Fafner in the Azure Composer Interview: Tsuneyoshi Saito | ‘An Orchestral Chain Reaction’

The following is an official translation of an interview conducted with composer Tsuneyoshi Saito regarding his work on the mecha anime franchise Fafner in the Azure. It was published in the liner notes of the now out-of-print soundtrack album ‘NO WHERE’, released by Geneon for the North American market.

The music composed and produced for Fafner in the Azure presents an unique viewpoint on the international traffics of anime production: Saito opted to record the soundtrack for the anime series abroad with the renowned Polish orchestra, the Warsaw Philharmonic, for what he refers to be a willfully classical compositional process, and thus providing Fafner in the Azure with a sonic experience that references the symphonic scope of a Star Wars score.

(Note: the interview also featured producer Go Nakanishi from King Records.)

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Violet Evergarden Fanbook Interviews: Akiko Takase | Highlights, High Heels & Suspenders

In this latest series of interview translations, ATMA & Funomena will be presenting comments and observations of three prominent voices from the production of Violet Evergarden, concluding with Chief Animation Director Akiko Takase.

These translations are offered to fans of the series as material supplements for the making-of documentary-style video by the YouTube channel Under the Scope.

The original interviews were conducted and published in the Violet Evergarden Official Fanbook.

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Violet Evergarden Fanbook Interviews: Haruka Fujita | Nurturing a Blank Slate

In this latest series of interview translations, ATMA & Funomena will be presenting comments and observations of three prominent voices from the production of Violet Evergarden, continuing with series director Haruka Fujita.

These translations are offered to fans of the series as material supplements for the upcoming making-of documentary-style video by the YouTube channel Under the Scope.

The original interviews were conducted and published in the Violet Evergarden Official Fanbook.

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Violet Evergarden Fanbook Interviews: Taichi Ishidate | Earnestness, Immersion & Subtlety

In this latest series of interview translations, ATMA & Funomena will be presenting comments and observations of three prominent voices from the production of Violet Evergarden, starting with director Taichi Ishidate.

These translations are offered to fans of the series as material supplements for the upcoming making-of documentary-style video by the YouTube channel Under the Scope.

The original interviews were conducted and published in the Violet Evergarden Official Fanbook.

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Liz and the Blue Bird Composer Interview: agraph (Kensuke Ushio) | The Quiet and The Hidden

The extraordinarily persistent anime series and franchise Sound! Euphonium gained a new entry, in the form of a cinematic spin-off Liz and the Blue Bird by director Naoko Yamada, hot off the heels of her high-profile A Silent Voice manga adaptation.

Also marking the second time they’ve worked together, Yamada enlisted Kensuke Ushio as the film’s composer, evidently the beginnings of a thriving professional relationship between two young and already prominent practitioners of their respective art forms.

The following is a translation of the interview with the composer, published at lisani.

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Violet Evergarden Composer Interview: Evan Call | From Berklee to Leidenschaftlich

An instant crowd-pleaser, in spite of the disjointed international release schedule by Netflix, Violet Evergarden is a labour of love for the tight-knit Kyoto Animation team. In search of music that can reflect the quiet intensity of the melodrama on display, Japan-based American composer Evan Call was instructed to construct the sentimental anchor of the entire production.

The following is a translation of the interview printed in the Violet Evergarden Original Soundtrack booklet, conducted with the composer and series music producer Shigeru Saito.

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agraph (Kensuke Ushio) Interview | ‘the shader’ & Electronic Melancholy

Kensuke Ushio is on the verge of becoming a household name in the western anime fandom, thanks to his exhilarating and sensitive contributions to numerous modern anime classics’ original soundtracks, namely Space Dandy (as part of LAMA), Ping Pong, A Silent Voice and the recently released Devilman: Crybaby.

However, Ushio already had a decade-old alter ego of sorts in his stage name agraph, which he adorns when producing and releasing his own solo albums, exploring the pure, unadulterated creative impulse within him. ‘the shader‘ is his third solo electronica album release.

The following is a translation of the interview conducted with the artist by Natalie Music.

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Princess Principal Composers Interview | Ryo Takahashi (Void_Chords), Yuki Kajiura

Princess Principal was an action-adventure highlight of Summer 2017, and a big part of this resonance with the fandom was undoubtedly the high-octane musical identities afforded to the production by its arranger/composer duo of rising star Ryo Takahashi (ACCA: 13-ku Kansatsu-ka, Classroom of the Elite), and prolific veteran Yuki Kajiura (Kara no Kyoukai, Fate/Zero, Sword Art Online, ERASED).

The following is a translation of the interview conducted with the two composers by Natalie Music.

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Sound Design of Woman Called Fujiko Mine with Sayo Yamamoto (Director) and Naruyoshi Kikuchi (Music Producer)

A short greetings, readers! This is not a blog post written by yours truly, unfortunately, but I did sorta have a hand in making this interview translation happen, and it deals with a subject that I’m evidently passionate about, as well as being shamefully underappreciated by fans (AND a fair share of creators/producers if I dare say so) of film & animation.

In addition to co-funding the translation by the ever so reliable karice, I was happy to lend my help on a few technical translations of musical terms.

Wave Motion Cannon

Karice avatarThis interview was posted on the website Tower on December 19, 2012. Originally published in intoxicate vol.101 (December 10, 2012). The interview has been translated by Twitter user @karice67 and cofunded by @NaChiKyoTsuki97 © 2017 Wave Motion Cannon


You can support the translators who you see on WMC by pledging on Patreon!

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Lupin III: The Woman Called Fujiko Mine has attracted lots of attention as the first Lupin III TV series in 27 years. The individual responsible for its soundtrack is Naruyoshi Kikuchi. Though this is a spinoff with Fujiko Mine as the heroine and protagonist, it is precisely because the maestros Takeo Yamashita and Yuji Ohno gave birth to “Lupin Jazz” that we are now keen to find out about the new blood that Kikuchi, the maverick of the Jazz world, has poured into the mix. And on the other hand, we have series director Sayo Yamamoto. Tag-teaming with…

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Pre-Concert Talk With Nobuo Uematsu: Symphonic Odysseys | Barbican Hall, 2017

Spielekonzerte (German for ‘game concerts’) certainly doesn’t sound like a new and flashy concept in the west, until you have the context to realise that it didn’t find its international attention until 2003 rolled over. Which was decades after the very first game concert ever held in 1987, led by the famed Dragon Quest composer Koichi Sugiyama at the Suntory Hall in Tokyo.

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