Following our Makoto Miyazaki and Yuki Hayashi interview, we sat down with Yasuharu Takanashi, the third guest at the upcoming North American Symphonic Anime tour. This is not the first time we chatted with the iconic composer; however, this time around we had more time to chat about the specifics of his music, career, and upcoming projects. He happily greeted us with his manager, who soon left us to chat.
At the time of the interview (mid-July), Takahashi-san was working on Fairy Tail: 100 Years Quest music and the new Kinnikuman anime. Both projects will probably take him until fall to complete, which is when he’ll be coming to North America (Canada and the US) as a guest. Naturally, we were curious about how he even got involved in the Symphonic Anime, seeing as his music was also part of the Thailand performances. In addition to the tour, Takanashi-san also spoke about his band, colleagues, and what kind of anime he likes.
By: Tamara Lazic and Eric Himmelheber
Translation Assistance and Editing: Jeremy Sauer
Q: To start off, could we learn a bit more about how you first got involved with the Symphonic Anime project?
A: I suppose it was [through] social media. What happened was that I became acquainted with Boy [Phihakendr] on Facebook. And Thanapol [Setabrahmana]*.
*Producer and composer for the Symphonic Anime tour project.
Q: What can we expect in North America? We spoke to Mr. Thanapol and he mentioned new Fairy Tail arrangements.
A: I would like everyone to enjoy seeing how much Mr. Thanapol’s talents have progressed and been given new life. I’m really looking forward to finding out what kind of arrangement is going to let us hear in the next performance.
Q: You made your debut in the anime soundtrack scene with Naruto. What led you to decide to stick to this path?
A: The director of Naruto had really been looking for someone who, in his words, could do rock, but incorporate Japanese-style instruments. So I guess you can say that the fact that I was a good match with the intentions of the director was what got me started. As for me having been able to continue for so long… Well, it was the ties I have now. My connections with Thanapol-san and also Boy-kun are included in that as well, but I think it’s mostly because of the continued kindness from people around the world who have loved the music from Naruto for so long.
Q: When did it hit you that the soundtrack you created, specifically “Sadness and Sorrow,” was so popular?
A: That’s actually the very first song from Naruto that I made. I found out that Japanese people were performing covers of the song on YouTube and such, and that was when I first knew that it was popular.
Q: Have you ever been surprised by the number of people outside of Japan who know about your music?
A: Oh, I sure was surprised! It was so [impressive] that it startled me, but [now] I think that I’m more grateful for it than surprised. It makes me feel really happy to have so many people listening to my music, so I’m very grateful to all those people throughout the world.
My band is traveling to various places around the world, so I would really like to try performing alongside them at Symphonic Anime at some point.
Q: Fairy Tail is back after five years. Hearing the main theme in the new episodes felt so nostalgic. When did you first learn you would be working on the sequel?
A: Oh, I knew it was going to be produced ages ago. So when it was finally decided they were doing it this year, I was like, ‘Ah, I’ve been waiting so long for this! Welcome!’ And while I think my work on Fairy Tail will probably take until fall, I have a really incredible song in the works for it, so I’d really like everyone to look forward to hearing it. Out of the new songs that will be coming out in the fall, there’s one that’s particularly amazing, and I’d be kind of happy if people could look forward to it. I’ve composed 70 new songs for the anime this time around.
Q: You’ve previously said that Erza was your favorite Fairy Tail character. But which character has the best theme?
A: Yes, yes. Um… It’s hard to compare them to each other, but well, for the new Fairy Tail, I’ve created a new theme music for each character. The new song [that I mentioned] is actually for the series.
Q: Can you share with us some of the experiences you’ve had while working with anime productions: do you have a favorite and is there one you would say you found particularly challenging?
A: I try to challenge myself every time. I love each and every one of the productions I’ve done, and if someone asked me which one is my favorite, I guess I would have to say that I’d like everyone to decide for themselves which of my works they like the best.
