Or be it Tachikoma wishing to become human. The theme I had in mind was, 'be human.' It represented the sentiment of 'why don't we take it easy and be more like a human being?'-instead of being a workaholic salaried man working for his company. So I tried to think of ways to destroy that world. I had this image of a formal and rigid 'manly' world for the original comic. In regards to making the Stand Alone Complex soundtrack, she said: Yoko Kanno's soundtrack themes include " Kiseki no Umi" ( Lodoss War), "Voices" ( Macross Plus), " Tank!" ( Cowboy Bebop), " Yakusoku wa Iranai" ( Escaflowne), " Gravity" ( Wolf's Rain), " Inner Universe" ( Ghost in the Shell: Stand Alone Complex) and Stand Alone Complex O.S.T. The game turned out to be a hit, and Kanno's music career was launched. While at Waseda, the Japanese video game company Koei asked Kanno to compose the soundtrack to Nobunaga's Ambition. While with this band, she studied the composition and style of popular music. I started to take heavy interest in music that wasn’t classical and joined the band elective. Then I see drums performed live, and was able to experience a beat for the first time. I had heard drums on the radio before, but it was like I had never really noticed them. She spoke of this experience in an interview with Akihiro Tomita: During this time, Kanno-whose parents had only allowed her to listen to classical music-was introduced to rhythm by a friend who played drums in a school band. Kanno attended Waseda University, where she majored in literature, but she transcribed music for various student groups at Waseda in her free time. In elementary school, she began participating in composition contests, but in high school, Kanno began to take more of an interest in literature than in music. She studied keyboard from a young age on both the piano in her home and the organ at her kindergarten. Her earliest experiences with music came from attending church with her parents. Yoko Kanno was born on March 18, 1963, in Sendai, Miyagi Prefecture, Japan. ( August 2023) ( Learn how and when to remove this template message) Contentious material about living people that is unsourced or poorly sourced must be removed immediately. You can help by adding reliable sources to this article. The musicians arranged around the single Calrec Soundfield mic.This biography of a living person relies on a single source. Margo Timmins was positioned outside of the main circle, but is represented by the Klipsch Heresy monitor on the right–hand side. In 1987, swimming against the tide of MIDI–powered pop records, Cowboy Junkies went into a church to record an album into a single microphone in a single day.īack in 1988, with the release of an album, The Trinity Session, recorded almost entirely in a single day, Cowboy Junkies became arguably the first band to create the music sub–genre which would later become known as alt–country. A slow–burning, atmospheric take on country music, at a time when most artists were relying heavily on programmed sounds, the Canadian four–piece’s second long–player was all the more remarkable given that it was recorded live at Toronto’s Church of the Holy Trinity around one microphone, namely a Calrec Soundfield. Today, the producer of The Trinity Session, Peter J Moore remembers that for him and the band, the album’s distinctively sparse, reverberating sound was a reaction against the MIDI–dominated musical styles of the ’80s. I’m listening to these recordings from the ’50s with two or three mics and I’m going, ‘Man that’s real music.’” “I was angry that music had gotten into drum machines and MIDI,” he says. Moore remembers experiencing something of an epiphany when it came to the idea of developing his single mic technique. I put it on and I thought, ‘Oh my God, why did we go away from that? Why aren’t we still doing this?’ That right there, that’s when I really got into the single mic recording.” “I got a Billie Holiday record from the German masters which were kept in proper climate–controlled vaults. This notion dovetailed with the ethos that the members of Cowboy Junkies shared about making more naturalistic recordings of their alternative–edged country. “So I think it was the pendulum swinging,” Moore says. They wanted to get out of this MIDI and synths artificial thing.” “The stars lined up and it just happened to be that we were the innovators.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |