross F alongside Northern Cross. DC has numerous points in common with its competitor: same composer, same singer, and the same narrative significance within the series. Diamond Crevasse is initially used as the ending theme [ep.1-6, 8-9, 13-14] in its regular version – I’ll refer to it as such – with a few variations in some episodes, which we’ll talk about shortly. Just like Northern Cross, Diamond Crevasse is also the title of an entire episode [ep.20], at the end of which it serves a precise narrative function. The first variation is shown at the end of ep.15, ‘Lost Peace’, where it is sung halfway by Ranka and halfway by Sheryl, featuring a version where both sing, still as an ending theme. The second variation, however, will appear at the end of the episode titled after it [the twentieth], where the song finds its moment of greatest splendor and serves a quite specific narrative function, accompanying one of the most impactful sequences in the entire series. This version is called ‘*Shinkuu Diamond Crevasse* [真空のダイアモンド クレバ ]’, which can be translated as Empty Diamond Crevasse. Regarding the song itself, Diamond Crevasse is a slow ballad; a poignant song with sad and, in some ways, resigned tones – a mirror of Sheryl in those final moments of the series, also due to her existential situation. It’s a stratospheric and emotional song, capable of giving the viewer a jolt and capturing them immediately.

  i) Diamond Crevasse can primarily be considered a song of hope, probably the song that is most associated with her as a symbol of hope. So much so – and not by chance – that it begins with an appeal to God, embodying, perhaps, the very essence of her character:

  *When I was still in love with god […]*

  ii) The other main theme of the song is, of course, the romantic one; it essentially becomes a sad love song: it repeatedly seals the farewell [for obvious reasons], referring to the inability to stay together with the loved one, expressing the regret and resignation of having to leave them forever. In fact, in the last verse, there is a wish to meet again in future lives, in a conception – typically Eastern – considered one of the most romantic of all time [reincarnation].

  *If I had known I could never feel your touch again, I would've hoped to be embraced just one last time. It's long long good-bye...*

  *Goodbye, goodbye, so many times, I repeated the word to myself, Waving my hands. It's only graceful, right? Now, I long to be stronger. I met you, the stars sparkled, and I was born […]*

  *I can't ever forget your warmth, Your kindness, and your all-encompassing hands. It's long long good-bye*

  *If we are reincarnated and can meet again some day, Please find me and hold me tight, And make sure you don't let go again. I wish the planet would whisper to me that I'm not alone...*

  iii) The philosophical aspects; because this is such a deep song that it even manages to be existential. In this sense, two verses stand out in particular:

  *I love you, therefore I am.*

  Sheryl even goes as far as questioning her own existence, making a positive statement about it. An equation very similar in formulation to Descartes' cogito ergo sum: here, however, the thinking subject becomes the loving subject [Sheryl]. Furthermore, the same depth can be found in the following verse:

  *I still want to love, and I still want to be loved.*

  [A verse] Of an incredible wonder, in my opinion, which expresses, moreover in a rather simple way, a dual existential and essential need, indispensable for any human being: to love and to be loved.

  Full Normal Version

  Let's now look at the eponymous episode dedicated to her, as mentioned earlier, in which she gains her narrative relevance: episode 20, in a way, is mirrored, representing on one hand the most desperate moment and, on the other, the simultaneous rebirth, which, by its very nature, is always born from the ashes of the deepest despair. In a Frontier besieged and shattered by the Vajra’s attacks, we get, for the first time in the anime, an unprecedented point of view – that of the helpless civilians – thrown into a tight refuge, packed together, and in pitiful conditions. Among them is also Sheryl: shaken by the scene of a father comforting his child despite the tragic moment, the singer starts reflecting... In this dark and gloomy context, there’s a need for a jolt, a light to cling to: at first, she recalls Alto’s words, who told her not to stop singing no matter what happened, because otherwise her songs wouldn’t reach people anymore. Then, thinking about feelings and the communication of those feelings, she pulls her earring from her pocket – which we know has these very qualities – looks at it, and finally, smiling, puts it back on, trusting in its power. >*“Ranka... If you are the Singer of Hope... I... will sing even in deep despair.”*

