As raved about over Twitter just a short while ago, subscribers to Hulu Plus can now enjoy the recently released HD edition of Mamoru Oshii’s classic adaptation. Now alongside the later (and equally thrilling) television series’, Koukaku Kidotai has itself a nice little home base with the mega streaming service. Debate no more about Hollywood film renditions, irrelevant casting controversies, and just drink in why Production IG and company have Masamune Shirow’s crowning achievement well in hand with its exploration of political intrigue, cybercrime, and groundbreaking hybridization between science fiction and faith.
Memories come rushing back during Ghost’s initial US art house theater run via the folks at Manga Video, and just how well LA audiences reacted to Oshii’s vision. A vision that until this point was largely either unknown or patently ignored by westerners. Coming hot on the heels of the ultra-personal Patlabor 2, Ghost was a pretty unexpected theatrical and home video success story stateside. And considering the cinema world pre-Matrix, this somber and flawed mood poem had so much stacked against it, save for those who knew what a terrific coup between director and material this was. And when I say flawed, I mean this as pure compliment. Before INNOCENCE veered into near ancient library obscurity, Ghost finds itself beautifully poised between crime thriller and existential voyage. And despite it’s occasionally jarring three segment structure, it’s pretty hard to impossible to envision it work any other way.
It is Oshii at his thoughtful, grounded best.
This is especially cool news since the only version Hulu has had available for years was the irksome 2.0. Rust color and unnecessary bad CG no more!
JAM Project, one of the biggest anisong “supergroups” in the industry, was founded in order to further the genre of anime songs specifically. Consisting of a number of veteran anisong singers, today it now comprises founding members Masaaki Endoh and Hironobu Kageyama, as well as Masami Okui, Hiroshi Kitadani, and Yoshiki Fukuyama, who all joined between 2002-2003. They are best known for songs for shounen action shows such as Cardfight Vanguard, Nobunaga the Fool, GARO, and New Getter Robo, as well as video games like Super Robot Wars. Their operatic rock seems to fit those genres especially well.
Unfortunately, the audio for our transcript recording was sometimes fuzzy so not all attributions were 100% clear. Apologies for lack of clarity on those questions and answers.
We started by asking Masaaki Endoh about his famous predilection for bringing instant noodles with him on tour.
Endoh-san, what kind of instant noodle did you bring this time?
Masaaki Endoh: Six different flavors of mini-sized ramen! But I don’t have a water boiler due to luggage weight limits, and unlike in Japan, they don’t have hot water dispensers in every room.
Your stagecraft and style of music is very theatrical and almost operatic. Is that a reflection of the sort of anime that you do music form or is that your natural style?
Hironobu Kageyama: Actually it is influenced by the type of anime the songs are for. So if it’s anime that has robots, like Super Robot Taisen where there’s a lot of fighting and energy, the songs will be influenced by that.
How do you think your style has adjusted over the past 15 years?
Kageyama: We don’t so much change our style as look for something new to do.
So would you ever do a song for a moe anime?
Kageyama: If someone ever asked us to, sure. We have girls in the band. [looks at Masami Okui] But we don’t ever get asked to do that sort of thing…
How do you relax when you’re off jam project? Individually? Or collectively?
Kageyama:We always like to talk together sometimes. Outside of music…well, we always thought about making our own jam. Jam Project jam!
What flavor of jam?
What secret hobbies or hidden talents do you have?
Kageyama: I’m the oldest, so working out is my hobby. Recently I’ve been cycling and scuba diving. And this year, I’m challenging myself to train for a short distance triathlon. Hiroshi Kitadani: The fans on twitter probably already know this, but my hobby is cooking. I do it every day, and when I make my own dish and drink alcohol, it’s very relaxing and therapeutic.
What’s your favorite dish?
