Sometimes I feel like I’m a “eroge music player” first and a person second, because I really, really love eroge music. Listen to enough of it, though, and you start to notice that what makes a song good isn’t just the singer — composition and arrangement are the biggest factors. Japan has a ton of composers, and they have a distinct trait: their styles are vivid. As for how “vivid,” I think even a Bilibili-addled middle schooler who’s heard too much Yuki Kajiura gets it. Lots of people latch onto certain composers’ signatures, and it’s kind of a micro-segmented hobbyist thing. You rarely see Kajiura change her sweeping style, and you rarely see Hiroyuki Sawano stop chasing that big, in-your-face sonic impact. If we’re talking anime alone, I prefer composers with more variety in their scores — people like Taku Iwasaki and Tatsuya Kato. But today I’m not here to talk about them. Today I’m here to talk about Meis Clauson.