  This is also the response – that Sheryl chooses to give – to her illness: a message so powerful that it needs no further explanation. And so, the Galactic Fairy begins to rise among the forsaken crowd, singing what is perhaps the best version of Diamond Crevasse [Shinkuu] in one of the most impactful and emotional scenes of the entire series. After brushing against the deepest despair, she rises and begins to light the hearts of people with her majestic singing, becoming a new hope for the poor souls trapped there. And from here on out, the simultaneous rebirth of Sheryl, who will regain her vigor and eventually return to performing on stage as she once did.

  Shinkuu Ver.

  Now let’s analyze the music video for the song, which appears in its full version for the first time here, in Nyan Kuri. The importance that this song holds is already significant on its own, but here it is further enhanced: indeed, Diamond Crevasse takes on an introspective function, becoming a snapshot of Sheryl's life, and particularly, of her sad past. So much so that, based on the context – and what we see in the music video – it truly feels like this is a song dedicated to her past – in a broader sense – and more specifically, directed toward her younger self [her past self], offering us particularly interesting insights into the relationship between the singer and her past. With this introduction in mind, let’s now take a closer look at the most significant elements of this music video, and gradually we will delve into the heart of the matter.

  Nyan Kuri's videoclip

  Let's start with the marvelous costume, which I want to briefly mention: a Sheryl dressed in a charming and, if we may say so, even regal way stands before us, wearing this sublime and long purple evening gown. At the beginning of the music video, we see the girl, in this spacious trapezoidal square, walking towards the piano located in the center, wearing a butterfly-shaped mask. First off: the choice of this animal is not at all random; indeed, the butterfly is the animal that symbolically represents Sheryl. Secondly – and we come to discuss one of the [primary] settings of this music video – the location where Sheryl is standing is inspired by a real, existing place – or rather, it is an animated reconstruction of it –: it is clearly Piazza San Marco, easily recognizable by the basilica and the bell tower in the background. Therefore, one of the main settings of the music video is none other than the ‘Serenissima’ Venice, which is portrayed with relative accuracy. And the fact that Sheryl finds herself in an animated version of the city of Venice explains, in a chain reaction, many other elements: from the lagoon-like shape of the place, to the presence of numerous canals, the use of gondolas to navigate them, and the presence of masks – traditional objects in Venetian culture (think, for example, of the famous Venetian Carnival). Now, let’s delve into the heart of the music video: as soon as the rain starts to fall again, it is used as a graphic device to create a majestic transition, and we move from the backdrop of Piazza San Marco to an aerial panoramic view of the Macross Galaxy, Sheryl's home and the place where she spent her entire childhood. We first see a part of it, with a multitude of skyscrapers in the background, characterized by cold colors – and indeed, it is pouring rain; the rain element strengthens this concept – which gives a gloomy, depressing, oppressive, and entirely anonymous tone. The camera then shifts, revealing an area clearly in decay – you can spot half-destroyed buildings in the bottom left – seemingly uninhabited, and near the outdoor stairs of one of these dilapidated buildings – in the top left and near one of the landings – we can spot a bedraggled Sheryl, curled up on herself. In a state of complete abandonment and under a relentless and heavy downpour, the only comfort for the poor child seems to be a black kitten, which perhaps she has befriended and, after reaching her, climbs onto her shoulders as if to offer her comfort. Returning to the Macrossian Venice, Sheryl takes off her mask and slowly begins to play the piano; shortly after, we are transported to another important setting: the interior of a church. And, as the saying goes, I think we can now say that everything falls into place: we mentioned that one of the main themes of Diamond Crevasse is hope and that the first verse of the song contains a call to God; if that’s the case, then it shouldn’t be surprising that a church appears, which evokes the theme of faith in its broadest sense. We could hypothesize by saying that the orphaned and wandering Sheryl, submerged in total despair, had nothing left but, perhaps, faith in God: for the desperate situation she was in – and the condition of someone who had nothing left to lose – all she had left was to cling to her faith [and thus to God, her highest incarnation], in the hope of some miracle that divine goodness might make possible. It is curious, however, to note how the first verse is formulated in the past tense: "When I was still in love with God"; which, in theory, and if referring to the adult Sheryl in the present, implies that she is no longer in love with God, and that, at some unspecified moment – presumably during her childhood – she lost this faith and