Exploring Kroi’s Creative Journey: Crafting the Theme Song for the SAND LAND Anime Series

Kroi, the band creating the opening theme for Akira Toriyama’s original anime SAND LAND: The Series (currently streaming on Disney+), is known for their unorthodox songs that combine rap with session-style band ensemble sounds.

The collaboration was finalized almost two years ago, even before the band embarked on their Zepp tour. Kroi was selected based on more than just their fame and achievements. It was their fundamental values, such as their unwavering dedication to stay true to their artistic vision, their perspectives on justice and prejudice, their nonconformist approach, and their unpredictable sound, that resonated with both SAND LAND and Toriyama himself. I hope this comprehensive band interview can shed light on the numerous wonders brought about by the theme song “Water Carrier”. Additionally, this interview delves into the band’s reflections post-Budokan performance, revealing their profound belief that they have yet to make significant strides in revolutionizing the music industry. 

– How did you feel when you were chosen to do Akira Toriyama’s SAND LAND theme song?

Seki (Ba): I remember being very dedicated to this project. The joy of contributing to Mr. Toriyama’s work coupled with it being our first anime collaboration made me realize how happy I was that we were finally able to engage in these kinds of endeavors. Yuki (Hasebe) in particular loves Mr. Toriyama’s work.

Hasebe (Gt): I’m such a Toriyama fan, to the point where I even own his artbooks. The first time I read something of his was when I was five, during a flight to my grandmother’s house. My parents encouraged me to read something to pass the time, so I picked up the first volume of Dragon Ball. That’s when my love for manga began, and I started reading SAND LAND and Dr. Slump Arale-Chan after finishing Dragon Ball. So in a way, his world became an authentic life experience of mine. Looking back, I realize that my love for Sci-Fi and military themes was heavily influenced by Mr. Toriyama.

Uchida (Vo): Everyone in our generation has definitely been influenced by Akira Toriyama’s work in some capacity. Like Dragon Quest, for example. We all have a Toriyama character we like, right? Mine is Dragonlord from Dragon Quest.

Seki: Year’s battle. Unfortunately, everyone lost interest because I played too much of it alone (laughs).

Masuda (Dr): Seki got so into it that no one stood a chance. He tends to do this with other games, too.

Seki: I’ve been playing Dragon Quest since I was young.

Hasebe: When we got the offer, I was thrilled to secure our first anime collaboration, especially one as big as this. With the release slated for two years later, I wondered what the future held for us – something that was beyond my imagination.

– On the flip side, did this opportunity serve as a catalyst for the band’s growth over the span of those two years to ensure the project would be presented in the best possible light?

Uchida: Yes, it did. Landing the SAND LAND project definitely changed the way we worked as a band.

Seki: I think it was a constant underlying factor in our other endeavors. Whether we were announcing our Budokan show or anything else, the impending release of the SAND LAND project was always on our minds.

– How did you approach writing the song, “Water Carrier” after being selected for the SAND LAND theme song?

Seki: Leo presented us with about five songs simultaneously after reviewing the original SAND LAND comic and the storyboard we received. We chose “Water Carrier” from that selection of songs. Coincidentally, we were experimenting with different “sandy sounds” at the time.

– In your 2022 interview, you explained your attempt to create a world of sand through music after watching the movie Dune.

Uchida: I often consider the setting of a song when I write. Before, our compositions were primarily set in cities like Tokyo, but our desire to explore different worlds led us to write about sandy landscapes and deserts. The opportunity to write this song arose just as we were starting to explore this thematic direction, prompting us to consider utilizing our research materials. 

Seki: “Drippin’ Desert”, “Funky GUNSLINGER” are our thematically desert-like songs.

– Listening to “Water Carrier” reminded me of telegraph (Kroi’s second album featuring “Drippin’ Desert” and “Funky GUNSLINGER”). But you weren’t actively researching these thematic elements for SAND LAND. Rather, SAND LAND came to fruition as a result of your experimentation with these sounds, which ultimately inspired the creation of “Water Carrier”.

