I really didn’t know who he was or what kind of person he was or any of that, but… In those days I used to knowingly create compositions that would appease or gain favor from the judges of the competitions. I was very young at the time and my memory of the incident is sparse. I heard it was around this time that you were given advice by Yasushi Akutagawa? Just songs about impressions from very basic natural observations such as “Oh, it’s a beautiful morning” or “Spring is so wonderful.” You said earlier that you used make original songs when you were little. People say my music sounds “vast” or “religious,” so I wonder sometimes if maybe my childhood experiences have permeated my music, but it’s not like I go out of my way all the time to create a sound that makes people feel that way. Respect and awe towards an imminent being or force. Well, that was how I was drawn to Christ, but this feeling of yearning towards offering music to an all-powerful, all-creating God or natural force is, I feel, the most primitive human impulse. Hymns were songs that gave praise to Christ which I saw in this way, but they also say, “Thou shalt not take the name of the Lord thy God in vain,” so being a small child I thought, “Oh, I’m not supposed to sing these songs too much when I’m not at church…,” but of course I wanted to, so I’d hide in the closet and sing very quietly. Very sculpted features, he was all-round good looking. I used to see him in picture books and was like “How wonderful!” I was a fan of Christ when I was in kindergarten.
The lyrical content of hymns are usually in praise to Christ, which I feel is also a very primitive expression. This is because I feel religious music, to Europeans, is one of the first forms of music they come in contact with – music that becomes the foundations for their beliefs and life. Having these foundations, my heart has returned to Europe recently, in a way. So hymns were the first “existing” music I ever played. There was a piano at my house and I was like “What is this?” I simply played when I felt like it and made original music. You were able to play a keyboard even back then? My kindergarten was Catholic, and the teacher was not very good at playing the organ, so I did. My first musical memories go back to hymns during church. Well, I started becoming a “contest bandit” after the second grade of elementary school. Kanno, it is said that you won multiple awards at composition contests in your younger years.
In this rare interview, Akihiro Tomita goes in-depth on the many projects of her career thus far. These descriptions are both accurate, as it speaks to the complex and multi-faceted nature of the sounds which she creates. Musicians who are familiar with her work often give polarized characterizations of Kanno as either being witch-like or extremely innocent.
COWBOY BEBOP TANK SHEET MUSIC BASS TV
As a music producer, she has overseen the career of Maaya Sakamoto as well as providing music for Kyoko Koizumi, YUKI, and SMAP among others, while also producing scores for NHK’s TV novel Gochisosan (2013). Her latest work for Terror in Resonance (2014) was recorded in Iceland, mixed in England and mastered in New York, speaking volumes about the lengths she takes to find and create sound that accompanies her subject matter. She followed up with the soundtrack for Cowboy Bebop (1999) which utilized elements from funk, soul and jazz, as well as the digital soundscapes from the Ghost in the Shell: Stand Alone Complex (2002), and the music for Macross F (2008) which swept Japanese music charts. Her splendid orchestrations in combination with vocals, tribal, techno, and breakbeat elements were original to say the least, and garnered accolades from many throughout the Japanese music scene. The career of the producer who “changed the history of anime music” became widely recognized in 1994 with the score to Macross Plus. Anime has steadily grown in popularity since the ’90s, and Yoko Kanno is one of the most famous musicians working in the genre.
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