Why is the music of “Zombie Land Saga” anime unique? The creator talks about the other side

This is the second short-term intensive serial interview focusing on the music side of the TV anime “Zombie Land Saga Revenge” currently being broadcast.

This time, Taro Imafuku, producer of Avex Pictures Co., Ltd., and Koji Sato, music producer (Scoop Co., Ltd.) Music), we talked to composer Yosuke Yamashita. As in the last time, not only the episode about the music but also the hot talk unique to the production team was held. The ending song “Zombie Land Saga LIVE-Franchouchou LIVE OF THE DEAD” R “, which was composed and arranged by Mr. Yamashita, was held in February. It’s the song that was first unveiled. Imafuku: Actually, it was assumed in advance that this song would not always be played in every episode of the anime, and I thought it was a waste because it was a very good song. So I wanted to give this song a special meaning, and with the meaning of a baton pass to the broadcast starting in April, it was the first live performance a little earlier. Yamashita: I see. happy. -When you asked the cast members what they thought after the live, did you all say that you feel nostalgic, and did you think about that when composing? Yamashita: That’s right. So was the order itself. Just when I was in elementary school, my older brother and sister, who were eight and seven above, had a lot of CDs, and it was the sound of the songs I used to listen to at home. In the sound library in my head, the taste that was input in the relatively early days it’s the sound of. So, rather than forcibly digging it up, I got the impression that it was made with a straightforward approach. Sato: Basically, all the production teams are close in a generation, so when we had a meeting about what to do with the ending song when someone suggested that it didn’t feel like this, everyone got excited. Since the generations are close, the common language is also close. And it seems that Takashi Masuzaki, who is playing the guitar this time, will be even more active from the initial image (laughs). Yamashita: Also, I happened to be in a support band for Keiko Utoku around 2010, so I might have had a hint that I often played songs with that kind of taste. Right.

I was able to naturally bring out what was inside me. Yamashita: That’s right. It took about two round trips between me and Sato. This is an aside, but this song was made just last summer, and it was the time when I moved and the time when I made it. I moved to a room full of cardboard boxes, and I made it all at once with a compact set of a computer, a small mini-keyboard, and an acoustic guitar. Sato: I was closer to the sea than where I lived before, so I felt the smell of the sea (laughs). Yamashita: Tatsumi in the play It’s not the composition style that Kotaro does in that mansion, but I think it’s just like Kotaro. Sato: What do you mean? I don’t really understand (laughs). Everyone: (laughs). -Mr. Yamashita, do you start writing songs from the guitar? Yamashita: No, it’s not decided. Sometimes it’s the keyboard, sometimes it’s from the humming. How was this song? It may have been a humming song. I think I made it while remembering my elementary school days. -How does Mr. Sato convey the order from the production side of the work to Mr. Yamashita? Sato: It depends on the order, but for this ending song, I just don’t say “It would be interesting if it was such a song” that I talked to the production team! I felt like telling. Yamashita: As far as I read the previous article, I imagine that it was probably the opposite of the opening song (“Okawa, cry with me”). Sato: In that sense, my order may have been sloppy (laughs). Regarding the ending, I didn’t chew it into small pieces and talked about it, but I just wanted to make a song like this. Yamashita: One thing I just remembered was that when it was a full-size song, I wanted to get a little more excited as I headed toward the last chorus, and the breaks increased by one bar (laughs). Sato: There was. I forgot (laughs). It’s a deformed 90’s feeling, but if it was that time, the break would go once more (laughs). Yamashita: If you want to add it later, please mention the snare. Because it incorporates a lot of effects such as gated reverb, which is rarely used these days. I had a person named Taro Yoshida perform it, but I miss it even at the scene! (Laughs) Sato: The drum set was also a tom single head (with the head on the back removed), which was popular in the past. However, I’m not telling you to do so from here (laughs). You should do it, right? Mr. Yoshida brought it to me. Yamashita: I had never applied gated reverb to that extent in my career, so it was a lot of fun. The engineer is Yuji Tanaka, who has been doing “Zombie Land Saga” for a long time, isn’t it? What, Gyun! Ban! Like (laughs). Sato: (Laughs) Well, it’s a sound I haven’t heard these days.

