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.)
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.
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.
You know…I went into starting this post with snippets of ideas for the intro: something snappy, a humorously depressing comment on 2017, and end it with a cheesy flavour of hope. But instead…I ended up with this.
I think I’ve sampled more albums than I ever did in 2017: more varieties of artists both old favourites and new discoveries, an increasingly diverse set of classical repertoires, genres and origins. That comes with good news and bad news, and I think the good news is kinda obvious already. But the bad news: I’ve listened to less albums COMPLETELY than the past two years, since there’s always something I want to jump onto prematurely.
Nevertheless, I think it’s best I keep up this tradition of massive yearly reviews, where I get to highlight the world of background music, and to continue bastardising this idiotic concept that such music ‘shouldn’t be noticed’.
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.
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.
You can support the translators who you see on WMC by pledging on Patreon!
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
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…
Like I always say, there’s something inherently magical about film music. I wouldn’t miss it for all the unoriginality (I prefer the word ‘homage’) that it so proudly displays at every glorious turn or twist. So. Let us have our 7 minutes and 38 seconds of pure bliss, away from the politics, away from 2017. Let’s go back to 2016 for just another few moments.
(Yes. You can pretty much guess my winners from just reading the above paragraph.)
You know that time of the year, when suddenly jingle bells (the actual thing…and that damn song) started appearing in every shopping mall you visit? The television channels starts to air cheesy Christmas-themed comedies and cartoons every 7pm (I think this is the 9th year in a row I remember seeing Elf staring Will Ferrell getting a re-airing on TV), and you start to overhear Michael Bublé-performed Christmas carols being played in car radios as you strolled along your home street.
(Page numbers are below the ‘related articles’ section. Please excuse its odd placing, as WordPress doesn’t allow me to alter its position.)
Note: this publication is a highly extensive and lengthy endeavour that invite readers to refer back to for analytical ideas. In other words, it is written with a sea of wiki-style links to additional readings, clips and videos, endless subject matters, tangents and covers a lot of ideas. I recommend that you bookmark this page for future reference, whenever you feel the need for some creative writing ideas, or just some music-based observations you find difficulty in analysing or putting your ideas into words. I hope my efforts help you in that regard.
A few months ago, I went on a tweeting rampage:
Been watching a few game music concert streams on YouTube…sometimes I wonder about how scoring games is diff from scoring films.
For my third and final venture into the best of anime 2015, I determine the overall winners of the year.
Below are my meticulously considered titles and studios that will be competing for and winning the Funomenon Globe (Took me 5 seconds to come up with this name…so it’s AWESOME. Design & 3D render pending.)for Best TV & Film Soundtracks, Top-Performing Studio and Favourite Anime of 2015.