KAN is and will surely always remain one of my personal favorite pop songwriters. Today, nearly 20 years since I first discovered him, I appreciate his music more than ever. This translation is my humble tribute to this funny, relatable, and really just immensely endearing man.
This is the first part of a comprehensive, career-spanning interview with KAN. It comes from a book fittingly entitled KAN in the BOOK which was published in 2020.
Text: Morita Kyoko
English translation: Henkka
KAN: Website, Twitter, YouTube
Note: You can buy KAN’s physical releases on CDJapan.
1987–2001
— To begin with, how did your debut come about?
KAN: I took part in Yamaha’s EastWest amateur band contest and Young Jump’s Sound Contest ’84, and I did okay—I won prizes in both, coming in 3rd place or so. I got like a “Merit Award” as well as a “Good Looks Award.” (laughs)
— Oh really? (laughs)
KAN: Back in those days, a lot of young sound directors at record labels were going around looking for promising musicians in hopes of discovering and developing them themselves, and they were attending all kinds of contests. That’s how I was approached by one Mr. Hirano from Polydor Records, and I went into the studio to record demos of six or so songs—some of them were programmed, and some I recorded with band members from my college days.
Then we started looking for a production company. But one of those candidates, that company said they wanted to work with a different label instead of Polydor. Hirano was all sullen, like, “I’m gonna be left out of this thing, huh…”
