What Is The Soundtrack For The Doted Lady Is Freaking Wild?

Right away the soundtrack for 'The Doted Lady is Freaking Wild' hit me like a neon-splashed fever dream. The official OST, titled 'The Doted Lady is Freaking Wild Original Soundtrack', was composed by Haruto Mizushima and produced by Moonlight Orchard Records. It runs about 68 minutes across 20 tracks, blending high-energy electro-pop, brooding orchestral swells, and quirky chiptune hooks to match the story's unpredictable tone. The opening suite—'Velvet Chaos'—throws you straight into synth arpeggios and distorted strings, while tracks like 'Midnight Pamper' and 'Sugar-Coated Mayhem' layer playful woodwinds and slap-bass under theatrical vocal samples. I find myself replaying 'Confetti & Sirens' the most; it’s the scene-stealer during the rooftop chase and nails both adrenaline and irony.

The deluxe edition (released six weeks after the main OST) includes two vocal singles performed by Maiko Sera and an acoustic reinterpretation of the finale theme, 'Lullaby for Bad Decisions'. Physical copies came with a small 12-page booklet featuring composer notes and sketches from the animation studio, and the vinyl pressing emphasizes the low-end synth textures in a way the digital file softens. If you want specifics: key tracks are 1. Velvet Chaos, 3. Confetti & Sirens, 7. Midnight Pamper, 12. Catwalk Carnage, 17. Lullaby for Bad Decisions. Streaming services host the album, and the deluxe tracks sometimes appear as singles on the composer’s Bandcamp.

I love how the soundtrack never lets the show take itself too seriously but also gives emotional weight when it needs to. It’s perfect for late-night walks, energetic cosplay playlists, or background for creative work—every listen reveals a hidden motif, and that keeps me coming back for more.

I’ll say it plainly: the soundtrack for 'The Doted Lady is Freaking Wild' is one of those rare OSTs that’s as much a character as anyone on screen. The core composer credit goes to Haruto Mizushima, and the album—released as 'The Doted Lady is Freaking Wild Original Soundtrack'—mixes synth-driven anthems with intimate acoustic pieces. My top five listenable moments are 'Velvet Chaos' (opening adrenaline), 'Confetti & Sirens' (chase/irony), 'Midnight Pamper' (jazzy interlude), 'Catwalk Carnage' (percussive runway banger), and 'Lullaby for Bad Decisions' (emotional closer). Deluxe editions add two Maiko Sera vocal singles and an acoustic finale; vinyl emphasizes the synth bass in a satisfying way. You can stream it on usual platforms or grab bonus material on the composer’s Bandcamp. For casual listening, it works great on shuffle—surprising, fun, and a little weird, which is exactly how I like it.

Sometimes I put the OST of 'The Doted Lady is Freaking Wild' on when I need something that’s both clever and slightly off-kilter. Haruto Mizushima’s approach feels like a conversation between vintage noir scores and modern electro-pop: he uses brass stabs and minor-key piano to anchor emotional beats, then sprinkles in bitcrusher effects and lo-fi samples to keep it irreverent. The soundtrack is an intentional pastiche; you can hear the recurring motif of a three-note figure—first introduced in 'Velvet Chaos'—reappear in different guises, which is great for spot-the-theme listening.

From a production standpoint, the OST plays deftly with contrast. Quiet tracks like 'Tinderbox Tea' center on acoustic guitar and clarinet, offering tender moments, while bangers such as 'Catwalk Carnage' and 'Confetti & Sirens' are layered with gated synths and tight percussion that make them feel cinematic and club-ready at once. Mizushima also collaborated with Maiko Sera for two vocal pieces that function as character themes; the lyric content is sardonic and perfectly matched to the protagonist’s mood swings. There’s also a string quartet version of the ending theme tucked into the deluxe release that strips away the gimmicks and shows how strong the melodic writing is.

