Anime fans might already be familiar with hockrockb from their work on the ending theme songs for Ron Kamonohashi’s Forbidden Deductions and Shinobi no Ittoki. This season, the three-piece band — vocalist and guitarist Ageha Horii, bassist Mito, and drummer Soi Tanaka — returns with “Unnamed Flower,” the ending theme for The World Is Dancing. Anime Trending had the pleasure of interviewing Ageha Horii via email about the making of “Unnamed Flower,” its connection to the anime, the band’s aspirations for the future, and much more.
Congratulations on the release of “Unnamed Flower”! The song has been receiving a lot of love since the first episode of The World Is Dancing aired. How does it feel to see such a warm response from both Japanese and overseas listeners?
Ageha Horii: I am genuinely delighted. Since the work is themed around Noh, I aimed to create a song that embodies the coexistence of two qualities: the profound gravitas of a classical Japanese performing art handed down over centuries, and the flexibility to evolve with the times. Receiving such a warm response from audiences overseas makes me feel that this sentiment truly came across.
How were you first approached about contributing the ending theme for The World Is Dancing, and what was your first reaction when you received the offer?
Ageha Horii: After my record label staff spoke to me about creating the ending theme, I read the original work. The story contained all the answers I was looking for — and the right mindset for facing challenges — regarding my own struggles in the entertainment industry. Moved by what I read, I immediately wrote the song, treating it like a love letter.
Did the anime production team give you any specific requests for what they wanted the song to be?
Ageha Horii: There were no specific requests regarding the musical style; instead, I was asked to take on the challenge of honing the performance alongside the protagonist, Oniyasha, and to discover a form of expression unique to hockrockb. Regarding the lyrics, the request was to create something that would challenge the prevailing trend of the time — which tended to affirm everything with the sentiment that “simply being alive is a perfect score” — and instead offer something that does not yield an easy answer.
“Unnamed Flower” isn’t your first anime theme song; in fact, it’s your fourth. Looking back at “Oboetate” for Shinobi no Ittoki as your first anime tie-in and comparing it to “Unnamed Flower,” how do you feel your approach to writing anime theme songs has evolved over the years?
Ageha Horii: In the past, I was desperate to simply align myself with the anime. Now, however, I approach production by considering what I want to contribute in response to the source material, the script, and the director’s vision. I’ve reached a point where I can communicate through my craft and performance rather than just words or outward appearances, and the joy I feel when the work is finally complete has grown even greater.
Compared to “Lip Sync” for Ron Kamonohashi, which you’ve mentioned took a long time to complete, how was the production process for “Unnamed Flower”? Were there any significant challenges?
Ageha Horii: The production of “Unnamed Flower” took about six months in total. We focused more than ever on a “subtractive” approach and expanded the roles undertaken by each member. It was our first time producing a recording with such a strong focus on conveying the human touch and the very breath of the performance.
hockrockb is known for balancing light and dark emotions in its music, usually pairing bittersweet lyrics with upbeat tunes. In the lyrics of “Unnamed Flower,” you beautifully balance hope with the feeling of being insignificant — despite remaining a flower without a name, it continues to bloom and dance through the world. How did you approach expressing and balancing those opposite emotions?
Ageha Horii: In the verses, the pop sound and melody — reminiscent of a children’s song — are paired with lyrics that deliberately express feelings of insignificance, inadequacy, and jealousy; this captures the attitude of putting on a brave face and the immaturity of struggling to accept oneself. In the chorus, the perspective shifts, and the scope of the song expands significantly. Each member performs with full intensity to convey a powerful, direct message: that we — including myself — should face this life head-on together.
All three of you moved from outside Tokyo to pursue music. There are times when living in a big city can make you feel overwhelmed and insignificant. How personally did the lyrics of “Unnamed Flower” resonate with you?
Ageha Horii: I believe true life begins when you realize that the talent you longed for wasn’t actually within you. Although I wrote the lyrics “lips singing with that longing at my back” for the second verse, I want to be someone who can look squarely at my own potential.
You’ve often said that visual imagery leads your creative process. For example, a rat in Shinjuku inspired “Odd Eye,” while “Mogura” began with the image of someone living underground. When writing an anime theme song, do you simply imagine scenes from the original material, or do you also have your own unique imagery alongside it?
Ageha Horii: While I sometimes draw inspiration from striking scenes in the original work, I always try to find motifs that can convey its appeal from a broader range of perspectives. For “Unnamed Flower,” I used the “flower” — which appears in the original story — as the motif for the opening of the verse; however, before settling on that, I experimented with several other themes, including gemstones.