Hasebe: In terms of timeline, we recorded “Water Carrier” after completing the telegraph recordings.

Uchida: That’s why we were able to approach it from a desert landscape angle. But because we had never written an anime opening theme, it was difficult to imagine one of our songs in that context. We developed several demos after studying numerous opening themes to analyze their tempo, structure, and other song elements. “Water Carrier” wasn’t my top choice until the very end. Another song I preferred also had a great vibe, but its tempo was slower. After considering the length of the opening sequence, I realized the song would end before it could ultimately convey its message effectively. We decided to change the song to something with a faster tempo, leading to the creation of “Water Carrier”. 

https://youtube.com/watch?v=1NKPJWSOLu0%3Fsi%3DwSPixOnPCDKtoCI1

– During the 89-second opening, you establish Kroi’s signature sound in the intro. Then, you further develop the sound and the lyrics, effectively unfolding the whole story of SAND LAND That’s the structural insight I gained from listening to this song. I found that with the development of the SAND LAND anime, film, and game, your song perfectly encapsulated SAND LAND from a musical standpoint.

Uchida: Thank you. We tend to write playful intros because we’re concerned listeners will lose interest without a captivating hook at the very start. I particularly love that intro because it evokes a group of people joyfully traversing through a desert.

Seki: We always strive to maintain the Kroi sound with whatever collaboration we do; Leo’s compositions particularly reflect this intention. Our goal is to remain authentic, regardless of how far we lean into the anime genre.

Uchida: It’s not really about seeking approval. Our priority is to have the anime audience hear our song and think, “I’m glad Kroi did the theme song; they were the perfect fit”. We had to consider how to strike a balance between staying true to ourselves and crafting the sound we wanted. This project taught me that balancing the artist side with the creator side is the most challenging aspect of a collaboration like this. 

– Leo’s lyrical manipulation is unique to him, and the final section of the song, which isn’t part of the anime opening (“Look at this world that is sucked dry / Can’t go in vain, my sweat, and blood, and cry / Look at this world that is sucked dry / Can’t go back to the past, even if you try / This era, our wisdom so high / Believe me, it’ll get to you, alright!”), seems to include Kroi’s own beliefs too, to some extent. Is that accurate?

Uchida: Looking back, those lyrics feel very powerful. In the comic, they’re pursuing water, but it felt like we were also chasing after something at that time. I think we wrote it with that double meaning in mind.

– “This era, our wisdom so high / Believe me, it’ll get to you, alright!” – For Beelzebub and General Shiba, that might represent “water”, but for Kroi, it symbolizes “your music”. 

Uchida: It’s a little difficult to discern the overlap… I don’t think anyone has figured it out yet (laughs). Since we’re a band that claims to not prioritize lyrics, none of our listeners pay attention to them.

– That’s not true (laughs). Ever since your debut, I’ve always seen Kroi as a band that believes its power to connect with people in this diverse musical landscape. That approach is evident here, as well.

Uchida: That’s why it’s nice… Collaborative projects like this allow you to write things you typically wouldn’t delve into. I usually try to write lyrics that don’t feel embarrassing when said out loud, but in a collaborative project, you can convey your thoughts more freely through someone else’s voice. It makes it easier to express yourself with more passion.

– I also noticed many similarities between the world of SAND LAND and the themes Kroi has expressed in its music. Do you feel the same?

Uchida: Absolutely. SAND LAND is a project that was born out of Mr. Toriyama’s personal desires. It’s filled with everything he loves. Realizing that Mr. Toriyama created this comic simply because he wanted to draw what he loved inspired us to craft a song filled with everything we wanted to incorporate in a song.

Seki: The anime also explores many paradoxes, like the inversion of justice and evil. In that sense, we’ve always felt a connection to it. The themes reflected in our next album Unspoiled share similar messages. For example, what may be perceived as “uncool” or “odd” may actually be cool, and the “old” can be revitalized as something new. Unspoiled directly expresses these sentiments, but they have always been a part of our identity.