Q: You did the music for BASTАRD!! Heavy Metal, Dark Fantasy, which is very metal-hard rock-oriented as the title implies. You’ve previously stated you like adding such elements to your works and it works even if they don’t directly suit the genre. In this specific case, the story itself was quite influenced by music. Could you walk us through the process and how you prepared?
A: There were quite a lot. You know how the character names are the names of various heavy metal bands, right? So I spoke with the director and discussed whether we’d be able to add certain phrases that pay respect to those bands. We had the feeling that if the fans of those bands listened, we’d be able to surprise them a bit.
Q: Shortly after BASTАRD!! you worked on completely different titles that are much slower and slice-of-life focused series such as Farming Life in Another World. Is it challenging to work on such different series so in such a short period of time? How do you keep up?
A: No, it’s not difficult at all! This is just how things usually go, but I think deeply about what kind of music that fans of the work in question would most enjoy. So there wasn’t really anything difficult or worrying in the case of Farming Life in Another World, because I specifically went searching to find the type of music that fans of the series would best enjoy. And, as I said considering what kind of music the fans would most enjoy is always my main priority. I believe the music will just naturally come to me the more I think about it.
Q: Speaking of Farming Life in Another World, you collaborated with Johannes Nilsson on that series, and shortly after you teamed up again him and Akinari Suzuki on Gushing Over Magical Girls. What are the best parts of working in a team?
A: Well, that really depends on the series. To be frank, those guys are basically my apprentices and so the way I think mainly revolves around the idea that I really want to give them a chance to have the same opportunities I had. And that’s why I hope that by working together with me people all over the world will come to know about [their music].
Q: Is there a composer or an artist you would love to work with more in the future?
A: Yuki Hayashi. After all, we get along well when it comes to funabeta*.
*Cinnamon flounder
Q: You’ve previously said that Naruto changed your life and that it is a piece you’re most proud of. But is there a series you’d love to compose music for? Be it an existing franchise or something that hasn’t been adapted to music-themed media yet?
A: I don’t really get to choose, because it’s the director who chooses me. I believe in putting my full effort into whatever job comes my way.
Q: If you could perform anywhere in the world, where would it be?
A: Oh! All over the world! But well, I suppose that performing with my own band at Symphonic Anime alongside Thanapol-san and the orchestra is one of my dreams.
Q: Who would you say is the biggest, most impactful name in today’s anime music scene, someone you especially admire? Similarly, do you have any newcomers on your radar, someone we should be keeping an eye on in the future?
A: Someone who makes anime music and who I respect and look up to… It’s awfully difficult to choose… No, I actually respect and look up to all the people who are better than me. Because no matter who the composer is, they all have their own areas that they do magnificently in.
Because I have a history in a band, I suppose that most of the people I look up to and respect are local musicians. People like Ronnie Romero, the vocalist for both Rainbow and Michael Schenker Group; he is a part of my work on the newest Kinnikuman anime.
In the future, I’d like to have [more] musicians whom I’ve always admired be involved with my works in a similar fashion. And that’s not limited to just Japan, I’d like to have people from all over the world take part in my work.
Q: Do you watch things you composed for? What kind of feeling is it to see your music incorporated into the story?
A: So I’m watching the TV and just feel like [starts clapping]. I mean that [it makes me] extremely happy.
Q: Do you watch anime in your spare time? Do you have an anime you like for the story?
A: Ah, yes I do watch it! Yes, I’m interested in it! (laughs) My own songs are being played in it! (more laughing) I watch the works that I’ve been involved in, and the ones that my friends have been involved in. An anime I like for its story? Nausicaä of the Valley of the Wind. I like most of the anime that [Hayao] Miyazaki has made.
Q: You’re composing the music for the currently ongoing Kinnikuman anime. Did you grow up watching the series or read the manga? Who approached you to do the soundtrack?