with it the last flicker of hope to cling to. And, continuing with the conjectures, the moment depicted in the music video, where we see her inside the church, could also be seen as the decisive one: indeed, we can observe a Sheryl sitting on the floor, on her knees, leaning against one of the pews of the church, who appears visibly exhausted, as if she were leaning lifelessly, in pitiful conditions with a blank, distant look, almost as though she had resigned herself to dying from starvation. At this point, the immense evocative power of this music video unfolds in all its glory: Sheryl, while skillfully playing the piano, starts to gracefully fly through the sky along with it, with the silhouettes of the buildings and the stretch of water in the background, with the full moon in all its magnificence, ruling the starry sky, creating an enchanting atmosphere filled with magic and poetry. Shortly after, we see Sheryl navigating one of the canals aboard a gondola, seemingly searching for something, as evidenced by the lantern she holds in her hand. What is the girl looking for? Or perhaps it’s more accurate to ask, who is she looking for? Well, the answer doesn’t take long to arrive: in the alley we see next, we can notice the silhouette of the young Sheryl sitting on a wooden crate, and unlike the adult version, who is searching for something, the young Sheryl seems to be waiting for something (or someone). And here comes one of the most heart-wrenching and emotional scenes: the two Sheryls – the adult and the child – finally reunite, and face to face, they embrace each other, in a memorable scene. After the embrace, the young Sheryl begins to dissolve in the arms of her adult counterpart until she disappears completely, with the latter, as if by magic, finding herself aboard the gondola. The adult Sheryl looks up at the majestic moon, and shortly after, we see a paper airplane [Alto] coming from the sky towards her direction, followed by a breathtaking shot of the wide canal where she is. It flies over the water of the canal, landing not far from the girl’s gondola: she picks it up, and to her surprise – and the viewer’s – it has transformed into a butterfly-shaped mask – almost identical to the one she was wearing at the beginning of the video. The music video ends with a top-down panoramic shot of Sheryl sitting on the gondola, partially engulfed in the reflection of the moon on the canal’s mirror-like water. With the description of the music video complete, I can return to its climax and conclude the discussion I started at the beginning: the reunion between the two Sheryls, more spiritual – and as such, symbolic – than material, tells us a lot about the relationship between Sheryl and her past and adds even more shine to her character. On the other hand, we said that this character is the undisputed protagonist of this music video, with the song seemingly dedicated to her younger self. Try to follow the reasoning – which is quite simple, to be honest: in the present where the events of Frontier take place, Sheryl is an established diva, well-known and celebrated throughout the galaxy, and as we saw in the review of the TV version, one cannot deny that she is arrogant and proud, with the classic ego typical of stars. Well, from her point of view, she could have easily disowned her old self, considering her along with her unfortunate past as a great disgrace and a huge stain on her glorious current status, rejecting and casting that part of herself into total oblivion. And Sheryl not only does nothing of the sort, but in fact, she does the exact opposite: she does not intend to forget her old, shabby self, miserable and desperate, but keeps it very much alive in her memory, in her recollections. And this is proven by the fact that, during the music video, Sheryl searches for her younger self (or at least looks for a way to interact with her). I know, some might argue: willingly or unwillingly, that is still a part of you [of us], and as such, how could we forget it? And that is a perfectly valid objection, one I fully agree with, but in its simplicity, it is by no means trivial. In any case, Sheryl continues to remember her old self not only because she knows it is an integral part of her being; there’s a certain quid, something more: quite simply, according to my interpretation, she is also grateful to her; after all, if she has become the splendid woman she is today – both as a person and in her career, reaching the peak of music – it’s also thanks to that little girl. Thanks to that tender child who, despite losing all hope, never gave up and kept believing with determination. After all, the person we were in the past, for better or worse, will shape the person we become tomorrow. Sheryl, therefore, decides to remain ‘humble,’ choosing to remember her unfortunate childhood without any shame but, on the contrary, elevating it. And this also explains why the girl repeatedly emphasizes her merit, praising herself for the journey she has made: Sheryl, in fact, started from absolute zero and, through sweat and hard work, built her career literally from nothing. And so here’s another reason why I feel I love Sheryl: she is an expression of self-love; perhaps one of the most difficult things for a human being to do [accepting to love oneself for who they are].

