The Appeal of Maaya Sakamoto and Recommended Songs
What is it about Maaya Sakamoto that draws musicians in so much?
Below, I would like to focus on the following five points and delve into their appeal.
- Overview of Maaya Sakamoto
- Yoko Kanno and Maaya Sakamoto
- Maaya Sakamoto, who came into her own after working with Yoko Kanno
- Overall evaluation
- Song information
1.
Overview of Maaya Sakamoto
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To begin with, Maaya Sakamoto (born March 31, 1980) is a voice actress, so let’s touch on that as well.
She began working as a child actor around the age of eight and landed her first leading role as a voice actress in 1993.
Among well-known names in otaku circles, there’s Mari Illustrious Makinami from the Rebuild of Evangelion films and Ciel Phantomhive from Black Butler.
For a movie that ordinary people would know, I recently did the Japanese dub for Rosita in the animated film “SING.”
And in dubbed Western films, she often handles Natalie Portman. (For voice actors, even if not for every single work, their assignments—i.e., which foreign actors they dub—are often fairly set.)
And they are also actively working as a stage performer and radio personality.
So with that, it's fine for ordinary folks to think, “Oh, they’re someone who gets pretty good roles and is really active in the spotlight.”
And an essential part of talking about her is her singing career.
Their full-fledged debut was in 1996 (they had been singing commercial jingles since their child-actor days), and this year marks the 22nd year since their debut.
L'Arc, huh.GLAYSo it's about as long as the singer's career, isn't it?
We held our 15th-anniversary concert at Nippon Budokan and our 20th-anniversary concert at Saitama Super Arena.
Moreover, when it comes to CDs, they frequently rank high on the Oricon charts, and their seventh original album, “You can’t catch me,” even reached number one on Oricon.
It seems that being a voice actor and topping the Oricon charts makes her the second person to do so since Nana Mizuki (whom I’d also like to write about someday).
From these points, I hope you can understand that my singing activities are by no means just something I do on the side as a voice actor.
But there are probably people who say, “You’re a voice actor, right? Musicality and all that…,” (I don’t see it that way.) and look at it like that.
However, I’ll soon be unable to say even that; I’d like to start unraveling the detailed history of my activities from here.
2.
Yoko Kanno and Maaya Sakamoto
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There is one person who is absolutely indispensable when talking about the singer Maaya Sakamoto.
Yoko KannoIt is.
Yoko Kanno is active as a composer, arranger, and producer, and her work is truly diverse. She has created music for live-action productions like taiga dramas and the film Our Little Sister (Umimachi Diary), for anime such as Macross, for songs featured on the NHK Kōhaku Uta Gassen, and for commercials like those for Cosmo Oil. If you look around, you’ll likely find quite a few pieces where you think, “Oh, I’ve heard this before,” that she composed.
The music for the recently live-action-adapted Ghost in the Shell was, depending on the series, also handled by this person.
Additionally, SMAP, who sadly disbanded despite being widely cherished,T.
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He has been extensively involved in composing and arranging for prominent artists, including Revolution, and his skills have been highly acclaimed.
Under that person’s production, she made her debut in 1996 with “Yakusoku wa Iranai” at a time when she was still largely unknown as a voice actress. The song became the opening theme for the anime The Vision of Escaflowne, and because she also played the main heroine, her popularity rose rapidly.
Released the album “Grapefruit” in 1997.
Her singing and expressive abilities were still quite immature, but her transparency was overwhelming, and when I first heard her in 2005, I too sensed those budding qualities.
And in 1998, they released the album “DIVE,” which is considered a masterpiece.
It feels like her unique worldview and expressive power blossomed all at once under Kanno’s production.
Notably, in 1999 this work also received high musical acclaim, including being ranked No. 1 in the Kayōkyoku & Pop category by Music Magazine.
Then, with the release of the album "Lucy" and his first concept album "Easy Listening" in 2001, followed by "Shōnen Alice" in 2003, Yoko Kanno’s role as producer came to a temporary halt.
This is the rough outline of the Yoko Kanno era, and I think many people listened back then simply because it was “by Yoko Kanno.”
Yoko Kanno’s compositions are pop in nature, yet their development and voicing (the way notes are stacked to form chords) are remarkably intricate. They give the impression that the music deftly packages a sense of fantasy and fragility, drifting between girlhood and adulthood—from ages 16 to 23.
It felt as if we were witnessing the process of uncovering the hidden talents of the artist Maaya Sakamoto—who, while bearing that Yoko Kanno flavor (and boasting remarkable compositional range), has gained experience singing a remarkably diverse array of songs with both resonance and ease, from highly challenging acoustic pieces to drum’n’bass, folk-influenced tunes, and rock.
