A unique and powerful score driven by traditional Japanese instruments, perfect for any film

As an afterthought in storytelling, the duo known as Pep Magic is behind the score of Netflix’s new animated series, “Oni: Thunder God’s Tale.” Based on Japanese folklore, the story follows Onari, a free-spirited girl living amongst gods and mythical creatures on Mount Kamigami. This includes her father Naridon, who wields his thunderous power through his taiko (Japanese for “drum”). Johnston and Roberts collaborated with creator-director Daisuke “Dice” Tsutsumi in the early stages of “Oni,” allowing music and visual concepts to directly inspire and enhance one another.

“We think of visuals almost musically in a strange way, so we need their help to even write a story or make a painting,” Tsutsumi tells Variety, emphasizing how Johnston and Roberts are just as much filmmakers as they are composers. The two weave traditional Japanese instruments with modern synths to create a nuanced, culturally driven score. “Our number one concern going into it is we want to make sure we’re respectful of Japanese music, but also make it our own,” says Johnston. Pep Magic are longtime collaborators of Tonko House co-founders Tsutsumi and Robert Kondo, first scoring the animation.

Using Tsutsumi’s support and guidance, the composers felt comfortable enough to explore the mythological world of Oni through music, spending countless hours researching the art of taiko drumming and traditional Japanese scales. Tsutsumi also provided the composers with personal reference material in the form of folk songs and chants he learned as a child in Japan. “I think that when they come back with their intuitive approach and a solution – oftentimes, it feels authentic,” Tsutsumi says. “And the reason why I can say that is, it always makes me nostalgic when I hear the melodies that they create.

It was crucial for Tsutsumi to involve myriad Japanese artists for the animated epic, Johnston says. “We were still lucky to be interactive with them and give them feedback after each take,” Johnston says about the musicians. “But it was really cool to just step out on some takes and let them do their own thing.

“She brought so much emotion to the pieces, I feel like we were all trying not to cry the moment she started playing,” Roberts says. “Both the taiko and the flute just brought so much humanity and warmth to the score.

The score and visuals were crucial in illustrating the fantastical elements and enigma of “Oni,” from the landscape of Mount Kamigami to its inhabitants. “I really like seeing the themes change as the characters develop – it’s really gratifying and it feels really emotional,” says Johnston. “I feel like we spent two years with these characters, so the themes are burned into our brains.” “They’re storytellers,” Tsutsumi adds. “What I care about as a director is, emotionally, it has to be honest – in the scene, to the characters. They always prioritize the emotion of the scene, and that’s what I respond to as an audience member.

What we can learn

It’s clear that Roberts is a big fan of both the taiko and the flute, and she thinks they both bring a lot of emotion and humanity to the music. She also thinks they work well together, creating a warm and powerful sound.