Billboard Japan

Twenty-five years have passed since anime song singer Hiroshi Kitadani released “We Are!,” the first opening song of the ONE PIECE TV anime series and the first of many opening songs he would go on to sing for the show. “UUUUUS!” the opening theme for the Egghead Arc, with its rapid shifts and changes, is the creation of Kitadani, composer Kohei Tanaka, and lyricist Shoko Fujibayashi — the golden trio known as the “‘We Are!’ Pirates.” “UUUUUS!” means not only “us” but sounds similar to the Japanese pronunciation of “earth” and the Japanese word for “tomorrow” (Asu), pointing to the future of the series. Hiroshi Kitadani talked with Billboard Japan about what went into the creation of this stunningly densely-packed song and what lies beyond.

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You debuted “UUUUUS!” on-stage at the BANDAI CARD GAMES Fest 23-24 World Tour in Los Angeles, held in late January. What was the atmosphere like?

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Hiroshi Kitadani: I sang “We Are!” “OVER THE TOP,” and ” UUUUUS!” With “UUUUUS!” I was a bit worried about debuting it in L.A. I felt like it might be safer to start the song off with a bang in Japan first… But now, because of video streaming sites, overseas viewers can watch the latest episodes at the same time as in Japan, so the crowd went wild. On stage, we were playing the opening animation to ONE PIECE, and the lyrics were also shown on-screen, written phonetically in the English alphabet, so the audience sang along.

When we were kids, we’d learn old anime songs from reruns on TV, but now, with subscription-based streaming services and streaming sites, it’s easy to hear “We Are!” which was released 25 years ago. So not only do people who were kids back then know it, but even modern kids know it. I think that’s why people around the world love “We Are!” even 25 years later.

Why do you think ONE PIECE is so popular worldwide?

Hiroshi Kitadani: Talking with people overseas, I often hear that “In Japanese anime and manga, the main characters and their friends always get completely thrashed by their enemies, but they usually come back stronger, which really gets you in the feels.” That’s true of Luffy, and also of Goku from Dragon Ball. Overseas heroes like Batman or Superman are incredibly strong right from the start, so I think Japanese anime and comics resonate with audiences because of how the characters turn their frustration into power.

You’ve performed five of ONE PIECE‘s theme songs. Could you reflect on what each of those songs meant to you? Let’s start with “We Are!” the first opening theme song for ONE PIECE, which came out in 1999.

Hiroshi Kitadani: “We Are!” was my debut song as Hiroshi Kitadani. The director I worked with when I first debuted under a previous stage name, later joined an agency called Imagine, who Kohei Tanaka was with. Because of that connection, one day I was approached and told, “They’re going to make an anime version of the most popular manga in Weekly Shonen Jump. Kohei Tanaka is going to submit a song for the opening song competition, and we’d like you to do a temporary vocal track for it.” Then they made the decision to go with “We Are!” for the theme song, but they still hadn’t yet decided who would sing it. Due in part to Kohei’s prompting, the staff began saying “Why not just have it sung by the singer who did the temporary vocal track?” My record company had just told me that they didn’t really see a future for me with them, so I was wondering what to do, career-wise. So this “We Are!” offer came out of the blue. That was the start of my rags-to-riches story.

In 2011, 12 years after releasing “We Are!” you sang “We Go!” which was used in the Fish-Man Island arc, when the crew reaches the New World.

Hiroshi Kitadani: Kohei wrote “We Go!” as a response song to “We Are!” At the time, I was really concerned with what people thought about me, so I was reading a lot of 2channel (laughs). I was worried I’d go on there and see people saying “Hiroshi Kitadani is back, but this song is terrible.” But, instead, when “We Go!” was broadcast, there were a lot of comments like “Dani’s back!” and “Cool!” and “That’s the One Piece sound!” I was so happy I cried.

Then in 2016 you sang “We Can!” with Kishidan.

Hiroshi Kitadani: The offer from Kishidan was totally unexpected. It was the first time I’d sung with someone else as solo artist Hiroshi Kitadani, but we had great chemistry. Kishidan wrote the song, instead of the same trio that had started with “We Are!” but even now there are fans who say they love “We Can!” which makes me really happy.

Then at the start of the Wano Country arc, in 2019, you sang “OVER THE TOP.”

Hiroshi Kitadani: “We Are!” began without anyone knowing who would even sing the song. “We Go!” was a response song to “We Are!” So “OVER THE TOP” was the first song that Kohei wrote to-order, just for me. We’ve worked together a long time, so he was able to write a song with the vocal range where I do my best singing, where I could give the song a distinctive appeal and bring out its flavor. The pandemic started after I released the song, so I haven’t had many opportunities to perform it on stage, but it’s a song that I wish even more people would have chances to hear.