It’s one of the approaches that you mentioned earlier, like the deformed feeling of the ’90s. Sato: That’s right. I hadn’t thought about it that much, but why not apply gated reverb here? Someone said. At that time, I was recording several songs at the same time, but everyone started to get excited and it seemed to be fun. Yamashita: (laughs) Sato: There was a place where the musicians were able to move forward. As for Mr. Masusaki’s guitar, which I mentioned earlier, I thought it wouldn’t be necessary to have that much, but it was interesting, so I said “Well, I’m sorry” (laughs). -Basically, do you feel like recording with a live instrument? Sato: It feels like recording if necessary and not recording if not necessary. I didn’t record the drums for the opening song. It feels like I’m going to record the songs that I think the raw groove is better for like a song. I’m not doing anything like recording for the time being, so I just need what I need. So overall, the proportion of raw music may be small compared to the recent animation music situation. -Is it from the previous work? Sato: That’s right. I didn’t want to record anything I didn’t need (with a live instrument), including the previous one. It’s more of a song than a budget story. If you think that the synth bass is cooler than the raw bass, it’s still a synth bass, and even if the drums are raw, for example, it’s better to type in the sound image. For example, I’ll talk about how to type in. -Thinking about that, this ending song has this atmosphere because the song seeks this kind of approach. Sato: For things like the ending and the insert song “Do you hate windy days?” Or something that wouldn’t happen unless you recorded it live, you should record the drums and bass properly. Then I also recorded wind instruments. Yamashita: Lily at the beginning of the song (CV. Minami Tanaka) was addicted to it. Imafuku: In that sense, the fifth episode is particularly impressive, and the main story ends with Lily’s solo cut, and it leads to Lily’s solo vocal with the song as it is, so the emo is doubled and you can listen to it. And I think you are. Also, Lily’s voice quality played by Mr. Tanaka (Miami) sometimes accompanies a certain kind of sadness, so it matches very well with the ED singing that is the closing song of each episode. Sato: That’s right. Yamashita: Certainly. It sounds nostalgic for some reason. -In the sense of nostalgia, it’s a song that reflects Mr. Yamashita’s original experience, so I’m glad that it was well synchronized. Yamashita: That’s right. Sato: After all, it seems that this song can only be written by someone who has lived near the sea. Yamashita: Was that so? (Lol). Sato: I was born and raised in a prefecture without the sea (laughs).

Another song, “Days with dreams and no place to return,” and the song that Mr. Yamashita is involved in, include the insert song “50 and 4 Forgotten Things” in the third episode. This is also a very good song, isn’t it? Sato: There was something I wanted to do in my order, and I think that if I talked to other people about it, it would be what I expected. But maybe Yamashita thought that he wouldn’t leave it as it was, so I think he had a choice in that area. When I was wondering how to prevent this from being left as it is, I was asked to write it to Yamashita. Yamashita: I forgot, but there was one song that was stored in the demo. Sato: There was! The song on the table right now is the second song in the demo. The song I wrote at the beginning was stored because I wanted to make it a little darker. Yamashita: Oh yeah, was that the case? Imafuku: That section is … (bitter) However, I have a desire to put it out in some form someday. Everyone: (laughs) -I think that the voice of Mr. Kawase (Maki Kawase: Junko Konno) is a powerful accent in “50 and 4 Forgotten Things”, but it was written assuming that Mr. Kawase will sing. Was it? Yamashita: Of course, that’s right, but I never imagined that the song would come back like that. Sato is in charge of the song recording, so I send the recorded material to the writer and finish it myself. So, this song has a song that is very behind the tempo grid. As I build up my career in this job, when I listen to the data sent to me, I can tell from the sound that there was such an exchange in the studio, or that it was such an atmosphere. What happened to her song data? What? Sato: (Laughs) Yamashita: Last year’s final work was completed according to the song data of “50 and 4 Forgotten Things” sent to me. It was to play the gi. In turn, she sang for what I was originally playing in the demo, and then I played the acoustic guitar again to finish it off. So this is what it means? When I played it, Sato said, “I want to make it a different, more sticky song.” In other words, I matched it to the song, so I didn’t have to match it the other way around. In response to that, I extended the day of work payment by one day and played it again the next day. Sato: Well, the guitar went along with the song. It was good to sing behind the performance, so I asked him to play it again with the same feeling as the guitar I was playing temporarily. Imafuku: Is it also influenced by adjusting the vocal keys? Sato: I think that’s what happened because the key was lowered from the state that was originally prepared at the time of recording.

Did you give any advice to Mr. Kawase when you put this song in? Sato: You didn’t talk about that in detail. Well, it’s like this, I asked him to sing like that, and then it’s like that, then it’s more like this. It’s difficult to explain (laughs) Yamashita: It was like that. Sato: After that, I just adjusted the darkness and brightness of the voice on site. If it gets too dark, it will be a grudge song. The lyrics have that atmosphere, but I don’t want to shake it off to that extent in terms of meaning, so I decided on the voice of that area, or how to sing, while interacting with Mr. Kawase several times. It’s like that. -Mr. Yamashita also wrote the lyrics. Yamashita: That’s right. -Did you have a specific order for the lyrics? Yamashita: Certainly, by wanting to sing a very vague thing with a floating feeling, it is not about focusing on something or having any conclusions, but ordering that even if it finally starts, it will finally end. was. When I write a song, I value the shape (laughs). Think about the lyrics for this song at a modern coffee shop in Musashi Kosugi. -In the play, it was a scene of singing on the roof, but it has a Showa era feeling, including the world view of the lyrics. Sato: The microphones for vocals and the equipment used for MIX are old equipment that would have been used even in the 1980s. Maybe the song motif itself isn’t in the ’80s. Yamashita: Song motif? I think it’s more universal than a sense of the times. Sato: I wonder if it would be nice to have that kind of atmosphere in a total atmosphere. The form of having a piano and a harmonica in the process of that acoustic guitar probably doesn’t feel like the ’80s. In the ’80s, I think it was Takuro Yoshida or a fork only for acoustic guitar. -Is it like new music? Sato: It may have new music feel to it, but in the end, it became like an artist song. Even if you give it a feeling of the 80’s too strictly, it seems that it will not be clear, and since the work is originally a fantasy, I thought that it would be nice if the animation and the whole song had a soft feeling of the ’80s. Yamashita: To put it bluntly, I’m aiming for a universal sound, as I said earlier, and I feel that Junko’s song has made the sense of the times even more apparent.