From rock-paper-scissors in “Guu” to Spike Spiegel’s heterochromia in “Odd Eye,” your songs are also often born from unexpected motifs. What usually catches your attention and makes you think there’s a song hidden in it, and at what point does that initial spark become something with a deeper meaning?
Ageha Horii: I keep a “Catchy Idea Notebook” for phrases I encounter in TV shows, movies, or conversations — words whose meanings I might not yet know but whose sound appeals to me. Later, I research them thoroughly and live with that deeper understanding for a while; then, when the moment arrives for that word to play a significant role in my life, I expand it all at once into a song.
hockrockb has always been rooted in pop music. But when writing a song for a tie-up project, does your mindset change? Do you view these projects as a chance to experiment beyond the band’s signature sound, or do you always try to stay true to the band’s identity first?
Ageha Horii: I have long been exploring the coexistence of pop music and identity, constantly experimenting with the balance between the two. In an era that increasingly demands individuality, I am currently producing pop songs designed to showcase the unique qualities that define hockrockb.
Speaking of which, hockrockb nonetheless continues to explore elements of jazz, R&B, and other genres while still maintaining its pop roots. How do these influences find their way into your songs? Are they conscious creative decisions, or do they just emerge naturally?
Ageha Horii: The music often naturally incorporates influences from various genres, blending the sensibilities of the bassist Mito — who played the double bass in a wind orchestra and developed a taste for jazz and R&B through dance experience — with those of the drummer, Hikaru “Soi” Tanaka, whose musical roots lie in pop music, including artists like Mr. Children.
Ageha-san, you once tweeted that “Writing songs is living.” In The World Is Dancing, Oniyasha constantly searches for the essence of dance and what it truly means to him. So what does songwriting mean to you, and has your relationship with it changed over the years?
Ageha Horii: I currently view songwriting as an act of chronicling deeply personal matters — delving into my own thoughts and unmasking emotions I might otherwise hesitate to confront. Through this process, I arrive at answers to the struggles that everyone carries — or might face someday — and I want to offer these answers in the form of music, simply placing them there for you to take as you please. You might find them intriguing, or perhaps turn to them for support; it would bring me great happiness if our songs could become a part of your lives in whatever way suits you best.
Oniyasha is portrayed as someone constantly searching for his own way of dancing and expressing himself. You’ve also said that your goal is to create a sound that’s uniquely “hockrockb” — your own form of musical expression. Do you think an artist ever truly finds their own style, or is it a lifelong journey of discovery?
Ageha Horii: That’s actually the thing that’s on my mind the most right now too, haha. Even if I manage to find a style that works for me, my curiosity just doesn’t stop — I start wondering, “What if I looked at it from a different angle?” or “What would happen if I mixed in a few other colors?” It’s starting to feel like there’s no real endpoint to it all.
Since we’ve been talking about The World Is Dancing, I’m curious — which anime have you been enjoying recently, or perhaps your all-time favorites?
Ageha Horii: I love The Murder Case of Hana & Alice. It’s not just the story — I really love the nostalgic feel of the visuals, too; whenever I’m feeling restless, I just let it play endlessly in my room.
The band has been very active creating short-form videos on Instagram and YouTube Shorts, sharing everything from jam sessions to behind-the-scenes moments, with some videos even reaching audiences overseas. How do you approach creating content for these platforms, and what role do they play in introducing hockrockb to new or overseas listeners?
Ageha Horii: Beyond some tie-in tracks, hockrockb has been releasing music at a rapid pace. While the band holds a deep attachment to every single song, some inevitably fly under the radar — known only to a select few. To shine a spotlight on these tracks, we started posting videos on social media. Unexpectedly, some of these songs reached a large number of listeners overseas; we are thrilled about this and hope people will enjoy hockrockb’s other music as well!
In 2024, the band’s name stylization changed to “hockrockb” with alphabets to make it more accessible to overseas audiences. As your international fanbase continues to grow, what are your hopes and goals for your international activities?
Ageha Horii: I would love to go on a concert tour overseas. I actually tried my hand at songwriting with friends in the U.S. once before, and I’m keen to experience recording abroad as well. I’m also studying English!
What’s next for hockrockb? Is there anything fans can look forward to later this year or in the coming year?
Ageha Horii: I’m currently recording audio for a collaboration video while also working on a new song. I hope you look forward to it.
Finally, do you have a message for your fans around the world?
Ageha Horii: I’ll keep weaving a touch of magic into my music so that we can continue to enjoy this world together. Let’s stay healthy and happy until the day we meet!
We extend our thanks to Horii-san for taking the time to speak with us. Our special thanks go to TOY’S FACTORY and Ayaka Noguchi for making this interview possible.
You can keep up with hockrockb on Instagram, X, TikTok, and YouTube. You can also listen to “Unnamed Flower” on streaming platforms.
