Words by Sara Cederberg
Kishi Bashi, otherwise know as Kaoru Ishibashi, has never been one to compose music that remains in place or fades into the background. His forthcoming album, Kantos (Joyful Noise Recordings), takes listeners on a wild and immersive journey, blending Brazilian jazz, ’70s funk, orchestral rock, and Japanese city pop.
Ishibashi’s first full-length since the symphonic folk of 2019’s Omoiyari explores the complexities of humanity amid questions about our technological future. Inspired by the Hyperion Cantos series of science fiction novels, Immanuel Kant, and the ancient ruins of Crete — Kantos captures the complicated duality of joy and anxiety in the human experience.
Off Shelf: Conceptually, Kantos is a fascinating album, described as both a celebration of humanity and a reflection on its potential end. How did you navigate these complex themes while still creating a “party album” that still feels ridiculously catchy, uplifting, and joyful?
Kishi Bashi: I usually get excited about the musical ideas first, and I had collected some jams and tracks that I was particularly excited about but weren’t particularly appropriate while I was doing my social justice-oriented documentary work [on Omoiyari]. Now that it’s behind me, I wanted to release music that was exciting to me and I think partying is something I like to do as much as the next person.
OS: AI’s role in music creation is a theme in Kantos. How did your experience with AI tools shape your perspective on the balance between human creativity and technological innovation?
KB: As many artists around me, I was both fascinated and terrified with the potential of AI. On one hand, it has the ability to eliminate mundane tasks and accelerate our creativity with tools. On the other hand, it has the uncanny ability to mimic human behavior and artistry. I think people still appreciate “human-created art”, and will pay a premium for it for now. I have no sympathy for tech companies that steal copyrighted material to train AI for their own profit.
OS: Brazilian jazz, city pop, ’70’s funk….listening to Kantos feels like a tour of one of my favorite obscure record shops. It’s also a big tonal and musical shift from Emigrant, Omoiyari, and previous releases. You’ve mentioned that Kantos was inspired by your jazz background and your dance-rock days with Jupiter One. Can you talk about how revisiting these musical roots influenced the album’s production and overall sound?
KB: I think those roots were always there. It’s just my past five years, I’ve dedicated my life to Omoiyari, which is a film, symphonic piece, and album, and it focuses on minority identity, marginalization, and history. I think taking a step in a different direction was a logical step for me. I also bought a funky Strat guitar during the pandemic, and I got excited about all the spank sounds I was getting.
OS: You collaborated with artists like Zorina Andall [vocals], Augie Bello [saxophone], and activist/rapper, Linqua Franqa. How did partnerships come about with them, and what did each collaborator contribute to the project?
KB: I’ve always reminded myself that I want to collaborate more with people. I am a control freak in the studio, so my collaboration was usually at the very end, where I was dead sure that their voice would totally fit the track – which it does!
OS: I’m intrigued by the Kantos cover art, especially the crest. Can you tell me more about the creative process there with the artist Jerrod Landon Porter?
KB: I’ve worked with Jerrod since 2012 and the beginning of Kishi Bashi. He is heavily involved in the Athens, GA of Montreal scene – of which I was a member – and we have collaborated on t-shirts and merch for over ten years. He is a big fan of City Pop and retro styles, so I thought he would be perfect for this album cover!
OS: The album concludes with a cover of the theme song from the early-’90s Japanese mini-series Tokyo Love Story. What drew you to this particular song, and how does it fit into the overall narrative and emotional arc of Kantos?
KB: I always loved this song, and I thought it would be a cultural nod to my roots as a cross cultural Japanese American kid who grew up in the 80’s and 90’s. All Japanese people my age will know this song.
OS: Beyond the new album, what can fans expect from you for the rest of the year and into 2025? Any big plans other than the release tour?
KB: I have a big international tour this fall, and some symphonic shows next year. Our film Omoiyari just got nominated for an Emmy, so I think there will be more activity and excitement on that project as well.
OS: What books or albums are bringing you joy at the moment?
KB: I’m loving “The Invisible Life of Addie Lauren” by Victoria Schwab and getting into the history of Okinawa with “Okinawa: A History of an Island People” by George Kerr.
Great interview with a longtime fave!