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anime movies first slam dunk In Japan, it was a big hit with box office revenue exceeding 12.2 billion yen (as of March 21, 2023).Encouraged by its success, the film’s ending theme, 10-FEET’s “Dai Zero Kan” has been in the top 10 on Billboard Japan’s Hot 100 song chart for 12 consecutive weeks.
billboard japan TAKUMA, the vocalist and guitarist of 10-FEET, talks about his thoughts on the production of the theme song and accompanying music for this work, as well as his experiences working with director Takehiko Inoue and co-writer Satoshi Takebe. Told. A monthly feature series that focuses on artists and works that excite the present.
Your “10-FEET ‘Collins’ TOUR 2023” started on January 16th. How excited are the fans and how motivated are the bands?
For about three years the entertainment wasn’t what it was supposed to be, and now it feels like that pent-up excitement has really come to the fore. I think there are fans who are more passionate and more impulsive when they come to live performances. It feels like the live scene is making a comeback.
Has the pandemic changed how you feel or approach live shows?
It’s been three years since the show stopped people really cramming shoulder to shoulder. I think there are also people who say, “Is this okay?” So we need to play music and put on a really strong show that dispels those fears and tensions.
About 3 months after the movie. first slam dunk It came out. How is the reaction of those around you?
An old friend kept in touch with me again.
Looking at the comments on the music video, it seems that there are listeners all over the world. What do you think about the fact that your music has crossed the borders of Japan and reached people all over the world?
Most of the lyrics are in Japanese, so it’s strange that there are people listening to it overseas.
It has been in the top 10 of the Billboard Japan chart for several weeks. I think that shows that it has brought in a lot of new listeners.
I’ve heard a lot of people say that they’ve never heard of us, or that it’s the first time they’ve heard our songs, and that’s really an honor. We have been playing music with the hope that people will enjoy listening to our music.
There were several other theme song candidates such as “SLAM”, “Blind Man”, and “Shinkai Gyo”. Why did you feel that “Daizerokan” was the best match for the theme song?
I personally think they were all great. To the film production team, he presented eight to ten possible theme songs. However, each time I was told by the director and music director that it didn’t fit the image of the movie. One day, the music staff asked me to compose the music for one of Rukawa’s scenes. So I changed the name of “Odango” (later the song of “Daizerokan”) to “Narukawa Odango” and sent it (laughs). It seems that both the music director and the music producer were like, “This is it.” We added further arrangements to the arrangement of “Nagarekawa Godango Dango” and became the current “Dai Zero Kan”. At first, I didn’t have any plans to sing “Dai Zero Kan” as a solo song with 10-FEET, so I just wrote it with my own feelings without thinking about it. I wrote it right after the pandemic started and I wanted something really danceable and hard.
For a while, it was ranked in the top 20 of Billboard JAPAN’s “TikTok Weekly Top 20” every day. Looking back, how do you think it was received?
I was lucky that catchy melodies became popular on TikTok thanks to the movie. For example, the melody and rhythm of “Ski Ba Bop Ba Dop Bop” from “Scatman” is unique. Ever since the band started, I’ve loved rhythms and melodies that you could listen to all day long and never forget. That’s why I was able to incorporate that kind of rhythm from Western music, write the lyrics in Japanese, and create more original music with 10-FEET. Combined with the tempo of the lyrics, I think 90% is the rhythm, and the remaining 10% is the melody.
Really. I would also like to ask a few questions about the accompanying music. Did you write the music with the intention of expressing the feelings of the members of the Shohoku and Sanno teams, or conveying the feeling of the game itself from a more objective point of view?
For the incidental music, I thought about how to express Mr. Inoue’s movie concept. For example, when Mr. Inoue asked me to write a song to be used when Kohoku was in trouble, I wrote what I envisioned as a song that embodies being in the midst of a crisis. So, when I had Mr. Inoue play the role, he said, “I can really feel Kohoku’s sense of crisis, but this scene is also the scene where Sanno attacks. Sanno isn’t just a villain, he’s really powerful. It’s a cool team, so this scene is also Sanno going into the offensive zone and going all out.” I think. What do you think?”
“Slash Snake” has a snare sound reminiscent of dribbling.
Sound designer Koji Kasamatsu edited the accompanying music that I provided. A drum snare, for example, often occupies the same frequencies as the human voice (the line a character is saying). I think he paid a lot of attention to where the snare sounded, adjusting volume, level, equalization, range, etc. In rock and music like ours, we often hear snares blaring all the time, and he did a great job tweaking and editing such elements. If there is a scene where the snare is synchronized with the dribbling, it must be Kasamatsu’s magical power.
In the scene where “Double crutch ZERO” is used at the climax of the movie, the use of “stillness” and “movement” stands out.
A lot of switching between when the instruments are packed and when they are sparse, when the sound really pushes you down, and when it’s more open, quiet, and gives a dramatic, soaring impression. I think. It was my first time making music like this, but no matter how long it took, it never felt like a chore. It was time consuming, but very rewarding, so I created and submitted a lot of music.
So you wrote incidental music for the first time.
This time, slam dunkis my favorite cartoon. When I receive an offer to sing a song for a work I don’t know about, I want to check out the original story, movie adaptation, TV adaptation, animation adaptation, etc. Before I write music, I want to really internalize that story and make it a part of me. I haven’t had the experience of starting from scratch with a production team and creating output with my own sensibilities. If there is an opportunity, I would definitely like to try it.
Do you remember any direction or discussion when writing the song with Satoshi Takebe?
He was a wonderful teacher. I was a little nervous, thinking that if I answered too excitedly and enthusiastically, it would be considered rude and would irritate or upset him. ” and cut the vanguard. He started by creating an environment where I could speak freely, and since then we have been able to really exchange opinions.
Finally, what kind of year do you want 2023 to be?
In 2023, I want to go back to the basics, study music from scratch, and learn music again. When you’re working on music all the time, you can lose sight of your passion and your impulsiveness. I want to cherish that feeling again.
—Interview with Tatsuya Tanami who first appeared on Billboard Japan
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