– SAND LAND’s capacity to explore justice from various angles and conceal rebelliousness beneath a façade of cuteness and fun mirrors Kroi’s values as well. Rao’s statement in the series, “prejudice will mess with your judgment” is particularly reminiscent of the themes in your first album LENS. 

Uchida: Especially tracks like “Balm Life” double down on that message (laughs).

– Do you think your past messaging played a role in being chosen for the theme song?

Seki: I wonder. Why did they approach us for this collaboration? In retrospect, it doesn’t make any sense. It’s shocking. What were we even doing two years ago?

Manager: You hadn’t even played at Zepp yet. Apparently, Mr. Toriyama selected Kroi after listening to songs of multiple artists. (While looking through old emails)… It says here that the themes Mr. Toriyama had in mind, such as “excitement”, “nonconformist”, “unconventional”, and “laid back” all aligned with Kroi’s music. 

– Did you ever have the chance to meet Mr. Toriyama in person?

Seki: Unfortunately, we never did…We held onto the hope that one day we would.

– So I imagine when you heard the news…

Hasebe: We were in utter shock. I immediately reread Dragon Ball.

Seki: Nonetheless, we truly feel blessed to be artists. Only a handful of people have the opportunity to be part of a project involving such a legend. We’re immensely grateful to count ourselves among them. I believe this is something we will forever be proud of.

Particularities in performance and sound

– What specific aspects of your performance and sound did each of you focus on?

Hasebe: I personally tried to challenge myself with something new. I experimented with incorporating sitar in the chorus phrase and played slide guitar on the last solo of the song, both of which were first attempts for me at the time. Listening back reconfirmed how much I was challenging myself two years ago.

– The final guitar solo is so good.

Hasebe: I think I was very motivated at the time (laughs). Jack White was on my mind when I played it, too. My recording session took place separately from everyone else’s, immediately following FUJIROCK, where he was performing. The solos I had previously played were quite different, and my decision to explore slide guitar was inspired by Jack White’s performance at the festival.

Seki: I replayed the bass phrases in the song for the first time since the music video shoot. Clearly, I was also very motivated. The intricacy of the notes, specific licks, and the abundance of ghost notes (percussive sounds created by muting the strings) showcased the level of detail I had put into it.

Uchida: Our initial focus when creating the song was to maintain the Kroi sound, and incorporating a funky beat was our first instinct. We aimed for a breakbeat-style funk beat with a consistent tambourine presence. Masuda delivered on that request, and his contribution resulted in the funky sound you hear now.

Masuda: I remember being told to play a breakbeat and to “put my whole life into the beginning drum fill”, so I approached it with power.

– I thought the snare also sounded really nice.

Masuda: Chiba adjusted the mix to enhance the snare’s crispness and power, altering the overall sound of the song significantly.

Chiba (Keys): Yeah, it made a noticeably positive difference.

Uchida: The mix you hear now on streaming is my latest work. It’s rare to have the chance to re-mix the same song two years later. I was amazed by how much things could evolve in a few years.

Chiba: Yeah, your ears change over time. Simply put, two years provide enough time to enhance technique. You develop the ability to play what you want more precisely, and your auditory perception improves, becoming more adept at discerning and interpreting the sounds being produced with more accuracy. While I was re-mixing the song, I realized I could distinguish details I couldn’t previously, which symbolized my growth.

Uchida: Everyone, including myself who writes songs, were all very motivated. That aside, we managed to maintain a minimal and tight sound. In that scenario, it would’ve made the most sense to opt for a more gradual buildup or a “wet” sound to evoke that ambiance. Instead, we chose to go with a dead drum sound. To me, that decision epitomized the Kroi sound of that era.

Masuda: That’s true. We were into the dead sound back then.

Uchida: I felt like that’s what made it really good.

– Was there anything that left an impression on you regarding your performance, Chiba?

Chiba: I noticed changes in how I approached arranging. There were certain elements I had incorporated into the song that struck me while I was mixing it. I was surprised by some of the sounds I included back then. If Leo had brought us the same song today, I definitely wouldn’t have arranged it the way I did then. It’s refreshing to release something so youthful now, though – it’s a plus for Kroi. 