  To conclude, this unreleased Diamond Crevasse music video makes evocative power its main weapon: suggestive settings, extraordinary glimpses with poetic energy capable of inspiring you; atmospheres imbued with a certain magic; a unique blend of present and past, hope and faith. The beauty of the city shaped after the charm of real Venice, the nighttime atmosphere between the starry sky and the splendor of the Moon, the various symbols, etc. These are all elements that contribute to the strong evocative charge this music video leaves you with, that suspense that grabs you, capable of leaving you breathless, as if the world around you stopped for those three minutes. From my point of view, this is a work of art: something that can deeply move you and leave a lasting impression, evoking strong emotions. In fact, it’s one of the best animated works I’ve ever seen. >Northern Cross

  The other song that competes for the top spot with Diamond Crevasse, and shares many characteristics with it, is Northern Cross: like Diamond Crevasse, it will also be frequently present throughout the series [but will also cross paths, in a literal sense, with the winding road that its own singer has chosen to travel]. Just like Diamond Crevasse, it holds significant narrative relevance and, of course, it’s a masterpiece. Keep in mind that, for me, these two songs represent the peak of the musical repertoire of Macross F (without taking anything away from other equally extraordinary songs); so right now, in this supplementary analysis, we are examining two sacred monsters. Furthermore, though I cannot say with absolute certainty, I am fairly convinced that if you traveled around the world and asked Sheryl’s fans which song is their absolute favorite, I think Northern Cross would most likely be their answer. And so, as with its twin, let’s try to delve into this song a bit and revisit the key moments when it is played in the series.

  Full version

  Composed by Kanno Yoko [who needs no introduction] and sung by May’n [I’ll express my thanks later], Northern Cross is featured as the ending in the following episodes: Ep. 16-18, Ep. 22-24. Additionally, just like its counterpart, it gets its own episode title [episode twenty-two]. As for the first instance, I find particularly significant the first episode in which it is played as the ending: in episode sixteen, Sheryl’s career is already in decline – both due to the worsening of her health and the definitive rise of Ranka – and it is in this episode that the actual dethroning of the Galactic Fairy as the number one diva of the galaxy takes place. Ranka has now captured the entire audience with her charm, awkwardness, and immense talent, becoming a symbol of hope in the war against the Vajra, as her songs, as we know, are able to influence their movements. And it is precisely in the episode where Sheryl is deposed and replaced by her best friend and rival that a song entirely dedicated to her character is used as the ending. Now, this could also be a completely random choice, but I have reason to believe it is still highly significant, given what happens in that episode, which is certainly a crossroads for Sheryl’s career under the spotlight. As for the visuals of the ending itself [the TV version], they are quite distinctive: essentially, you can see May’n singing and performing in the background, but we can only distinguish her silhouette, with the rest of her figure obscured by wonderful plays of light. Furthermore, overlaid on the screen, we see a sequence of multiple storyboards, each focusing exclusively on Sheryl’s character, in what feels like a comprehensive tribute to her. This ending is truly unique in its kind; it’s an absolutely atypical ending, different from the conventions we are typically used to when seeing a normal animated ending (which this one is not, at least not in the usual sense). All of this contributes to making it a decidedly peculiar experience, setting it apart from the rest of the pack.

