Serving as music director for this work is Taisei Iwasaki, who won the Japan Academy Prize for Best Music for the film "Belle." The music is being produced through a collaborative system that includes Iwasaki, along with Ryo Konishi, who served as music director for the opening ceremony of the 2025 Osaka-Kansai Expo, and YUKI KANESAKA, who is based in the United States and has recently worked on the music for the TV anime "Dr. STONE." Comments from all three have arrived with this information release.

Taisei Iwasaki's Comment

When I was in junior high school, I casually opened a magazine and saw a color frontispiece illustration of Motoko Kusanagi. That was the moment I first encountered "The Ghost in the Shell."

The touch and color were clearly in a league of their own compared to other works. The attractive author name "Masamune Shirow." It was shocking. Since then, I have experienced "The Ghost in the Shell" in various forms, but I am truly honored to now be able to participate as a contributor to this work and become part of its long history.

The concept I came up with to musically adorn this "The Ghost in the Shell," which is both the origin and the original text, is "Public Security Section 9 of Sound." I will scout talented friends and strive to make this work, which I myself have been eagerly awaiting, even better. May there be an "en" (connection) with all of you.

Ryo Konishi's Comment

"Innocence," which I first watched in a theater when I was in junior high school. Since being captivated by its intense appeal, I have continued to follow everything related to The Ghost in the Shell. The influence of Ghost in the Shell is deeply engraved in my own creative work and philosophy today.

To think that I would be in charge of the music for such a work... At first, I couldn't believe it at all, but I approached it with all my heart and soul, with only the thought of carefully taking on this precious world.

Follow the whisper of my ghost!

YUKI KANESAKA's Comment

Immediately after tweeting "I'm completely unfamiliar with The Ghost in the Shell!", I ordered every English and Japanese edition available on Amazon and dove into composing at my private studio in the suburbs of Boston.

There, countless musical motifs had already begun preparing for their journey. Additional recording in Nashville where my close friend awaited. Tailoring work at a hotel in Shanghai. And during my homecoming in Tokyo, the motifs completed their long journey, transforming from the phenomenon of passage into the message of a suite. A path without hesitation, without blurring, without rewriting. The collection of musical pieces packed with my thoughts and impulses is a work like a map on which such trajectories are engraved.

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