The second soundtrack covers the background music, duel choruses, and opening and closing themes of the Black Rose Saga (aka Kurobara Hen), spanning episode 14-24. Both the opening Rondo-Revolution [Rinbu-Revolution] and first closing Truth are featured here in their TV length. Virtual Star Embryology as an ending theme is covered on this album, with full length and karaoke versions of the J-Pop style rendition of it. Also here is the version of Absolute Destiny Apocalypse used in the Akio and Apocalypse Arcs.

The background music takes a dramatic turn for this arc, with songs like Nemuro Memorial Hall, Eternal Secret, and Fruit of the Sin helping to set the shifting dramatic weight of the series. The duel choruses are still performed by the same group that recorded the first arc’s, and it’s perhaps for this reason that Mikage’s duel, I Am An Imaginary Living Body, which is recorded by Seazer’s theater group, 'Theater Laboratory - Universal Gravitation' [Engeki jikken-shitsu - ban'yū inryoku], appears instead on the next soundtrack. The Black Rose Saga duels are largely very short, and very fast. An oddity in the track listing appears where the duels, which are presented in sequence, have Keiko’s duel chorus Transparent Period of Adolescence as track 6, before Wakaba’s Magic Lantern Butterfly Moth 16th Century, as track 7. Wakaba duels (episode 20) before Keiko does (episode 21) in the series, and I can’t help but speculate that this might have been the intended order and something changed in production.

The world is chaotic and indistinct. However, even in such a world, there is certainly a definite existence in this world. Even though they certainly clearly exist in this world, they appear to be too beautiful, unsightly ugly or simple daily lives so that their true characters are vaguely accepted. I don't wish to deliver such a concept intelligibly through arranged and analyzed animation.

I don't wish to extract only the parts where the cels could be expressed numerically or lines could be articulated. If anything, I'd rather display unclear parts that can't be expressed numerically or lines that can't be articulated by using a picture to show such things indeed exist as clearly as chaos. — I respect Mr. Mitsumune and Miss Kamiya. I undoubtedly believe those two clearly showed the existence of such a world.

Although I am basically an optimistic person, on the day I received a phone call from my old friend Mitsumune-san, who's one of today's shining stars, I was feeling depressed because of the decreasing number of people hanging around me since last spring. "This time around, we're going to work on the animation show called Revolutionary Girl UTENA and... mumble, mumble..." If there was a god who threw me away, here was a god who picked me up... Unknowingly, "the power to do a revolution" appeared to be working out in my life since I gave him my response, "please let me do it!"... From that moment on, I started to receive contacts from many of my long lost friends and people started to appear around me. After the beginning of the recording session, I realized that there was a rather inevitable fate, more than coincidence, oddly tangled up as I encountered people with whom I became involved with on UTENA. I've met many members of the staff previously on different occasions apart from my work, starting with Director Ikuhara who owned an album from a rock band that I used to belong to... With each recording session, I could no longer describe "Revolutionary Girl UTENA" with the word "work." When I was appointed to sing a new ending theme song, "Virtual Star Embryology," my head was going "%@%*!#@%??"; However, I somehow got the point.

If a stranger heard it, it'd be considered a coincidence, however, it was all "inevitable" for me.

After the end of recording, those "inevitable" things brought me a revolution with immense power. am certain that the answer to that will be my precious weapon for my future. I believe I now possess "a sword" that I can bring out from inside myself at the time I need to fight a duel.

And also, is it too good to be true that the release date of the album is on my birthday...?!

I was astounded by the drawings from the UTENA project report that was given to me at the end of last year. What type of music could I give to such beautiful characters? Then, when I met with Director Ikuhara for the first time, he talked to me about interesting and difficult to understand topics and said, "Taboos that are hidden in the daily gaps in our lives." I pretended to understand what he was talking about at that moment, however in my head, I was confused. (The Director said, "I'm glad to have a musician who understands such topics." But, I was actually just pretending to know what he was talking about.)

-I see, at least I somehow understood it would be a strange story. (sweat)

I kept in mind three main focal points of "feelings of sharpness," "Beauty," and "pleasures of betrayal." I decided to detach myself from the project, regardless. certainly wanted to avoid the heavy expressions. I wanted to include some beats that always skillfully evaded something. In other words, all of the music of UTENA are "jokes with elegance?" to me.

Also there was the encounter with Mr. J.A. Seazer's music. My preconceived ideas were entirely torn apart by his music. I wonder if there's any other music created with such free inspiration. I believe that something like his music is what the words for which true originality were made for. I also faced the reality of the fact that I was the one tied up with horse sense. The musicians who performed Mr. Seazer's music played their instruments more freely through their own interpretation to deliver me a sense of freedom. After all, perhaps the somewhat "feeling out of joint" sensation provided by Mr. Seazer's music ignited their spirits of musicianship. They might have thought that they wanted to show a coolness of their own.

Another by-product of producing music for Mr. Ikuhara were the meetings with other people, namely Ms. Asako Tsushima, the conductor and director of the Suginami Children's Chorus. She was so cool that she did not even flinch and managed to perfectly conduct even 7/8 or 11/16 tempos!! A scene such as this recording session would be a special memory given only to people who were involved with the project. Right in front of my eyes, there were these high school girls wearing mini skirts and loose socks singing with pride as professional singers singing such a hard rhythm track. How cool they were!!! At the end of the session, Ms. Tsushima asked me, "is this program okay for these girls to watch?" She was probably sensing some kind of danger from the music...

The dream that I have now is to hold a live concert for "The Revelation of Absolute Destiny." Shall I have Maki Kamiya, the main vocalist, masquerade in Nanami's costume? The members of the Suginami Children's Chorus, will wear uniforms and loose socks (of course, I'll request Ms. Tsushima to conduct). I'll have the members of the Tokyo Mixed Chorus wear tuxedos. Then we'll do a competitive performance with "Universal Gravitation" led by Mr. J.A. Seazer. If you wish to come to the live concert and sing "The Revelation of Absolute Destiny" together with us, please send a post card to the personnel in charge of the project at STARCHILD. (I wonder if it's okay to write something like this at my own discretion???) Then take care of yourself and good-bye until we see each other at the phantom live concert.