How did you feel when you first heard “UUUUUS!” the current opening song?

Hiroshi Kitadani: To be honest, my first response was “Huh?” Like “It’s not bad…but I prefer music more like ‘OVER THE TOP.’” But Kohei said “It grows on you,” and, sure enough, the more I heard it the better and better it sounded. The show opening is on YouTube now, and it has over 10 million views. One of the comments on the video said “It’s the best song so far.” I know Kohei must always be under a lot of pressure, so I’m amazed that he suggested this song, which is so ambitious but risky.

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I feel like “UUUUUS!” must have been harder to sing than any of the past songs. Do you have any basic advice for anyone trying to sing it?

Hiroshi Kitadani: It’s hard to come up with any kind of succinct advice (laughs). However, for all five of the ONE PIECE songs, not just “UUUUUS!” I’d say it’s important to sing it with a smile on your face. When you sing while smiling, that smile comes out in your voice, making the song brighter and more exciting. When I was recording “We Are!” there were a lot of important people in suits at the recording. It was my first time recording in that kind of atmosphere, and I got really tense. On top of that, every time I’d finish recording a take, they’d be whispering to each other. I was in the recording booth, so I had no idea what they were saying. I was starting to get into a negative mindset, thinking “Was that a bad take?” when Kohei said “This is a song that’s going to give hope and inspiration to people around the country, so smile when you sing it. When you sing with a smile, your voice will have a smile.” That snapped me out of it. I sang while smiling, and they said it was a good take. I’m really glad for the advice Kohei gave me, and it’s something I cherish in my heart even now.

—This interview by Harunoto first appeared on Billboard Japan

hololive English VTuber Hakos Baelz has released her first full album, ZODIAC. On the album, whose theme is the Chinese zodiac, she has taken on a wide range of musical styles, from rock and ballads to reggaeton and EDM. It provides a glimpse into various facets of this artist, hololive’s self-proclaimed “agent of chaos.” There are also guest appearances by veteran VTubers like Inugami Korone, Usada Pekora, and Tsunomaki Watame, and the entire album is full of little touches that keep listeners engaged to the very end. Billboard Japan talked with Hakos Baelz about the new album, ZODIAC, which represents the culmination of her musical activities.

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To start off with, could you tell us a little about how you got started as a VTuber?

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Baelz: At first, I didn’t really know that much about VTubers, but I had a few friends who were doing it, and one day, when I happened to be looking into hololive online, I saw that they were holding auditions. I decided to apply on a whim. That’s how it all started.

Were you already interested in performing music?

Baelz: I’ve been listening to music since I was little, and I was always extra fond of music that expressed my own emotions. I’ve always loved J-pop and K-pop, and I listened to Ayumi Hamasaki thanks to the influence of my family. I didn’t understand Japanese at the time, but the emotions came through in the music, which I really liked. But I didn’t have the confidence to write my own music or sing myself. I’ve never liked my own voice. So, to be honest, I didn’t really have my sights set on music back when I debuted. But I just decided, “why not, I’ll give it a shot” and released my first original song, “PLAY DICE!” I got a lot of support from the people around me, so I started thinking that I could make even more music, which turned into discussions about an EP and then an album.

You released “Play Dice!” in February 2022. What did you want to express through this song?

Baelz: It was my very first song, so I wanted to let listeners know what kind of VTuber I was. I met Camellia, who wrote the lyrics and the music, through a friend. He makes really fun music, and I thought he’d be able to create the kind of music I’d like, so I asked him to write the song for me. He’s been involved on all the EP and album work I’ve done since then, and he always creates exactly the kind of song I’m looking for, so I’m super thankful to him.

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You’re also credited as a co-writer for the lyrics on “Play Dice!” How did the writing process go?

Baelz: First, I wanted a story. I wanted it to feel like my story. I told Camellia about this, and he wrote the starting lyrics. Then I put out some of my own ideas, and we bounced ideas off each other until we’d written the lyrics for the entire song. The song’s theme is “freedom.” Each time I write music, I pick a one-word theme. I share it with the producer and have them write a song that reflects that theme.

You were a member of the special, exclusive unit of hololive members that performed at the Riot Games ONE 2023 e-sports event held in December. You put on a performance of “K/DA,” a virtual pop group made up of League of Legends characters, right?

