![]() ![]() There were times when I looked at the singles chart and found that my song was not selling well enough, and I thought, ‘Well, I might have to write a J-Pop style song next time’, and got a little anxious. “It always comes down to the idea that you still pursue what you feel is right with your sound. The main theme or character theme always plays a significant role, so I strengthen that before starting anything else.”Īlongside his film projects, Hiroyuki always fostered a desire to work on vocal music too, so he created the project to provide a vehicle for his own unique interpretation of pop. In some cases I start by creating rhythm parts or a melody. According to this menu, I start composing in the DTM (Desktop Music) environment, finish up the main song representing the whole soundtrack, and then construct the other parts. Hiroyuki’s close relationship with the world of animation started with the Mobile Suit Gundam Unicorn series, which established his credentials and led to other high profile anime projects including Attack on Titan and Guilty Crown.ĭescribing his approach to film scoring, Hiroyuki says “Basically, I set up a meeting and have a team to come up with a music menu, then discuss the direction with the director. So that inspired me to start focusing more on composition.”Įmerging from music college, the young Hiroyuki started pitching himself for musical projects while absorbing influences from Ryuichi Sakamoto, Joe Hisaishi and Yoko Kanno, as well as international film composers such as Hans Zimmer and Danny Elfman. At middle school I started to listen to TM Network, and I particularly liked the band leader, Tetsuya Komuro - who had been writing for multiple projects, including movie scores. I was fascinated with his songs, and at that point I started to dream vaguely about a career in music. “As a young student, my first musical influence was the singer Aska.
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