  Moving on to the episode dedicated to her – episode twenty-two – we reach its narrative significance: since we are two episodes after Sheryl’s rebirth at the end of episode twenty with Shinkuu Diamond Crevasse, at the dawn of Ranka’s supposed betrayal (which, in reality, sees her leaving for the Vajra home planet in an attempt to end the war), the one who will replace her is, of course, Sheryl, in yet another swap. Given that Ranka’s role as the symbol of hope had to be replaced – as someone to cling to – who else could fulfill that role if not Sheryl, who, by now, had returned to the stage, with the additional discovery that her singing, just like Ranka’s, could also influence the Vajra? And remember? At the end of episode twenty, Sheryl had already become a new hope – for the refugees who witnessed her singing –; thus, the ‘torch’ – though I’m reluctant to call it that – was already ready to be passed. So, Northern Cross sung at the end of episode twenty-two marks the simultaneous return of Sheryl to the spotlight, and it will be sung not only as a song to comfort the citizens but also to commemorate the appointment of the new president of Frontier, Leon Mishima, who has finally taken power after completing his coup; thus, it also takes on a celebratory tone. Finally, the song will persist throughout one of the most significant events in the final episodes of the series: the mutiny of the Macross Quarter crew and all of its members (including several SMS members), serving as the backdrop for the first battles between them and the military forces who remained loyal to Frontier – including the protagonist Alto. Northern Cross will make one final appearance in the last episode [episode twenty-five], where it will be sung by Sheryl shortly after learning that her beloved Alto is still alive and well – and not fallen in battle as she had believed, having seen his fighter being shot down from the Frontier platform where she was performing. Reassured by this, the singer changes her costume and, wearing hers Purple Galaxy outfit, she will sing with all her might, channeling her emotions into the song to lead her fleet down the path to victory. Sheryl's Northern Cross performance with the related symbolism in her Purple Galaxy costume

  If we focus on the lyrics, it’s clear that if the song is extraordinary, it is undoubtedly also due to its lyrics, which are particularly poignant and symbolic. Northern Cross primarily serves as a powerful love song, and from some of its lines, one can sense it has a certain 'conclusive vocation', as if Sheryl is singing at the end of her journey, now close to its conclusion. This impression is likely confirmed by several factors: not only is it a song that is actually sung towards the end of the series, but the element of the 'journey' is also present in the song itself, starting from its [iconic] opening:

  *I can no longer remember the start of this journey. Before I realized, I was already here.*

  And still, with regard to the element of conclusion:

  *And it will begin, The finale I will risk my life for.*

  Probably the – additional – reason why this song is so extraordinary and has such a strong evocative power is also this: it is one of the last songs we will hear Sheryl perform, and as such, it is filled not only with her deep feelings for Alto but also with her entire spirit, encompassing all its facets, from her fighting spirit to her unshakable determination. The strong will to continue singing on stage until the end despite the proximity of death is, in my opinion, detectable here—actually, it is palpable. Not to mention her chorus, simply wonderful:

  *Wouldn't someone please caress my empty contours? Pushed on by the beating of in my chest, these words of love rolled out of my mouth. But no one answers them, and I don't know what to do. Chosen by destiny, the Northern Star is burning bright. Though it snatched you away from me into the sooty darkness, You continued to smile so gracefully. I loved that part of you.*

  Within this chorus, there is one of the most evocative images I have ever seen in my life: the graphic representation of the Northern Cross asterism [hokkyokusei ‘北極星’] burning intensely at the top of the sky is something deeply satisfying and emotional, and with it, the creation of its symbol by Sheryl, executed with the movement of her arm during the song’s choreography. A true feast for the eyes. There may also be one final reason why this song, as a whole, feels so poetic: if you pay attention to the lines of the choruses, with their variations, you can notice a common denominator between the two: predestination.