Baelz: Last April, I covered K/DA’s “POP/STARS.” The reaction from fans was great, which may have been why I was selected to be part of the Riot Games ONE unit. I had never expected to perform at Riot Games ONE, so I was overjoyed. I’ve always been a big fan of K/DA, and I watched their choreography a lot, so I was happy to be able to practice and learn the choreography myself for the event.

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So, moving on to your album, what was your initial idea for how it would be structured?

Baelz: I’m a rat VTuber, so my first thought was that it would be fun to make an album whose theme was the Chinese zodiac. Personally, I find it easier to create an album when there’s a strong theme. When you have a theme to work with, if you ever get stuck while writing music, you can always return to that theme, you know? So that makes writing easier.

The album has all kinds of sounds and aesthetics. Which song do you think is the closest fit for you?

Baelz: The rat song, I’d say. It’s the first song, “RxRxR.” I decided to lead the album with the rat song. On my Pandæmonium EP, which I released last July, I expressed different sides of my personality. With “RxRxR,” I wanted to go with a genre and a message that wasn’t on the EP, so I wrote a pop rock song. It has the powerful spirit that I started out with.

I feel like there’s a chaotic freedom in “RxRxR” and “Play Dice!” and all of Pandæmonium, partly because you’re a rat.

Baelz: I guess so. Most of my songs have something to do with freedom. However, the kind of freedom varies from song to song. In the case of “RxRxR,” the image I had was one of a rebellious high schooler. When I was first talking to ZAQ, that was the story we were using, and the song came out just as I’d envisioned it.

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There are also a lot of collaborations on the album. “HIDE & SEEK ~Nakayoku Kenkashina~” features Usada Pekora.

Baelz: Pekora is rodent family, like me. We’ve collaborated many times, and every time it ends up with us playing fun pranks on each other and friendly competition. I thought it would be fun to have a song like that on the album. I also wanted to collaborate on a song that really fit her. A song that didn’t just match her image, but also her voice and the way she sings. In “COLOUR,” I collaborated with Tsunomaki Watame. I love Watame’s voice, because it’s soft but powerful. I wanted to do a song together with her in that style. On “BITE! KAMU! BITE!” I teamed up with Inugami Korone. I wanted to make an electro swing song. I figured it would be a good match for her voice. She has just ungodly strength. I always crack up when I watch her streams. They’re my favorite streams.

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Which songs were the hardest to record?

Baelz: Probably “GEKIRIN” and “Ohayo-EST Gozai-MASTER ♡.” The rap part in “GEKIRIN” was hard, both because the lyrics are complex and because it’s so fast. But when I heard the final product, I was happy to have created that a song that I also personally find cool. For “Ohayo-EST Gozai-MASTER ♡,” the lyrics were hard. I wanted to make a song that would fill you full of energy, like a “good morning!” to start your day. While the song was still a work-in-progress, it made a weaker impression than the other songs, but Kris helped out a lot and we made changes during the recording process, so it was a lot of fun to record.

I’m sure writing the album was a big challenge. Do you feel like you yourself grew in any way through the process?

Baelz: It gave me the confidence of knowing I can create good songs. Initially, I didn’t have any interest in making music. Whenever I was making covers, I was always really nervous, so I’d consult with my friends on what to do whether it be singing or mixing. But through the process of completing this album, I feel like I’ve learned to identify what makes a good song, what goes into making a good song, what instruments would work best and other knowledge like that.

In closing, do you have any message you’d like to share with listeners looking forward to hearing the album?

Baelz: Thanks for always listening to my music! I still have a lot to learn, but I hope you enjoy my album!

XG announced the details of its highly anticipated first world tour kicking off in May, entitled XG 1st WORLD TOUR “The first HOWL.”  The seven-member girl group that recently celebrated its second anniversary on Mar. 18 is set to launch its global trek in Japan two months later on May 18 and 19 at the […]

2024 is shaping up to be an even more exciting year for Internet-based music such as Vocaloid, utaite, and VTuber music. Holohoneygaoka High School, the first album from hololive and HoneyWorks, is filled to the brim with every fascinating aspect of this culture.

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Holohoney is a new musical collaboration between hololive production, a VTuber groupwith over 50 streamers, and HoneyWorks, a group of creators. The album is a double album consisting of Holohoneygaoka High School -Originals-, new songs written for the album, and Holohoneygaoka High School -Covers-, covers of HoneyWorks songs by hololive members. Altogether there are a total of 20 songs (not counting the CD bonus tracks), which are presented in detail below.

