Source: Heartstation.
—How do you feel the music of ‘Birth by Sleep’ turned out?
Shimomura: It was very hard (wry laugh), I think it was a title given utterly no compromise?and without regret.
—About how many pieces did you compose?
Shimomura: I made about forty new pieces, I think. I was helped my many people, so there are also arranged pieces. We didn’t even have time to count the exact number of pieces; it felt like all we could do was rise up and defeat the list in front of us (laughs)
—Please recommend us a piece.
Shimomura: The themes of the three heroes, definitely. Terra and Aqua’s themes have phrases taken from KHII Final Mix’s secret movie, but Ven’s song is different. It’s like the music of [censored] and the music of [censored]; both phrases play naturally. The truth is, if you take apart the bars and analyse them, you’ll see that this part is [censored], and this part is [censored]… In all, it feels close to [censored]’s theme, but with things like [censored]’s melody playing, the set-up is reflected even in the music. Argh, Mr. Tetsu’s (Mr. Tetsuya Nomura) orders were pretty difficult. I thought, ‘again with these absurd things!’ (laughs)
—These pieces have deep meaning, don’t they.
Shimomura: Also, there are surprising ‘this song plays here!’ times; they thought very hard about where to use my pieces.
—Birth by Sleep is a story set in the oldest time of the series, but what points of the timeline were done consciously by the musical side of things?
Shimomura: The simple, non-chromatic music used at the title screen in the first KH was used as a base for the melodies in Chain of Memories and KHII. That melody was borrowed for the melody of the start of KH’s ending theme, and it stood for the sequels that would come. This time, because Birth by Sleep is a story from before then, the melody from the first KH isn’t in it. I don’t think it will really feel very different to the players, but that’s how I tried to express the timeline.
—What other parts were challenging?
Shimomura: I received the order that he wanted me to try and make the theme of the boss Unversed different to anything up until now, so I went with combining Kingdom Hearts-feeling piano with a digital sounding song made from synthesised sound. Musically, it leans more towards digital than orchestral, and I was able to make an interesting, new aspect. But, the first Unversed boss I saw moved comically… it was both comical and cool, so I went with something I call ‘comi-cool’, but maybe that boss influences the comical side to be a little strong (laughs).
—How popular was the music for 358/2 Days, which released in May?
Shimomura: In Kingdom Hearts, many single songs, such as Roxas’ battle theme, are particularly well regarded. In 358/2 Days, the theme for the Xion fight was well received. I am surprised by the players’ reactions, and I think it’s an honour. I found the confidence to continue on to the next development, and so I was very happy.
—Piano Collections Volume 2 will be released soon, won’t it. Please tell us about the criteria behind choosing the tracks, and the concept.
Shimomura: There were many songs such as those from the cut-scenes of the previous titles, and main character’s theme, so this time we are mixing in a few world themes with battle themes that are heard very frequently in-game being central.
—Lastly, do you have a message for your fans?
Shimomura: It might sound tired and cliché, but I was able to produce Volume 2 this early because I really have received so much support from everyone, and there was such a huge response. There are still many things I want to do, and I hope you continue to follow and enjoy my work!
—How do you feel the music of ‘Birth by Sleep’ turned out?
Shimomura: It was very hard (wry laugh), I think it was a title given utterly no compromise?and without regret.
—About how many pieces did you compose?
Shimomura: I made about forty new pieces, I think. I was helped my many people, so there are also arranged pieces. We didn’t even have time to count the exact number of pieces; it felt like all we could do was rise up and defeat the list in front of us (laughs)
—Please recommend us a piece.
Shimomura: The themes of the three heroes, definitely. Terra and Aqua’s themes have phrases taken from KHII Final Mix’s secret movie, but Ven’s song is different. It’s like the music of [censored] and the music of [censored]; both phrases play naturally. The truth is, if you take apart the bars and analyse them, you’ll see that this part is [censored], and this part is [censored]… In all, it feels close to [censored]’s theme, but with things like [censored]’s melody playing, the set-up is reflected even in the music. Argh, Mr. Tetsu’s (Mr. Tetsuya Nomura) orders were pretty difficult. I thought, ‘again with these absurd things!’ (laughs)
—These pieces have deep meaning, don’t they.
Shimomura: Also, there are surprising ‘this song plays here!’ times; they thought very hard about where to use my pieces.
—Birth by Sleep is a story set in the oldest time of the series, but what points of the timeline were done consciously by the musical side of things?
Shimomura: The simple, non-chromatic music used at the title screen in the first KH was used as a base for the melodies in Chain of Memories and KHII. That melody was borrowed for the melody of the start of KH’s ending theme, and it stood for the sequels that would come. This time, because Birth by Sleep is a story from before then, the melody from the first KH isn’t in it. I don’t think it will really feel very different to the players, but that’s how I tried to express the timeline.
—What other parts were challenging?
Shimomura: I received the order that he wanted me to try and make the theme of the boss Unversed different to anything up until now, so I went with combining Kingdom Hearts-feeling piano with a digital sounding song made from synthesised sound. Musically, it leans more towards digital than orchestral, and I was able to make an interesting, new aspect. But, the first Unversed boss I saw moved comically… it was both comical and cool, so I went with something I call ‘comi-cool’, but maybe that boss influences the comical side to be a little strong (laughs).
—How popular was the music for 358/2 Days, which released in May?
Shimomura: In Kingdom Hearts, many single songs, such as Roxas’ battle theme, are particularly well regarded. In 358/2 Days, the theme for the Xion fight was well received. I am surprised by the players’ reactions, and I think it’s an honour. I found the confidence to continue on to the next development, and so I was very happy.
—Piano Collections Volume 2 will be released soon, won’t it. Please tell us about the criteria behind choosing the tracks, and the concept.
Shimomura: There were many songs such as those from the cut-scenes of the previous titles, and main character’s theme, so this time we are mixing in a few world themes with battle themes that are heard very frequently in-game being central.
—Lastly, do you have a message for your fans?
Shimomura: It might sound tired and cliché, but I was able to produce Volume 2 this early because I really have received so much support from everyone, and there was such a huge response. There are still many things I want to do, and I hope you continue to follow and enjoy my work!