  *Chosen by destiny, the Northern Star is burning bright. Called back by destiny, the Northern Star is crying.*

  First, it is stated that the Northern Cross was chosen by destiny, and later, that it was recalled by it. In my opinion, this adds even more poetic depth to the song than it already has: it almost feels as though Sheryl is being equated with the Northern Cross, and thus personifies it. Because of this, it would be like saying that Sheryl was chosen by destiny to fulfill a specific mission, and once she has completed it, she is called back by it, returning to the stars from which she came, and becoming part of a greater design shaped by fate. youtube(https://youtu.be/QkgJTgrdKMM?si=X3PHtNo65Z8G5iks ) Nyan Kuri’s videoclip of the song

  As for the Northern Cross music video featured in Nyan Kuri, it is certainly no less impressive: starting with the setting, this video draws from elements first seen in Macross Frontier's first movie, Itsuwari no Utahime. The setting is that of the Revenge Live Sheryl performs near the end of the film, and the costume is one that first appears in the aforementioned movie, specifically the one she wears during her performance of Obelisk – which, by the way, is one of my all-time favorites. The location is particularly striking because the concert takes place at Frontier's port area, with the audience arranged in a semi-circle along the dock, and the object – or rather, the vessel – that Sheryl uses for her performance is a pirate ship. Perhaps pirate ships have always had that intriguing allure, but the solemnity and theatricality that this ship imparts are truly extraordinary. I've come up with an idea as to why the girl chose this for her performance: the immense pirate ship, in my opinion, perfectly embodies the essence of spectacle, a defining trait of Sheryl’s artistry. What better way to stun the audience and give them that spine-tingling feeling than through the sight of a massive pirate ship? And within this spectacle, there is brilliance: all the sails are not left unused, but are cleverly repurposed as giant screens displaying Sheryl's live performance in real-time as it takes place aboard the ship. Naturally, being Northern Cross, the symbolism of the asterism cannot be overlooked: the symbol of the cross appears three times throughout the video. The first appears immediately at the beginning, where we see a massive blue cross rise into the sky, gradually expanding until it fades, making way for the start of the performance. The other two instances involve Sheryl recreating the cross symbol with her arm movements during the choruses of the song. In both cases, right after, the camera focus shifts upwards, beautifully framing the starry sky where we can see the Northern Cross shining brightly at its exact center, surrounded by the other constellations that adorn it, each taking the form of its corresponding animal. These breathtaking shots of the starry sky allow me to segue into one of the most outstanding elements of the video: the graphics. The drawings are truly pleasing to the eye, with a particularly fine and light touch, resulting in clean, smooth designs. This greatly enhances the character design of Sheryl, making her figure appear soft and graceful. I must also commend the inclusion of CGI in certain sequences of the video. Although the models are still far from the ones seen in later Macross series, they are excellent for the time – it was still 2010, after all. To wrap up this analysis, returning to the element of spectacle, I’d like to highlight the most memorable moments of the music video, which really amplify this concept. My absolute favorite scenes in this regard are the following: the first one perhaps stands out more for its epicness than for its sheer spectacle, but I still find it extraordinary; about halfway through the performance, during the instrumental break, Sheryl takes control of the ship and lifts it from the sea, literally making it soar into the sky. Just before it ascends, we see a fiercely proud Sheryl steering the helm, in a version of herself that could only be described as piratical. The next two moments are sequential: the one that marks the beginning of the final sequence of the video is undoubtedly the most representative of the meaning of spectacle. Sheryl reaches the top of the ship's mast and, from the very peak, dives, leaping into the void from an incredibly high altitude, electrifying all the spectators – both virtual and real. It's a typical Sheryl Nome move. Finally, after landing gracefully, it's time for the grand finale: the diva launches herself into a long run to reach the highest point of the bow's mast, in order to end her performance with a bang. The sequence in which Sheryl climbs and runs along the bowsprit is, throughout its entire duration, incredibly thrilling. Simply marvelous. >Iteza☆Gogo Kuji Don't be late

