Date of Birth: 8/4/1965
Birth Place: Yokohama, Japan
First game worked on: Gaia No Monshou (Crest of Gaia)
Favorite Drink: Vegetable Juice-No Additives
Favorite Food: Goya Champloos
Favorite TV: News, Professional Baseball
Favorite Game: Famista '95 (Super Famicom)
Favorite Book: German Car Technician's Guide
Favorite Movie: Kurosawa's "Yume" (Dream)
Hobbies: Car work, Fishing, Baseball, Planting Vegetables, living

Go! Game! Music! (GGM):
At what age did you become interested in music?

Koji Hayama:
I suppose that would have been 7th grade in junior high school. I admired a folk group called "ALICE," and practiced the folk guitar day and night. During my school's annual cultural festival, I bathed in the stage light while playing in front of the entire school. I believe that's when I acquired my taste for music.

GGM:
What was the first song you composed and who were some of your early influences?

Koji Hayama:
Privately, when I was 19. Professionally, when I composed the music for the PC game "Gaia No Monshou" (Messiah) 18 years ago.

GGM:
How did you get involved with the game music business?

Koji Hayama:
I had a friend in the game industry. He listened to my original music and was very pleased with it. Even though I had no knowledge of music or a great amount of skill, my music was accepted quite well. My first company was Brain Grey. Up until then I didn't have any corporate experience, and had only worked as an outsourcing employee for a short time. I went freelance at the age of 25.

GGM:
Please describe what a Koji Hayama concert like?

Koji Hayama:
Rather than calling it a concert, it's something more extreme. Live underground? Sports? Pro Wrestling? That kind of feel. It's a performance intended to stimulate the audience, so I think both the performers and the watchers get tired. But I’ve been spending a longer amount of time talking lately. It's not just about music. There are a lot of fans who come out to meet Hayama.

GGM:
What are the differences between your original music and your game music?

Koji Hayama:
I think they are completely separate entities. With game music, a game maker gives you a request and you compose. It's business. With original albums, you're not restricted by anyone, so it's a personal challenge. Something that's not business.

GGM:
Please describe your music style and philosophy?

Koji Hayama:
Well, I don't have any problem talking about it, but it's not something that can be said in a single word. Don't flock with others, do it by yourself, I guess.

GGM:
What is your greatest music accomplishment?

Koji Hayama:
Well, having the first "Cho Aniki" album rank 16th on the hit chart was certainly great, but also having released 14 original albums in 12 years and going on to do live events, would be it I suppose.

GGM:
What are your strengths and weaknesses as a composer?

Koji Hayama:
In both senses, how the notion "Cho Aniki = Koji Hayama" has been too deeply fused into the industry and fans.

GGM:
Why do you create music?

Koji Hayama:
That's the only thing I don't understand. I have a feeling I'm not actually doing it for myself. Maybe it's for the fans that support me? Or my family perhaps? I imagine it's for people, at any rate.

GGM:
How do you overcome the limitations of the various consoles?

Koji Hayama:
These days, the majority of music requested is for raw sound, so we almost never have that kind of problem anymore. Even if we did, I myself, have never done any converting. But if I dare to comment on it, I suppose it would be about "division." To be honest, I resent the fact that there are a lot of developers out there who are willing to spare budget funds and capacity for graphics, yet always give music the shaft. The way I see it, because someone's always fretting, the predicament would probably be like, "Hey, make some more room for music!"

GGM:
Please share your thoughts and experiences on the following:

Koji Hayama:

Cho Aniki -Aniki no Subete-

It's "Cho Aniki," in both the good and the bad. Anyone out there who speaks of Hayama is probably speaking of "Cho Aniki." I'm probably gaining status in the "Screwball Entertainment" realm. I am in fact pleased with it, but it can be complicated.

Gran Chaser

This album is the masterpiece of my instrumental game music CDs. Personally I don't count game music as original albums, but I do treat this one in that way particularly.

Game Music is Dead

This one is ...whatever. It's a "best?" I guess? album the record company selfishly made, which I wasn't too involved in. But hey, the CD cover is extremely gorgeous, so if you look at it objectively, at least it’s got that going for it.

Twinbee Paradise

Ah, then there was this phase. Well actually, the duets I did with Mariko Konda for two songs were very good, so it's permissible.