Kitadani: Oden! It’s easy to make. Masami Okui: As for [my hobbies], in Japan or all over the world, I like to visit “power spots”–places with spiritual energy. In Japan, that would be shrines or temples I love. When I’m off work, I go there a lot. This year, though, I want to go to Mt. Shasta. Yoshiki Fukuyama: I have no hobby. So my hobby now is to look for a hobby. Endoh: I love animals, so I have a lot of pets. It’s a dream that I want to be surrounded by animals in a big place.
Kageyama-san, you said last year at Anime Boston that you started the band when anisongs were in decline . Do you think the anisong industry has revived since then? Where do you see it going?
Kageyama: Anime songs are much more popular popular in Japan compared to 10 years ago. There are a lot of live events and concerts now and the audience has increased a lot. And variety of artists have shown up. So, it has changed a lot over the course of 10 years.
Who is the first musical artist that grabbed your heart?
Kitadani: I love Kiss. Kageyama: I love Motley Crue. Fukuyama: I love Deep Purple. Okui: I love Kageyama’s vocal band, Lazy. Endoh: I love the Beatles.
You’re all at Las Vegas now, do you plan to gamble and do you feel lucky?
Okui: Living is a gamble. Kageyama: I don’t feel the urge to gamble. But if I was, I’ll pull a slot machine handle once. Kitadani: It’s a little scary, but I would like to try roulette. Try betting on black. Ehh, really but what about red? You can split it 50/50, like your hair! [Laughter–ED: Kitadani had colored half his hair red, as in the picture at the bottom.] Fukuyama: I never tried gambling, but I have seen it a lot in movies, so I like to try it like they do it in the movies. Endoh: I like hitting the jackpot.
You’ve done a lot of songs for sentai series. What are your sentai colors?
Kitadani: [points to Kageyama]: He’s red. Kageyama: Oh, I’m red, huh? Okui: I’m pink. Endoh: I like red, but red’s been taken, so I’ll be green. Fukuyama: I’m blue. Kitadani: I’m yellow.
The interview was conducted by Jeremy Booth with additional questions by Michael Huang. Rome Yamashita, Raymond Hu, and Linda Yau translated from the audio for this transcript.
Yoko Ishida has been actively singing anime songs since her recorded debut in 1993, Sailor Moon R’s ED “Otomo no Policy.” She has sung songs for series as wide as Ai Yori Aoishi, Strike Witches, and most recently the first OP for Shirobako. At the Lantis Anisong Festival in Las Vegas, in addition to her own songs she also covered the Haruhi Suzumiya insert song “God Knows.”
When did you decide to sing anime songs?
When there was an anime singer contest. I auditioned for that–and won!
The Grand Prix 1990, right? What was your winning song?
The assigned song was from Maple Town. And the free song I chose was by Imai Miku.
What was like to prepare for your recording debut with “Otome no Policy” (the Sailor MoonR ED)?
At the vocal booth, I entered alone. It’s a solitary process, so when I record a vocal, I imagine that I’m singing in front of a huge audience.
Were you nervous?
I get nervous every time!
You’ve done a lot of songs. How do you choose which ones to do at each performance?
For example, like this performance in Vegas or elsewhere abroad, I choose whatever songs are popular in that local area. And I also take into account what songs fit in outdoor or indoor venues.
Do you have any hidden talents?
I don’t have any…[but] I love traveling abroad privately. Now I go abroad for work, but since I love traveling, I still feel happy.
Can you tell me which anime moved you emotionally?
My debut song was in Sailor Moon, but recently I was moved by Strike Witches. Those girls work so hard. They fight hard and build their friendship, and that kind of story moves me.
How do you translate those feelings into a performance?
Many times that the lyrics tells a story and the girl’s emotion, so when I sing, I put emotions into the lyrics, and I remind myself of the first scene [in the story], which raises the right emotions.
I love your opening for Shirobako, “Colorful Box.” Based on what you know, how realistic is that show in showing the anime production process?
The people I know in the industry say “oh yeah, that’s true, that happens!” when watching that show. So I think it’s close to reality.
What other anime you watching?