Sakamoto Maaya has a somewhat mysterious, purebred aura, but since she had already shown her growth as a woman in “Shounen Alice,” I imagine some fans vaguely sensed that the duo might be coming to an end.
And from this work onward, I chose to set out into the vast ocean on my own, as an artist in my own right.
3.
Maaya Sakamoto, who came into her own after working with Yoko Kanno
Maaya Sakamoto and Yoko Kanno had a relationship that was almost like that of a parent and child, but Maaya Sakamoto has now become independent.
That said, it wasn’t due to bad blood or any trouble at all; rather, it was an amicable parting so fitting that the word “leaving the nest” truly applies.
As proof of that, Mr. Sugano is still frequently invited to Maaya Sakamoto’s live shows to play piano, and he has continued to be involved many times in the form of composing and arranging.
Returning to the main thread, after parting ways with Yoko Kanno’s production, she released the album “Yuunagi LOOP” in 2005. This work was created with a diverse lineup of creators, including composer-arranger h-wonder and singer-songwriter Shoko Suzuki.
While its musicality is meticulously crafted, it isn’t imbued with the strong mystique or darker tones characteristic of Yoko Kanno; instead, it’s closer to a folk-leaning or conventional J-pop sensibility, with plenty of variety.
This has become like a new calling card for Maaya Sakamoto, and along with that, I feel the lyrics now have more grounded expressions than before, while still centering on the poetic elements seemingly influenced by Yoko Kanno’s musicality.
And in 2007, she released her second concept album, “30minutes night flight.”
This work, created under the concept of a 30-minute night journey, has been recorded to fit almost exactly into a 30-minute runtime. While carrying forward the approach showcased in the previous release—collaborating with a diverse range of creators—it also succeeds in presenting a sense of cohesion that the previous work did not have.
And then, with her sixth original album KAZE YOMI, released in 2008, she finally achieved what was at the time her highest position on the Oricon Weekly Chart, reaching No. 3.
This release includes “Triangler,” which served as the opening theme for the TV anime Macross F (Frontier), with Yoko Kanno returning after a long time to handle composition.
This was also released as a single, reaching No. 3 on the weekly Oricon Singles Chart, with shipments totaling 9.
It sold over 10,000 copies and even won various awards such as Gold Discs. I believe this effect has also had a significant impact on the album.
By the way, it seems the key is set slightly higher than Maaya Sakamoto’s usual range.
The album’s lineup of composers includes artists from diverse genres—Kaori Kano, Mina Kubota, Yoko Kanno, Shoko Suzuki, Katsutoshi Kitagawa, and more. Despite the wide-ranging styles, from Shibuya-kei pop to glittering anison-like pop and lyrical ballads, once filtered through Maaya Sakamoto’s voice, the songs immediately cohere into a unified work. I believe this album demonstrates both a culmination of her post–Yoko Kanno–produced activities and the artistic strength she has cultivated over time.
Around this time, she also expanded her activities as an artist by providing her first lyrics, for the song “Ao no Aether,” sung by Ranka Lee, one of the main heroines of Macross F.
And, as mentioned at the beginning, he released his seventh original album, “You can’t catch me,” in 2011.
I’ll omit the record-related aspects, but the standout feature of this work is undoubtedly the star-studded lineup of creators.
In addition to the usual lineup of Yoko Kanno, Shoko Suzuki, Shin Kono, and Katsutoshi Kitagawa—with lyrics by Yuuho Iwasato (who has been involved since Maaya’s debut and in recent years is also known for writing songs for Momoiro Clover Z)—the roster now includes Jun Shibata, Atsushi Suemitsu, Suneohair, and Shintaro Tokita (Sukima SwitchNew collaborators such as Miyake Shuji (Kirinji), Hidetoshi Sakurai (Magokoro Brothers), and Tomita Lab were involved for the first time in writing, composing, and arranging.
It also includes “DOWN TOWN,” originally by Sugar Babe, which was released as a single cover song. In addition, thanks to the producers selected for each track, a wide range of artists active in today’s music scene from various genres have participated.
toeTakashi Kashikura is a good example—despite his very intricate playing, he delivers rhythmic and versatile drumming with the HIATUS.
The chemical reaction of Maaya Sakamoto’s post-Yoko Kanno collaborations with various creators reaches its peak in this work, and her cross-genre approach—from pop to jazz to rock—no longer carries the fragile qualities of girlhood. Instead, it seems to showcase a strength as an individual artist that remains intact even through collaborations.