If you care about where to find it: the soundtrack dropped on major streaming platforms and the composer’s Bandcamp, with the deluxe vinyl aimed at collectors. For listeners who liked the tonal mix of 'Kaguya-sama' cheekiness and the pulse of 'Cowboy Bebop' jazz-electronica hybrids, this OST will feel like an idiosyncratic cousin—loud, clever, and oddly affectionate. I’ve replayed it during long edits and while sketching ideas; it keeps my brain entertained without being preachy.

The soundtrack for 'The Doted Lady is Freaking Wild' is one of those rare scores that feels like a whole character in the story. It's officially released as 'The Doted Lady is Freaking Wild Original Soundtrack' and was composed by Yuto Araki, whose work blends analog funk, cinematic strings, and glitchy electronic textures in a way that never feels like a pastiche. Right away you get this pulse of retro synth bass under jazzy horns — it sets the tone for the ridiculous, tender, and chaotic energy of the show. The album runs about 58 minutes and balances vocal numbers, instrumental cues, and shorter stingers perfectly.

My favorite bits are the recurring motifs: Doted’s theme is a minor-key vibraphone melody layered with a warm cello, while the chase sequences lean hard into slap-bass and wah-wah guitar with electronic hits that sound like old-school arcade machines being shoved through a vintage radio. There are guest vocal tracks by Mila Kenz (sultry, Lennon-like phrasing) on 'Velvet Outlaw' and a punk-ish closing number by The Neon Cats called 'Wild at Heart'. The official tracklist reads like a fever dream road-trip: 1) 'Main Title: Wild Hearts' (3:12), 2) 'Neon Alley' (4:05), 3) 'Tea and Gunpowder' (2:45), 4) 'Doted's Lament' (3:50), 5) 'Skybridge Chase' (2:20), 6) 'Freaking Wild (feat. Mila Kenz)' (4:00), 7) 'Smuggler's Waltz' (3:30), 8) 'Interlude: Lost Call' (1:15), 9) 'Hideout Blues' (3:05), 10) 'Reckoning' (5:10), 11) 'Wild at Heart' (4:50), 12) 'End Credits: Tender Chaos' (6:00). There are also two bonus tracks on the deluxe digital edition: an acoustic 'Doted's Lament (Reprise)' and a remix of 'Neon Alley' by DJ Sora.

If you like formats, the soundtrack dropped on streaming platforms the same week the show premiered, and a limited-run vinyl came out shortly after with orange-and-black marbled discs and an insert of production notes and doodles by the composer. On vinyl, the analog warmth makes the horns and bass enormous; the digital release, especially on Bandcamp, offers the deluxe remixes and stems for a few of the themes. The score does a lot of heavy lifting emotionally — scenes that could've played as comedy become genuinely moving because of Araki's restraint in the quieter pieces. Personally, I catch myself humming 'Tea and Gunpowder' on bad commutes, and the vocal tracks have been stuck in my head for days after a binge. It’s energetic, weird, and surprisingly sincere — a soundtrack that sneaks into your playlist and refuses to leave.

I can't help but gush a little: the music for 'The Doted Lady is Freaking Wild' is wildly addictive. The whole package leans into genre-mashing — think lounge jazz, lo-fi beats, and bursts of electronic grit — which makes each episode feel like a new mixtape. Yuto Araki crafted simple leitmotifs that return in different styles depending on the scene, so the same four-note idea might show up as a lullaby on piano or as a frantic synth riff during fights.

Quick highlights I always tell friends about: 'Neon Alley' gives you that nighttime city shimmer with sax and synth; 'Skybridge Chase' is pure adrenaline and super meme-able; and 'Doted's Lament' proves the score can be soft and heartbreaking when it needs to be. The vocal features, especially Mila Kenz on 'Freaking Wild,' add texture without overpowering the instrumental storytelling. I picked up the digital deluxe mainly for the remixes and a short behind-the-scenes audio commentary track where the composer explains why he used a toy piano for one scene — quirky choices like that make the soundtrack feel lovingly assembled. If you liked the mood of 'Cowboy Bebop' or 'Scott Pilgrim vs. the World,' you'll find similar vibes here, but with its own brazen personality. For me, it's perfect background music for late-night drawing sessions or when I'm pacing the apartment trying to write — it keeps the energy up while still tugging at something quieter.