  To conclude this analysis supplement dedicated to Sheryl's songs – albeit just her songs – I absolutely must say a few words about Iteza☆Gogo Kuji Don't be late, which are long overdue. Defining it strictly as a love song, in my opinion, is not quite right – although some may find traces of that theme within it – and even in terms of its tone, it’s a song that stands apart from Diamond Crevasse and Northern Cross. What doesn't change, however, is the rest of the formula: Kanno Yoko + May’n = masterpiece. I am also convinced that Iteza remains cherished in the hearts of Macross F’s long-time fans for a very specific reason: it is literally the very first song heard at the beginning of the anime, and also the first song sung by Sheryl, making it her debut song. This is an important fact that further emphasizes the greatness of this track: being the first song ever heard – especially in a work where music always plays a crucial role in the narrative – carries with it great responsibility. If you want to capture the audience from the start, it’s essential that the song accomplishes this goal, and for that purpose, it must be impactful, exciting, and visually engaging. It must be capable of impressing the viewer, grabbing their attention. And, on top of that, the first encounters are those that, if well executed, are hard to forget. Well, keeping in mind what I’ve just said, Iteza performs this task magnificently: returning to its tones, it is an extremely electrifying, adrenaline-pumping piece with an intoxicating rhythm that manages to captivate and excite the viewer. As a whole, it’s a song absolutely perfect for introducing the viewer to the world and rhythms of Macross F, ensuring that they have a pleasant first impression. In fact, it might be the ultimate debut song, as I could never imagine Macross F starting with any other track – proof of how well Don’t be late works on every level. youtube(https://www.youtube.com/watch?v=5sKSCRuKLHo ) Full version

  And even from the perspective of Sheryl's debut song, it excels in its task: before we even have time to settle in, at her very first concert we’re already overwhelmed by her performance style and her artistry. It's electrifying, visually spectacular, with light effects and surreal settings, and with Sheryl singing amidst icy islands. In short, she manages – thanks also to the graphic and visual elements – to place herself on a pedestal right from the first episode, giving her glory from the very first moments of the series. Her performance is further enhanced by her stunning costume in the Blue Army version, probably one of the most iconic outfits for Sheryl’s character. Marvelous sequences from her debut concert in episode one A better close-up on her Blue Bondage's outfit

  I wonder if this song, so beautiful and extraordinary, carries with it a hint of nostalgia… After all, such a dazzling beginning is something that stays with you for years to come. Don’t be late will be heard several times throughout the series, and the last time we hear it, which happens to be one of the other most significant moments – besides the first episode – is in the penultimate episode [the twenty-fourth], titled Last Frontier. At the dawn of the final battle that will end the conflict between the humans and the Vajra, at the end of this episode, Sheryl officially returns to the stage to sing, having risen again with strong determination, in a scene that is absolutely spine-chilling. And she will return to sing Don’t be late, which will serve as the backdrop for the start of the battle, though with a different costume than the one she wore in the first episode, this time in her crimson variant – known as the Last Frontier version. Sheryl's return on stage in episode 24 with her Crimson Bondage outfit

  As for the Nyan Kuri music video, it's truly an experience in its own right. It begins with the exact same scene mentioned earlier, at the end of episode 24, but the rest is entirely new and fresh. What sets this video apart, this time, is primarily its style: a style that, perhaps, could be loosely described as surreal. For almost the entire duration, we see a multitude of Sheryls dancing energetically on screen, with the background constantly black, allowing only the outlines of their bodies to be visible, sketched in different colors each time: from purple to red, from electric blue to acid green. These hues lend the video a futuristic, vibrant, and in certain ways 'digital' tone. The video plays with strong contrasts, thanks to the different types of fluorescence used, resulting in a psychedelic experience with a powerful visual impact. It manages to create this unique sense of 'alteration' and/or virtual reality. The song concludes with Sheryl kissing Alto on the cheek, a moment that we see at the end of their date in episode five, thereby giving extra significance to the song's title – Don’t be late – which, of course, could only refer to a lovely date.

  Nyan Kuri’s videoclip _________________

  This concludes my analysis supplement, including Nyan Kuri. To conclude, I’d like to express my deepest gratitude to May’n, who for all this time – and, we hope, forever – has lent her extraordinary voice to Sheryl’s character, immortalizing her in the collective memory of many. She is one of my absolute favorite artists, and I truly believe she is one of the most skilled and talented in the Japanese music scene. *Thanks to you and to Sheryl – who perhaps has become another part of your being – for moving me, thrilling me, making me smile, and even standing by me during difficult times. Thank you; I will never forget.* Below a series of links to May'n live performances:

  youtube(https://youtu.be/bZUNBH82RKQ?si=McY29iJX-AIu-4rz )
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