Interview] Maaya Sakamoto and Ringo Shiina collaborate!　New Song "Memory of the Universe" is Jazzy and Philosophical

Maaya Sakamoto is releasing "Memory of the Universe," the opening theme for the TV anime "BEM," as her 30th single. The song is a jazzy number produced by Ringo Shiina and backed by SOIL & "PIMP" SESSIONS, a jazz band in charge of music for "BEM" and close friends of Ringo Shiina. The coupling song "Overture," written and composed by Maaya Sakamoto, and the band apart's cover song "I Don't Know Tomorrow" are also included, making this album a worthy celebration of the 30th release.

With the feeling of "Now! I offered the song to Sheena Ringo with the feeling of "Now!

─ Your new single "Memory of the Universe" is the opening theme for the TV anime "BEM. BEM" is a new work commemorating the 50th anniversary of the TV animation "Youkai Ningen Bem," which was broadcast from 1968 to the following year. The world view is quite different from the original, and I was surprised when I first saw the PV for the program.

Sakamoto: The staff first explained to me that they wanted to create an anime with a stylish, adult-like atmosphere, set in a New York-inspired city (the name of the play is Libra City). When I heard that SOIL & "PIMP" SESSIONS would be in charge of the soundtrack, it was easy for me to imagine what the world would be like.

SOIL & "PIMP" SESSIONS is a five-piece jazz band. What kind of relationship do you have with them, Mr. Sakamoto?

SAKAMOTO: I have had members participate in the production of some of my songs (for example, "Sad and Unable to Endure" from the single "DOWN TOWN/Yasashisa ni Surrounded by Kindness" is a piano trio featuring SOIL & "PIMP" SESSIONS' Jo Ao on piano, Akita Goldman on bass, and Midorin on drums. (piano trio of SOIL & "PIMP" SESSIONS, piano by Takeo, bass by Akita Goldman, drums by Midorin, produced by J.A.M.). When I thought about who I should ask to write a new song for "BEM" and what kind of song I should write, I thought of SOIL & "PIMP" SESSIONS and Ringo Shiina, who often works with us.

─ It was big news that Sheena Ringo would be producing Sakamoto's new song. Did you have any previous contact with Mr. Shiina?

SAKAMOTO: We had no business connection, but I had been listening to and being inspired by Ringo ever since she made her debut. I admired her because she was unique among female singer-songwriters my age, and I sang karaoke with her in private, so she was an artist who was close to my life. I had always hoped to work with her someday, but I wondered if I would ever have the chance to share her worldview.

─ Did that opportunity finally present itself with "BEM"?

SAKAMOTO Yes. I thought, "Now! I made a bold offer to him, and he readily agreed to produce the album.


─ You asked Ringo Shiina to write the lyrics, compose the music, and arrange all of the music, didn't you?

SAKAMOTO: "BEM" is more stylish, but it shares the same cold stare at an unreasonable world where justice does not always prevail and good deeds are not always rewarded as in the old "Humanoid Monster Bem". Ringo-san read the scenario and wrote the lyrics according to the theme of the work. This is my 30th single, a milestone for me, but this time I dared not to write the lyrics myself, but to be the carp on the chopping block and let Ringo-san cook them for me. In fact, he brought out a fresh side of me, and I am glad I asked him to do it.

─ ─ I think it is amazing that an artist like Ringo can create the lyrics to "Memory of the Universe" after reading the scenario.

SAKAMOTO: I could never have written it, and when I read it for the first time, I was fascinated. The lyrics are a juxtaposition of opposites such as yin and yang, man and woman, but within the lyrics, the universal providence of nature and human karma are discussed. I felt as if I was reading a haiku, because the song is not very long, but it is packed with things that I wanted to say without wasting any time. I liked it so much at the first draft stage that I said, "It's perfect." After that, he kept revising it, saying, "I'll fix this part here, and this part here," and brushing up on the smallest phrases. Each time I saw how he improved his work, I was greatly inspired by Ringo's pursuit of expression.

─ ─ Just by changing one word, the impression or meaning changes, doesn't it?

SAKAMOTO: That's right. Moreover, there were ideas that only the composer himself could have come up with, such as "This may be difficult to sing," and "This may be difficult to sing," and so on. For a moment I thought, "This might be difficult to sing," but strangely enough, when I said it out loud, it turned into a pleasant sensation, and it was interesting, as if a ball had been thrown with pinpoint accuracy to a place where this was the only way.

─ ─ I love the way you see the lyrics as bringing a pleasant sensation when sung.

Sakamoto: Another interesting thing I thought was that the keys were not set before the music was written. Ringo's manager assured me that "Shiina will definitely make the song in the perfect key, so it will be fine." I wondered if it was possible for a person I was working with for the first time not to key-match the song, but it really was perfect.

───That means that you really understood the vocal of Ms. Sakamoto when you made the song.

SAKAMOTO: When I heard the tentative song sung by Ringo, it had a different atmosphere than usual, and I understood that he had created the song with my singing in mind. It was as if he had tailored a custom-made dress for me, and I thought, "It's a wonder it fits so well! I thought, "It's a wonder it fits so well! I felt that Ringo has a sharp personality as well as a great sense of objectivity.

───It seems surprising to me that you are a very craftsman-like creator.

SAKAMOTO: I feel that you take pleasure in that kind of songwriting. I think Ringo enjoys creating songs precisely to order from a different angle than when he writes songs for himself.

─ Were you present during the recording as well?

SAKAMOTO: Yes, he directed the recording himself. The part that left the biggest impression on me was the melody change before the big chorus, "Your manako wa nami no nami da wo tame ni shiteiru" (Your manako wa nami da wo tame ni shiteiru shiteiru). Then, the interlude part was interesting, too: "Please put JoOusama's moan here" (laughs). (Laughs.) Maybe he gave me that order because I am a voice actor, but I couldn't help but laugh because I don't usually hear that kind of instruction.

─ Did you actually perform "JoOusama's moan"?

SAKAMOTO: It was more like a sigh than a groan, since it was supposed to be the Queen of the Universe looking at the foolishness of human beings and lamenting over it.

─ The way the lyrics are written on the lyric card is also different: each line is a vertical block of 19 characters, and there are no line changes.

Sakamoto: Ringo's own lyrics have recently been written in this style, so I think this means that the songs he has written for us have followed suit. The blocked lyrics have a philosophical quality when you look at them with your eyes, and when you listen to them with your ears, they create a strange sense of rhythm. I can only bow down to its perfection.