In 2011, she released her third concept album, “Driving in the Silence,” themed around the concept of a winter landscape.
A major encounter I had here was with Rasmus Faber.
A Swedish artist who, despite being a jazz pianist, composes, arranges, and performs as a DJ with a foundation in house music—his approach, distinct from Yoko Kanno’s, brings a sense of mystique and dazzling electronic sound. Since Yoko Kanno, Maaya Sakamoto’s music had centered on band-centric and acoustic textures, and his involvement will further expand the range of her songs.
In 2013, she released her eighth album, Singer-Songwriter.
In this work, Maaya Sakamoto herself handled the songwriting, composition, and production, and both the lyrics and the musicality give the impression of being much more simple and intimate than before, often capturing very down-to-earth, close-to-home depictions.
And starting with this work, Maaya Sakamoto began self-producing.
In 2015, the latest release at the time, FOLLOW ME UP, became a work in which the fulfillment of her personal life—marriage—and her growth as an artist were splendidly matched.
the band apart, Shintaro Sakamoto (ex-)
The range of collaborations has also expanded—to include artists like Yura Yura Teikoku, Cornelius, and Yu Sakai—and above all, the level of my own composition has advanced far beyond the previous work.
Even in their own compositions, the way they manage to balance a certain pop sensibility with intricate elements unmistakably shows Yoko Kanno’s influence, which I personally find quite charming.
4.
Overall evaluation
I’ve been rambling on about the history of an artist named Maaya Sakamoto, but what, in the end, makes her so remarkable? In my view, it comes down to this: a voracious eclecticism that coexists with an overwhelming sense of clarity.
During the era produced by Sugano, she honed her mystique and transparency as her strengths, and without losing them, her subsequent work has featured a wide range of cross-genre collaborations. There’s no sense of strain or lack of skill; rather, it feels as though she faces each project fearlessly as an individual artist.
Yoko Kanno’s compositions span a wide range of styles and are meticulously crafted, with many pieces featuring complex rhythms and developments; perhaps this is the fruit of keeping up with such demands.
They are a unique type of person whose cross-genre omnivorousness, which has borne fruit, coexists with a clarity that is rarely found elsewhere.
She also has extensive experience with stage vocal projection, so she delivers a remarkably resonant singing voice even in live performances.
And her reputation as an artist is well reflected in the 2015 tribute album “REQUEST.”
Setting aside those she has collaborated with before, seeing a diverse lineup—SUGIZO, KIRINJI, Mayu Watanabe, Negicco, Akino Arai, TRUSTRICK, and others, all with different genres and career histories—paying respect to the artist Maaya Sakamoto and crafting their work accordingly, I didn’t feel anything like “because she’s a voice actor.” I felt a purely artistic appraisal.
Furthermore,Fujifabricformer vocalist, the late Masahiko Shimura, and Shoko Nakagawa,BUMP OF CHICKENI believe the charm of Motoo Fujiwara—who has been openly praised by a great many people, including voice actors Masumi Asano, Koichi Yamadera, and Yui Horie—is unquestionably genuine.
What personally prompted me to write this was,LUNA SEAConsidering the discussion in the interview with SUGIZO, where Maaya Sakamoto is spoken of on the same level as Björk, Esperanza, and Kate Bush, and receives unreserved praise along with mentions of favorite songs, it seems that her fellow professionals understand her appeal better than I do.
After two years, I finally got to carry out an attempt to speak from my own perspective—while paying respect to an artist who has kept me captivated for a decade.
As I wrote in my own way about the appeal of the artist Maaya Sakamoto, it ended up getting long, so I’ll finish here by listing some recommended songs at the end.
Thank you for reading this far.
5.
Song information
Looking back on Maaya Sakamoto’s work, I picked out some personally recommended songs without regard to their release years.
If there’s anyone whose composition work I’d like to particularly highlight, I’ll mention them as well.
Sea of Miracles (Lyrics: Yūho Iwasato; Music and Arrangement: Yoko Kanno)
This work was created by the golden duo of Yuho Iwasato and Yoko Kanno for the opening theme of the TV anime Record of Lodoss War, and it was released in 1998.
With a fantastical, quasi-sacred atmosphere that still retains a touch of innocence, Maaya Sakamoto’s clear, translucent vocals are a perfect match, resulting in a track that evokes a festival of seafaring peoples. This release stayed on the hit charts for three months, and until “Triangler” came out, it held her personal records for both highest position on the Oricon singles chart and best sales.
Hemispheric (Lyrics: Yūho Iwasato; Music and Arrangement: Yoko Kanno)
This work, which was used as the opening theme for the TV anime RahXephon, was also produced by the Iwasato and Kanno duo and was released in 2002.