– The music video also perfectly embodies the world of SAND LAND. I was particularly moved by the scene where you were riding buggies. Where was this shot?

Seki: We filmed it in LA, specifically about an hour from LA by car. Shooting something of this scale wouldn’t have been feasible in Japan. This location also had a strong connection to the anime and song. The director, Shimpo (Takuto), conceptualized the scene with the buggies. You can see it was worth shooting this music video in LA.

– Hasebe’s guitar solo scene felt incredibly natural, and evoked a connection with SAND LAND. It exuded a guitar hero vibe.

Hasebe: You’re right. That shot was really scary because there was hardly any room for my feet. Despite essentially being on a precipitous cliff, Shimpo was asking, “can you move a little more?” I clearly couldn’t (laughs).

Seki: That was a unique guitar solo shot. We stayed in the U.S. for ten days. During our stay, we recorded in two different studios, performed at SXSW, and shot a music video.

– How was your first U.S. show?

Hasebe: It’s me and Masuda’s dream to one day open a Texas steakhouse, and we always talked about needing to see the real deal. We never thought we would actually be able to go to Texas… 

– (Laughs). Did you feel like the Kroi groove resonated in America?

Seki: Despite still being relatively unknown in the U.S., nearly 200 people attended our show. They were all vibing and dancing to our music, and some approached us to compliment our performance afterwards. It was a great experience, and we realized that our music may have an audience, albeit small, in English-speaking countries as well.

– Was there anything you think you gained during your recording that wouldn’t have been possible outside the U.S.?

Chiba: After performing shows and recording in the U.S., we were able to witness firsthand what we had previously only seen on screens and in our imaginations. I think that was the experience we were meant to have this time around. As a band, we eventually want break into the foreign market, so getting a taste of that was quite meaningful.

– Since your debut, Kroi has always aspired to “revolutionize the music industry”. In fact, I think achieving a successful Budokan show was kind of a revolution for a band with your musical style. Additionally, you never abandoned your audience but instead steadily expanded your fan base. I imagine you were able to perform at Budokan in your most ideal form.

Uchiha: Yes, you’re absolutely right. We grew our audience gradually but also retained our older fans. It felt like we all grew together.

Seki: We got through COVID, but we are where we are now because we consistently performed shows and progressively played larger venues. All of that effort paid off because our fans stuck with us as we grew.

https://youtu.be/sUkHIBOGbto

– Having had a successful Budokan show and stepping into the U.S. arena… Do you feel like you’re transitioning into the next phase of your career as a band?

Uchiha: Um… It’s hard to say, but we don’t believe we can incite a “revolution” until we venture out into the world a little more. We’re currently contemplating how to strike that balance. We need to enact a real “revolution” after achieving commercial success or else it won’t resonate or make a significant impact. We can assess how to initiate that once we attain proper commercial success.

– Do you still feel there are things left to accomplish, considering that as a band that has already stood on the Budokan stage, you understand firsthand the influence musicians can yield and the impact such a revolution may have?

Uchiha: I think it’s still brewing. We didn’t believe we were ready even as we were playing the Budokan show. What’s important is that we keep contemplating it.

– Are the actions you can and should take for that cause outlined in your next album?

Uchiha: I hope so. It’s not finished yet (laughs).

Seki: We’re only about 70% of the way there (as of March 2024). We’ll do our best.

Uchiha: Since we released three collaboration songs, we hope our next single off the album can predominantly reflect our own ideas. If anyone is interested in hearing what Kroi wants to do, we recommend they listen to the album.

– I hear you’re creating an important song that represents the current Kroi.

Seki: We don’t even know how the song will turn out yet (laughs).

Uchiha: We have a proper production period this time, which is something we haven’t had much of before. We used to write songs at night while juggling other band duties. With this time allotted to us, we’re able to conduct some more research. So, we hope to release a song like that.

From Rolling Stone JAPAN.