For this interview, we spoke with Sound Creator Shogo Nomura, who is hugely successful not only in game music, but also in the music industry as a whole!
Sound Crator Shogo Nomura
―Could you briefly tell us about your affiliation and what you do for work?
I joined Bandai Namco Studios in 2021 and primarily create music for video games.
Recently, I have worked on projects such as Den-On-Bu, TEKKEN 8, and BLUE PROTOCOL. I’ve also been active as a composer and performing as a keyboardist for gigs outside the company.
■Notable Works
●Piano arrangement for the album Let’s Lament M2. Between Two Worlds (Let’s Lament) by the artist Mili
●Piano arrangement for the album Key Ingredient by the artist Mili
●Support keyboard on the solo concert Shutter Chance by the artist NOMELON NOLEMON
●Appearance in the music video for Touch by the artist NOMELON NOLEMON
●Appearance in the music video for SUGAR by the artist NOMELON NOLEMON
●Composition and arrangement for the in-game song Resurrection “Samurai” for the music game DEEMO II (Rayark Inc.)
●Composition and arrangement for the in-game song 2:99am for the music game DEEMO II (Rayark Inc.)
●Composition and arrangement for the in-game song Blue and Amor for the music game DEEMO II (Rayark Inc.)
●Composition and arrangement for the in-game song Yarazu Ame for the music game DEEMO II (Rayark Inc.)
●Composition and arrangement for original song Hakahakai Princess for Den-On-Bu
●Composition and arrangement for original song Zankoku Reml for Den-On-Bu
●Background music creation for TEKKEN 8
●Background music creation for BLUE PROTOCOL
And many more . . .
Bandai Namco Studios Official Website: Creators: Shogo Nomura
―You seem to have a lot of experience working on projects outside the company as well! Coud you tell us about some of the hardships you have faced or some memorable moments in your current work?
A particularly memorable moment was when TEKKEN 8 team tasked me to create a completely new theme song for their title.
I aimed for a bold theme song that transcended the boundaries between genres, but it was very challenging to strike a balance between the fans’ expectations and my creativity. Through this experience, I strongly felt that it is crucial to be equipped with a wide range of musical knowledge and how important it is to continue to study and learn.
―I see! It’ll be fun to try and pick up on what your style is as I listen. Tell me about the music you’ve made for games and artists music you’ve made for games and artists outside of Bandai Namco.
Yes, I have worked on in-game music for DEEMO II, which was developed by a Taiwan-based company called Rayark Inc., as well as a couple of arrangements for the artist, Mili. They had listened to my music from back when I was a student and liked it enough to reach out to me for work.
―I see that since joining the company, you’ve also been engaging with Bandai Namco Entertainment’s Den-On-Bu. What was your motivation for getting involved?
My first encounter with Den-On-Bu was actually from watching ASOBINOTES ONLINE FES* when I was still a student.
Watching Sho Okada, a Sound Creator from Bandai Namco Studios whom I currently have the pleasure of working with, and Hiroshi Okubo from Bandai Namco Research DJ during this event was what motivated me to become involved with Den-On-Bu.
*ASOBINOTES ONLINE FES
Bandai Namco Entertainment-hosted online music festival with the motto Play with Sounds.
The announcement for Den-On-Bu being made amidst the frenzied atmosphere towards the end of the festival was very exciting for me as a fan, and I was sure that something extraordinary was to come. So, it’s surreal to me that two years later I had joined the project.
I recently worked on a song for a character called Reml from the Shin-Shinjuku GR School in the Kabuki area.
She’s an eccentric character, relishing in destruction and wishing ill upon others, so I used some distorted sounds and incorporated unsteady chord progressions to ensure the character song captures her essence and brings out her charm.
A rich variety of track makers across different areas of expertise have taken part in the Den-On-Bu project, and I was enamored by the lineup since before I joined. From classic to the edgiest of the edgy, Den-On-Bu track members had performed a wide array of music.
―It sounds like you had fun incorporating the Reml’s characteristics into the music. Is there anything you have absolute confidence working on?
I’m confident that I have flexibility and versatility in working on music of any genre while ensuring that my own style shines through. I believe I can create a unique sound by fusing different music styles.
―Lastely, what is a challenge you’d like to take on in the future?
I want to explore and inquire deeper into the storytelling power of music. If I can convey the worldbuilding of a game through music alone, I can provide a more immersive experience to the players. To this end, I want to continue assimilating various styles of music and experiment with new forms of music.
―Thank you!
Related articles: Read these interviews if you’re interested in what our Sound Creators and Visual Artists do!
Why Focus on Environmental Sounds When Making an Emotive Soundscape? (Keigo Kuramochi)
Creating Instantly Identifiable Games! What Goes into Concept Art? (Yoko Tanaka)
How a Narrative Director Builds a Library of Ideas (Kousuke Itomi)