I don’t watch a lot recently, but I did enjoy watching Strike Witches.
Who is your first music love?
My mother loved old Japanese pop songs. Lyrics were sung very clearly in the old days, so now I sing lyrics very clearly too.
Do you plan to gamble tonight?
Yes, on the slot machines!
Are you feeling lucky?
Yes I will today, since I lost yesterday. (Laughs)
Michael Huang conducted the interview, with assistance by Jeremy Booth. Raymond Hu provided on-site translation. The full interview was translated by Rome Yamashita.
ChouCho is the singer of many recent anisongs, including songs for Fate/kaleid Liner Prisma Illya, Heaven’s Memo Pad, Glasslip, and Mashiiro Symphony. She got her start singing Vocaloid covers on Nico Nico Douga and quickly established a successful solo career in recent years.
We started off by asking her about a sandwich from the Hard Rock Cafe (the concert was held there) she tweeted a picture of the day before, marveling at the size of it:
What do you think about size of the food here in the US?
It’s double the size of Japan’s.
Aside from American food, we understand you’re from Osaka. What kind of food from Osaka do you like?
I want to eat takoyaki sometimes!
Let’s go back to the start of your career. You sang anisongs even as early as high school.What anime did you like back then?
I used to copy J-pop songs then [actually]. After graduating from high school with the band I had, that was the first time I copied anime songs.
Any particular ones?
Evangelion and Aquarion–songs by Yoko Kanno and Maaya Sakamoto.
What inspired you to post videos on Nico Nico Douga?
When I was in an anime song cover band, we entered a local anime song event in Osaka. And the other band’s vocalist was posting their songs on Nico Nico, which was the first time I heard about anyone doing that. That inspired me to do the same.
Any particular Nico Nico artists you liked?
Vocaloid composers, like supercell.
Any favorite supercell songs?
The most played song on Nico Nico was “Hajimete No Koi Ga Owaru”. [ED: Below is her cover of the song.]
Did you feel you were adding something unique by covering Vocaloid songs? They start out as a software voice, after all…
Hatsune Miku is a machine, so it doesn’t have emotion. Even without vocals, the song itself has enough charm to convey [emotions] directly, so when I did the cover, I was thinking a lot about how to convey the charm of the songs through my performance.
Tell us about how you got chosen to do the KamiMemo OP.
They were looking for a singer to do OP for KamiMemo, and I was selected from various candidates. They saw my NicoNico videos and that’s how I got vetted, and I feel I was very lucky.
How do you prepare for a performance like the one you just did?
I practiced at home a lot, and practiced English MCing. I studied English in Canada for a half year. But that was 5 years ago, so I almost forgot all my English. It’s been a long time since I went over English and I was nervous about it.
The anime you sing for features a lot of cute girls. Who are your favorite cute anime characters?
It’s difficult to say! I put a lot of energy into each anime I sing for, so it’s hard to choose. If I have to choose, it’s Alice from KamiMemo.
Do you have any image in your head when you sing?
Since it’s main theme song, I have to become the character’s feeling, in order to express.
This is the first of several articles/interviews about the Lantis Anisong Festival, held a month ago in Las Vegas in conjunction with Otakon Vegas. Interviews and videos coming later during the weekend.
This article is based on the second day of the festival on Saturday January 17.
There was a certain clockwork efficiency to the Lantis Anisong Festival in Las Vegas, with the way each act came and left the stage in relatively rapid succession. It had to be, given that there were about a dozen acts reprising anime song favorites, 2-3 songs per artist, who sometimes doubled up and collaborated (as ChouCho and Sayaka Sasaki did). Despite being all managed by the same record label, a great diversity of anime was also represented, from pure shounen action (such as with the headliners JAM Project and solo performer Hiroshi Kitadani with songs from One Piece) to otaku fan service comedies (Bamboo, singing the OP to Baka Test “Baka.Go.Home”), to moe parody (ChouCho‘s Fate Prisma Iliya OP “starlog“), a cover of Haruhi Suzumiya’s legendary insert song “God Knows” by veteran singer Yoko Ishida, and even the Power Rangers theme song at one point with JAM Project founder Masaaki Endo. The presence of a stage band anchored the live musicianship consistently, with only other full bands like Yousei Teikoku needing to take the stage with their own players. Full, live musicianship is relatively rare at convention concerts, so hearing nearly four hours of actual performed music was a treat.
