On a Baseball-Free Day: Hololive Members Cover I’ve Sound Tracks – A Personal Memo
April 16, 2026 – With no Carp game scheduled the previous day, a fan turned to personal reflection, sharing a niche but meaningful observation: several Hololive VTubers have performed covers of songs originally composed by I’ve Sound, the renowned Japanese music group known for their work in adult-oriented PC games. This informal memo, posted on a Japanese blogging platform, highlights the intersection of virtual idol culture and anime/game music fandom, particularly focusing on how Hololive members have engaged with I’ve Sound’s discography through fan-made covers and unofficial performances.
I’ve Sound, active since the early 2000s, gained prominence through collaborations with vocalists like KOTOKO, Kawada Mami and Mell, producing iconic tracks for visual novels and anime such as Kannazuki no Miko, Black Lagoon, and Shakugan no Shana. Their music often features high-energy electronic rock and emotive vocals, becoming staples in Japan’s doujin and anime convention circuits. Despite their origins in R18-rated PC games, many I’ve Sound tracks have achieved mainstream recognition through official releases and live performances.
The blog post specifically mentions Shirakami Fubuki’s performance of “I pray to stop my cry” in a “little sea style” arrangement. According to the memo, Fubuki covered a version of the song originally sung by Kawada Mami, which appeared on the LAMENT album released during I’ve Sound’s rise in popularity among broader audiences. The LAMENT CD also includes well-known tracks like “Face of Fact” and “Save Your Heart,” the latter noted for its vocal change but continued critical appreciation. The memo notes that Fubuki likely encountered this track through Kawada Mami’s 2016 best-of album, where it was re-recorded, suggesting she may not have been aware of the song’s origins in adult PC game soundtracks at the time of her cover.
Another example cited is Hoshimachi Suisei’s rendition of “Sakuranbo Kiss – Bakuhatsu da mon〜,” described as an “electric wave” (denpa) style song characterized by its high-pitched, repetitive melody and playful lyrics. The memo frames this as part of a broader trend where Hololive members engage with anime and game music through casual covers, often shared during streams or as personal projects, despite potential restrictions from their agency, Cover Corp, regarding copyright and content suitability.
The author reflects on the rarity of such covers today, noting that it remains unclear whether Cover Corp permits these performances officially, especially given the mature origins of many I’ve Sound tracks. While Hololive talents frequently sing anime openings and VOCALOID songs during karaoke streams, direct covers of I’ve Sound material—particularly those tied to 18+ sources—are less common and may exist in a gray area regarding licensing and platform policies.
This personal memo underscores how fan-driven activities within the VTuber community often serve as informal archives of musical heritage, preserving and reinterpreting songs that might otherwise fade from mainstream discussion. It also illustrates the blurred lines between fan expression, idol performance, and intellectual property in digital entertainment spaces.
As of the memo’s posting date—April 16, 2026—no official statement from Cover Corp regarding I’ve Sound cover permissions has been verified through primary sources. The observations remain based on fan documentation and publicly available performance archives.
For readers interested in exploring these performances further, archived streams and fan uploads on video platforms may provide access to the mentioned covers, though availability varies due to regional restrictions and content policies.
This piece does not aim to evaluate the musical quality or legal standing of these covers but instead presents them as cultural artifacts reflecting how global fan communities interact with Japanese music heritage through emerging digital platforms.
What’s next: As Hololive continues to expand its musical output with original songs and collaborations, fans may keep an eye on whether official engagements with legacy anime and game music composers like I’ve Sound become more common—or remain cherished, unofficial tributes.
Share your thoughts on how VTubers are shaping modern interpretations of classic anime and game music in the comments below.