A: Yes, I did read it while it was being released. Pony Canyon approached me to do the soundtrack and since I had been [following] it ever since I was a child, I was like “Yes!”
Q: You said to us before that music is basically a hobby to you and you never see it as a pain. Over the past year alone, you’ve composed music for a handful of anime. How do you handle such a schedule? Is there any routine to it?
A: I have an outstanding manager [laughs]. And because I love music, it’s never tough on me regardless of what kind of schedule I have. It’s like how, when a child is playing, they’ll just keep on playing until their parent tells them to stop. I’m the same way.
Q: You won your 7th JASRAC award for Naruto Shippuden this year. That makes eight total; one is for Fairy Tail. First off, congratulations! You’ve won this award many times previously, but does the excitement still take when you hear your name called for these awards?
A: I [feel] incredibly happy, of course! At the time, music receiving JASRAC’s International Award* meant that it was the Japanese music that people outside of Japan listened to the most. The fact that people all over the world listen to my music not only gives me a reason for living, but is something that I can really be proud of, and above all else, truly increases my feelings of gratitude towards everyone.
*The award is now given to the works that bring in the highest earnings from overseas.
Q: Last year you said you would love for more people to listen to the Reincarnated as a Sword soundtrack. We listened to the entire soundtrack and the tracks that really stood out were “Invincible Blade” and “Fighting Black Cat Girl,” and “Overcome the Past” as a solo piano track. What track would you say stands out the most?
A: Yeah, I like those too! And I think it’ll be in 2025, but [anyway,] there will be another season coming, so I hope that everyone will be looking forward to that. You can expect more hard rock-style tracks!
Q: You use a choir on a lot of tracks. Was there a specific choir you worked with? Also, who were the other voices you included on the soundtrack? Like in “Fierce Battle” [from the Reincarnated as the Sword] – who was the singer?
A: Ah! So there’s this group of [female vocalists] I usually work with, and because I know them well, it’s very easy to communicate with them. Their names are Remi and Miki.
Q: You collaborate with artists from different countries. Are there any exciting projects coming up in the future?
A: I frequently work with various different people. So that’s why I’d like to have people, not just from Japan but from all over the world, take part in my work. Well, this is actually still secret, but I’m currently collaborating with a foreign artist for a new work, so… Let’s see. I believe I’ll be able to announce it before the end of the year.”
Q: The studio sessions you’ve released with Team Max on YouTube have been great. Can we expect more of those going forward?
A: Yes, I believe you’ll be able to see more of those.
Q: And lastly, do you have a message for the fans who will be seeing you perform live for possibly the first time at the Symphonic Anime tour?
A: Yes, well… It makes me very happy to know that there are people who enjoy my music in North America [Canada, and then the United States of America]. The orchestra from Thailand that will be heading there to perform is an absolutely fantastic project that travels all over the world, so I would be delighted if all of you could enjoy it!
Q: You’ve been into music since you were a kid. You’ve been on countless tours, worked with many great musicians and composers, and won numerous awards. Looking back on all of it, is there still more you would love to do?
A: There are various things I’d like to do, and of course, there are various people with whom I would like to collaborate… But also, you know how you all have been name-dropping my works throughout this interview? That kind of thing makes me really happy.
Takanashi-san is probably best known for his incredible work on the Naruto franchise. With his music, he left a mark on most anime fans of today and made some of the best titles of our generation complete. And not just that, he’s also a great conversationalist and it was a true joy interviewing him.
If you’d like a chance to meet Yasuharu Takanashi-san this September, make sure to check out the Symphonic Anime website, where you can get Meet & Greet tickets for performances in Montreal, Toronto, and Boston on September 6, 7, and 13, respectively. His music, in new arrangements, will be played during the concerts, alongside Yuki Hayashi and Makoto Miyazaki’s tracks.
Follow Yasuharu Takanashi on Twitter/X, Spotify, or Instagram.
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