Centimillimental Releases “kanawanai,” the Opening Theme for Hello, I Am a Witch and My Crush Wants Me to Make a Love Potion!

The new song is now available digitally ahead of Centimillimental’s November double A-side single, “kanawanai / I miss you so much it's killing me.”

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Centimillimental has released “kanawanai,” the new opening theme for the 2026 TV anime Hello, I Am a Witch and My Crush Wants Me to Make a Love Potion! The song is now available digitally as of October 7, giving fans an early listen before the artist’s upcoming double A-side single arrives in November. The anime premiered on October 5, with Centimillimental’s song serving as its opening theme. 

The new track continues Centimillimental’s long association with anime music, following the artist’s work on Given and other anime productions. “kanawanai” pairs a catchy melody with a colorful pop arrangement and prominent strings, creating a sound designed to reflect the romantic uncertainty at the heart of the new fantasy series.

The song is also notable for its title, which carries two different meanings in Japanese. Centimillimental uses both interpretations to explore the tension between wanting someone deeply and confronting the possibility that those feelings may never be fulfilled.

Centimillimental’s “kanawanai” Explores Uncertain Love

The Witch Asked Me to Make a Love Potion for the Person I Love_Anime Key Visual_Copyright Required_©Eiko Mutsuhana_Futabasha_Witch Love Potion Partners

“kanawanai” focuses on a narrator caught between longing and uncertainty. Its lyrics express the desire to continue loving someone despite circumstances that make the relationship difficult, while the dramatic arrangement adds greater emotional weight to those feelings.

The track was co-arranged by Centimillimental and Ryo Hanai. Its strings and dynamic pop production complement the emotional premise of Hello, I Am a Witch and My Crush Wants Me to Make a Love Potion!, which follows the witch Rose after the knight she secretly loves asks her to create a love potion for someone else. 

The second lead song, “I miss you so much it’s killing me,” takes a considerably more energetic approach. It uses a driving band sound, unusual rhythms and rapid musical developments to portray the restless emotions of someone consumed by love and unable to see the person they desire.

Centimillimental also uses humorous metaphors in the song to capture the chaotic side of falling in love. The contrast between the two tracks gives the upcoming release a broader musical range while keeping romantic longing at its center.

“kanawanai” Single Release Date and Tracklist

Centimillimental new songs JK

“kanawanai” was released digitally on October 7, 2026. The complete double A-side single, titled “kanawanai / I miss you so much it’s killing me,” is scheduled for digital release on November 17.

The release contains six tracks, including instrumental versions of its three main songs.

Tracklist

  1. “kanawanai”
  2. “I miss you so much it’s killing me”
  3. “Haizitsu”
  4. “kanawanai -Instrumental-”
  5. “I miss you so much it’s killing me -Instrumental-”
  6. “Haizitsu -Instrumental-”

Centimillimental is the solo project of Atsushi, who handles vocals, piano, guitar, programming, songwriting and composition. He made his major debut in September 2019 with “Kizuato,” which was selected as the opening theme for Given. The song has since surpassed 50 million streams worldwide.

His connection to Given continued through the anime movie, while his other work includes themes for Backflip!!, the drama Hitomonchaku Nara Yorokonde! and the Japanese-dubbed version of The Scum Villain’s Self-Saving System. His “Fuyu No Hanashi,” performed by the in-anime band Given, has also surpassed 160 million streams worldwide.

Centimillimental expanded his international presence with overseas touring beginning in 2024. “kanawanai” now adds another major anime opening theme to his growing catalog.

Verified since 2024 Senior Content Writer

Dan Whitfield is a Senior Content Writer at OtakuKart who specializes in box office analytics, ratings trends, and streaming performance breakdowns. His reporting centers on data interpretation, examining how audience behavior shapes studio strategies and platform decisions.

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