The upcoming animated series Dandadan is made by a talented team of artists including character designer Naoyuki Ondacreature designer Yoshimichi Kameda and debut series director Fuuga Yamashiro. One of the biggest names on the production, though, is kensuke ushio. The composer for anime classics like Table tennis, Chainsaw Man and Liz and the Blue Birdhe is also a solo artist (under the name Agraph) as well as a former member of the rock band Lama. In that capacity he played with past members of legendary J-rock bands Supercar and Number Girl.
At Anime NYC, Comics Beat was fortunate to have the opportunity to ask Kensuke Ushio a few questions. We were also joined by Hiroyuki Aoian MBS producer credited for Dandadan among many other great shows. Aoi previously made an appearance at the premiere of the Dandadan English dub, where he spoke of his respect for the series. “Dandadan “You have ghosts, aliens, action and even romantic comedy,” he said there. “I don’t think there’s another series like it in Japan right now.”
The following interview is edited for clarity and content.
ADAM WESCOTT: For Kensuke Ushio, I will start with my most selfish question. I’m a fan of Number Girl and bloodthirsty butchers. What memories do you have of collaborating with Hisako Tabuchi as a part of Lama?
KENSUKE USHIO: She’s like a samurai. She takes care of her guitar as if she’s taking care of a katana. She’s also super friendly. She’ll ask, “can you do a take,” and then go “DADADAN” on her guitar. It’s awesome.
WESCOTT: That’s really cool.
USHIO: I look up to her. Also, if you listen to the Chainsaw Man soundtrackthat’s her on the guitar.
WESCOTT: Next question, for Hiroyuki Aoi. You were a producer on the 2019 anime adaptation of Blade of the Immortalwhich featured composer Eiko Ishibashi (who appeared last year in the film Evil Does Not Exist.) Did you play a role in bringing Ishibashi to the project? What do you think of her music?
HIROYUKI AOI: Blade of the Immortal? Do you know the Japanese title?
WESCOTT: Mugen no Juunin.
AOI: Aha, I see. Sorry, I wasn’t really too involved in that one.
USHIO: I have a lot of respect for Eiko Ishibashi. She has worked not just anime but on acclaimed live action films, like Drive My Car. So she composed for Blade of the Immortal?
WESCOTT: Forks. The director is also interesting…he directed Texhnolyze and Steins;Gate back in the day. Hiroshi Hamasaki.
AOI: Oh, Hamasaki!
USHIO: This is not really an interview, more like chatting.
WESCOTT: [Gestures towards the GKIDS and AnimeNYC representatives] I know that’s not what they want, but…
[Everybody laughs]
USHIO: No it’s okay. It’s relaxing.
WESCOTT: Another question for Ushio: the manga artist for Dandadan, Yukinobu Tatsuwas originally an assistant for Chainsaw Man artist Tatsuki Fujimoto. Did you have Chainsaw Man in mind when composing for Dandadanor did you try and put it out of your head?
USHIO: I wasn’t thinking about Chainsaw Man at all. When I work on a project and I’m thinking about another project, incorporating a piece of the latter is a bit rude, right? I just think of them as different projects.
WESCOTT: One more question for Ushio. In the Dandadan panel earlier today, you were discussing the use of chopping and remixing in the soundtrack. Dandadan has so many elements that are in conflict with each other–aliens, spirits and different worlds occupying the same place. When it came time to fit these genres together, did you think about using music to make these different parts coherent? Or did you instead work to ensure these parts stood out?
USHIO: I spoke to the sound director about the separate music for the alien side and the ghost side. But it was also a bit like changing outfits on a dress-up doll. For instance, if I add this item of clothing, it would become the alien side. But if I took that out and put this on, it would become a ghost thing. So I did a lot of mixing and matching.