And yet this was not a convention concert in the usual sense, despite the festival’s ties to concurrent Otakon Vegas: it had its own management, ticketing, and arrangements, but both logistics and logic dictated some overlap. Its relative independence proved a boon, because the general convention audience and the audience that would “get” the majority of these songs do not necessarily overlap: there were relatively few cosplayers in the audience, for instance, and many of the songs played were from obscure-in-America properties, like the original live-action GARO. The truly committed had paid over $100 for VIP tickets, and many of them were decked out in traditional otaku fan garb: glowsticks, headbands, and coordinated gestures. Buying a VIP ticket also entitled the holder to high five the artists on the way out of the venue, a touch opportunity that is generally coveted highly in Japan, the subject of lotteries and contests. This was the Anisong Festival’s only non-Asian stop and it was Asian-style fandom that was fully on display.
As for the performances themselves: they were, above all else, consistent in their high level of musicianship and singing, with sacrificing the distinctives of each artist. Standouts include not only the highly energetic headliners JAM Project, with their excellent operatic singing and rock god poses, but the exuberant bamboo (milktub). As he sang the Baka Test OP, he clambered down from the stage and simply started mingling with the crowd–not just the VIPs!–singing all the while with his wireless microphone, high-fiving everyone. He carried and showed off a body pillow. Bamboo came off as a man who has truly embraced anime music as a culture, perhaps a job requirement given his other job as the head of MangaGamer but deeply felt all the same. Sayaka Sasaki, who we saw last year at Otakon Vegas, also gave a spirited performance, though the more restrained ChouCho slightly edged her out in vocal consistency. Both were equally charming though during their joint performance of “Enter Enter Mission!”, the ED to Girls und Panzer. Faylan, who sang the OP to the Nasu-conceived PA Works action series Canaan, showed off some great choreography skills along with aggressive singing.
Perhaps the hardest rocking performance was given by the goth metallers Yousei Teikoku, who at one point seemed to be launching into something resembling the intro to Metallica’s “Masters of Puppets” before proceeding into one of their own songs, “Kyuusei Argyros” (the ED of Tokyo ESP). Many heads banged along. True to their image, they played the aloof, too-cool-for-school part, even during the final ensemble festival anthem “Starting Style” where all the artists took the stage at once: perhaps a bit too syrupy for their taste? The singer did induct all the audience into her Fairy Empire however, and in a show that featured much more pop and light rock, their heavier sound was welcome.
A few more words about JAM Project and their associated members, Masaaki Endoh and Hiroshi Kitadani. Perhaps no other act embodied the spirit of the festival and its purpose than them, a supergroup started explicitly to carry on the spirit of anime music. The two leads, Endoh and Hironobu Kageyama, are veterans of the industry whose operatic metal-influenced voices practically defined a generation of shounen, super robot, and tokusatsu animes, shows, and games from the 80s-90s onward. That sort of anime is now only one type of many in today’s media landscape, and arguably garners less immediate commercial attention than the cute/moe aesthetic typically favored by today’s otaku (the sort of anime an artist like ChouCho sings for, for instance). Their sheer performance chops are undeniable, however, and they were absolutely the correct act to close the afternoon: after seeing them belt out passionately, jump and wheel about on stage, working in near perfect coordination, one feels almost as pumped up as they evidently were. For an evening that started with the purely artificial Hatsune Miku, the end was about the power of raw, organic performance, the essence of what rock music has always been about. It is an “anime” music festival, yes, but it is a “music festival” too, and all in all it succeeded being that just as much as being a celebration of anime.