Her latest work for Terror in Resonance (2014) was recorded in Iceland, mixed in England and mastered in New York, speaking volumes about the lengths she takes to find and create sound that accompanies her subject matter. #Cowboy bebop tank sheet music bass tv#Īs a music producer, she has overseen the career of Maaya Sakamoto as well as providing music for Kyoko Koizumi, YUKI, and SMAP among others, while also producing scores for NHK’s TV novel Gochisosan (2013). Musicians who are familiar with her work often give polarized characterizations of Kanno as either being witch-like or extremely innocent. These descriptions are both accurate, as it speaks to the complex and multi-faceted nature of the sounds which she creates. In this rare interview, Akihiro Tomita goes in-depth on the many projects of her career thus far. Kanno, it is said that you won multiple awards at composition contests in your younger years.

Well, I started becoming a “contest bandit” after the second grade of elementary school. My first musical memories go back to hymns during church. You were able to play a keyboard even back then? My kindergarten was Catholic, and the teacher was not very good at playing the organ, so I did. There was a piano at my house and I was like “What is this?” I simply played when I felt like it and made original music.

So hymns were the first “existing” music I ever played. Having these foundations, my heart has returned to Europe recently, in a way. This is because I feel religious music, to Europeans, is one of the first forms of music they come in contact with – music that becomes the foundations for their beliefs and life.

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