The anime is highly philosophical and fantastical, and that worldview is also expressed in the music.
The musical style isBjörkIt’s a piece of electronica, with an ever-tightening rhythmic track and intricately interwoven electronic melodies and voicings, making it a highly complex composition.
It’s an incredibly difficult song to sing at karaoke, but it became the song that made me take notice of Maaya Sakamoto’s effortless vocal skill as a singer.
Rain Falls (Lyrics: Maaya Sakamoto, Music: Kaori Kano, Arrangement: Neko Saito)
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This work, which was used as the ending theme for the TV anime "Linebarrels of Iron," was released in 2008 with Kaori Kano brought on as the composer.
A beautiful ballad where strings and guitar rock intertwine. It’s not a complex composition, but weaving together rain and affection with a gentle delivery, this is my personal favorite among Maaya Sakamoto’s ballads.
By the way, the coupling track “Praline” for this “Ame ga Furu” is also a really great song, so I recommend that one as well.
When I hear the name Kaori Kano, I had a very strong image of her as an eccentric talent like Chocolata—a band from the ’80s that fused vocal music with new wave, funk, and pop—but I was surprised to find she can also write such straightforwardly beautiful songs.
Buddy (Lyrics: Maaya Sakamoto; Music: School Food Punishment, Ryo Eguchi; Arrangement: Ryo Eguchi; String Arrangement: Ryo Eguchi, Tatsuya Murayama)
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It was used as the opening theme for the TV anime Last Exile: Fam, the Silver Wing and was released in 2011.
The standout feature of this release is, above all, its melodies—crafted with the involvement of Ryo Eguchi, known for his work with School Food Punishment (disbanded in 2012) and the emotional hardcore guitar rock band Stereo Fabrication of Youth.
This piece features digital rock intertwined with strings, modulating key with each measure. It’s pop yet highly tricky, bursting with drive and momentum. The more you listen, the more you discover, making it a highly addictive track.
School Food PunishmentAlthough they unfortunately disbanded, I really liked their tricky rock that blended elements of post-rock, electronica, and alternative rock. Considering the chemistry between Maaya Sakamoto and Yoko Kanno, this kind of collaboration felt like the right choice to me, and that’s exactly what I feel when I listen to this song.
Stereo Fabrication Youth is a band that was formed in 1999.
hereLuminous OrangeThey’ve put out guitar rock that has the same driving momentum as (a Japanese alternative rock band with strong acclaim overseas), but in a more accessible direction, and they’ve become one of the bands I personally like quite a bit.
It seems that it has currently become a solo project by Ryo Eguchi, who handles vocals and guitar.
Be mine! (Lyrics: Maaya Sakamoto, Music: the band apart, Arrangement: the band apart, Ryo Eguchi, Strings Arrangement: Ryo Eguchi, Toru Ishizuka)
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It was used as the opening theme for the TV anime “World Conquest Zvezda Plot” and was released in 2014.
A hallmark of this release is the fusion of complex chords with a poppy yet fast-paced, technically proficient band sound.
Though his style is sharply edgy no matter where you listen, it proved to be an outstanding match with Maaya Sakamoto.
No wonder, since the person in charge of composingthe band apartAmong them, bassist Masakazu Hara is a huge fan of Maaya Sakamoto, to the point that when she performed at the Rock in Japan Festival, he regretted not being able to see her live.
And so, there’s no way I don’t understand the artist known as Maaya Sakamoto...
Well, the band apart is a four-piece rock band whose members all have high-level musicianship. They skillfully fuse heavy metal, progressive rock, funk, and fusion, yet at first listen they sound pop—a rock band for which the word “perverse” (in the sense of delightfully eccentric) is truly fitting.
I learned about them through this collaboration, and when I first heard their music, I was blown away. Their works include many excellent tracks, so please be sure to check those out as well.
Five Ways I Know About Happiness (Lyrics: Yuho Iwasato; Music and Arrangement: Rasmus Faber)
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It was used as the opening theme for the TV anime Koufuku Graffiti and was released in 2015.
This piece features a house-music kick reminiscent of Daft Punk and a very dazzling, sparkly synth sound.
I found it quite surprising to hear something house-music-like in Japanese music—and for it to be a voice actor’s work, no less.
When people hear electronic music, some think it sounds very mechanical or cold, but that’s not the case at all. This is a very pop-friendly track, so it’s a great recommendation for beginners.
Not just this, but I think Maaya Sakamoto is one of the finest pop song artists, so please take this opportunity to explore more of her work!