Koji Hayama & Shin-Brothers Live "KINZOKU" (The King Of Game Music Live)

This is the live video that came about after I started taking my own initiative. I was young and energetic, and it sounded good. It's a solid video, I'd say.

Front Mission 3rd

I took charge of half the music on this one, but the other half that had already been done by Mr. Matsuo was fantastic, and I remember thinking, "Man, I can't cope with people."

Ten Plants 2

"Boy-hood" was the only song I did, but I think it's a pretty good one.

Super Robot Taisen Alpha Original Score1 -Tenku no Shou-

There's a duet song recorded with the "King of Anime Songs," Ichiro Mizuki. *I* was the one who did everything, from composing, to arranging, to performing, to writing the lyrics, to doing the vocal sampling for this song. But that old bastard Mizuki got outraged selfishly, just because the vocals were sampled. It is a memento to have worked with such a prominent figure, but that's the extent of it. I'm not going to flatter him just because of his status. He didn't deserve respect.

Ashita wa Hareru

Looking back, now that I'm older, I sometimes think, "My life of music was for the purpose of this album." Even though the songs were poor and inexperienced, and the performance and mastering were both cheap. I wanted to make it without time restriction and what not, but still, it's probably the one album I'd like thrown in my casket if I died.

Genki o Daseyo!! (Cheer up!!)

"Cheer up," I said to myself as I did this project, yet I had no cheer at that time. It was tiresome creating it through independent distribution. This was my 13th original album.

Street Fighter Tribute Album

I don't know who the composer was, but I arranged someone's song. This was business.

Aniki Shin-Sekai

It seemed like I had quit after 13 albums, but finally a 14th one arrived. As for the contents, it was a forced, recurrent trip to the "Screwball Entertainment" realm, the origin of the first "Cho-Aniki." Silly, but philosophical. Furthermore, it seemed to be selling quite well. I was indeed happy with the attention it received after 13 years, but it was perceived simply as a "Screwball" based product. Being thought of as someone who only composes for that kind of stuff is...well, complicated indeed.

GGM:
Do you admire any game composers? Who and why?

Koji Hayama:
Though it's a pity, no I don't. As for game music composers, I don't think there's anyone who casts away shyness and has more appeal power? than myself. It's a narrow world, but in the game music wrestling ring, I arrogantly consider myself the champion. It's me who, after doing ten years of live performances, enters the ring wearing the championship belt.

There's no one ballsy enough to come defy me and say, "Hey sit down!" Everyone just sits there with a cold? attitude and watches. If they do nothing but watch, then I'll just keep going and going. That's how I see it anyway. There do seem to be others who occasionally do live performances, but in those cases there's usually some female vocalist who does the main act, or the composer just stands in the center of the stage smirking under his/her good fortune. To anyone who thinks they're a match for me with their "face!" as the spotlight: you gonna let me get away with this?

That said, there isn't any stupendous composer out there who I respect, and no one can rival me. To say someone can rival meis, ridiculous. I say, "Try bringing out over ten albums under your own name without the backing of an enterprise and come bring it to the stage.”

GGM:
If there's anyone you'd like to do a project with, who would it be?

Koji Hayama:
As for people who sit at a desk and work only on the completion of games, no one. Even if I did, I have too much evil in me, so I think composing with someone would be frustrating.

Actually, I don't have many acquaintances in this profession, just Mr. Iwadare and Mr. Hosoe. Aside from them, I don't exchange information or anything with anyone else, so I always tend to be behind in the high-tech scheme of things.

GGM:
What advice can you share with those who want to create music in the game business?

Koji Hayama:
Wanting to do game music as a salary man. Is this type of person really a musician? I don't know about any company employees, so I'll avoid any references.

To the people who want to be free and self-reliant: "Music isn't the potential! It's about heart and soul!" Even if you have confidence in yourself, don't herd around others, don't ridicule others, and don't flatter others out of obligation. Hold on to your own original values and pride.

GGM:
Any additional thoughts for your fans around the world.

Koji Hayama:
You guys! "Live your life seriously!!" Got it!?
Thanks for taking the time to complete this interview!

Thanks to Mr. Hayama for chatting with us and thanks to Cocoebiz.

Interviewed & Interview Contents by Anthony Farah (GGM)
Contents Translated by Justin Pfeiffer
Editorial Supervised by Kahori Ezaki (CocoeBiz)