Holohoneygaoka High School -Originals-

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1. Kawaiko Check! by Inugami Korone

“Kawaiko Check!” is Holohoney’s first original song, released in September 2023. The song is about Inugami Korone, disguised as a school teacher, scouting cute girls to liven up the school’s culture festival. The speedy tune, livened up with accents like a brass section, emphasizes the cuteness of Korone, a character with a dog motif, as she races around, tail wagging.

2. Idol 10 rules by Nekomata Okayu, Himemori Luna

This punk tune, almost ska-core, depicts the hard work the two singers do to become top idols while always obeying the 10 rules of idols.

3. Tokyo Wabi-Sabi Lullaby by Gawr Gura

This mellow, mid-tempo number is sung by a member from hololive English. The lyrics are evocative of an exchange student thinking of home, and the modern R&B sound of the song is blended with Japanese instruments such as bamboo flutes and sound effects like railroad crossings and fireworks, painting a picture of summer in Tokyo and a feeling of wabi-sabi. You can feel the Japanese city pop flavor that Gura is so fond of.

4. Bridal Dream by Usada Pekora, Houshou Marine

“Pekomari,” the duo of Usada Pekora and Houshou Marine, is the most popular and well-known hololive duo, made up of two members of the third generation of hololive. “Bridal Dream” is an official B-side for the duo’s wedding…or, at least, that’s what it appears like, until you discover that it was all just Marine’s dream. There are wedding-like melodies sprinkled throughout and a frantic feel that’s a perfect fit for the duo, which always whips up a storm when they’re together.

5. Utage☆Dokudanzyou! by Nakiri Ayame

Sharp, strummed guitar lines drive this fast-paced song, an up-tempo tune with a post-Vocaloid rock pop feel and an exhilarating, breakneck pace.

6. Outsider plan by La+ Darknesss, Takane Lui, Hakui Koyori, Sakamata Chloe, Kazama Iroha

The five members of Secret Society holoX shares the pride of outsiders who can’t, or don’t want to, fit in with their classmates, carried by a powerful rock tune. What they’re actually doing — eating lunch before lunchtime, reading comics in class — is cute, and the heart of this song lies in how it uses pop to express the feelings of these outcasts.

7. PAKU-PAKU-SEIBAI by Hakos Baelz

“PAKU-PAKU-SEIBAI” is a dance-pop song with a “girl crush”-like sound rooted in EDM and trap music that highlights the cool vocals of Hakos Baelz, who plays a student with a powerful sense of justice.

8. Hero for a day by Kobo Kanaeru, Takanashi Kiara

hololive Indonesia’s Kobo Kanaeru and hololive English’s Takanashi Kiara sing about the joy of being a “hero for a day” up on the culture festival stage, backed by a sunny pop-rock melody. They also provide a glimpse of the wistful side of the event, singing that “the magic will vanish soon,” but in the end they look back on their experience fondly as another chapter of their youth.

9. Riazyuu★Bokumetu movement by Murasaki Shion

“Love and that tingling feeling you get inside, they’re just illusions.” That’s the message behind this ska-punk song by the angsty Murasaki Shion, who is doing all she can to block those around her from having rich, fulfilling lives.

10. Kyoushitsu ni Ao / Hoshimachi Suisei

This song is like the campfire at the end of the culture festival. It reminds the listeners that the time young people have to make memories and develop strong bonds with their friends will come to an end on the day of their graduation. It’s an emotional rock song that conjures up images of the starry night sky. Hoshimachi Suisei’s emotional, bright singing voice unlocks a flood of emotions.

Holohoneygaoka High School -Covers-

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1. Fansa by Yozora Mel, Shirakami Fubuki, Natsuiro Matsuri, Shiranui Flare, Shirogane Noel

Five artists cover this passionate idol song from the solo artist mona, which was released as part of the HoneyWorks project Kokuhaku Jikko Iinkai: Ren’ai Series (Confession Executive Committee: Love Series). The original song was already an emotional one, but when the voices of the five singers come together in the chorus, the feelings run even deeper as you viscerally feel the strength of the bonds between them.

2. Inokori sensei by Tsunomaki Watame, Tokoyami Towa

These two artists from the fourth generation of hololive have burgeoning solo music careers and exceptional voices. In this song, they’ve come together to perform a popular, wild rock tune that tells the dark story of a teacher (Saku Akechi) and his student (Haruki Serizawa).

3. motto ichigo ore by Sakura Miko

Sakura Miko is one of hololive’s generation zero members, with a sweet, slightly lispy singing voice. In this rock number, she covers a song with a distinctly mona-like feel that depicts the heroic ideals of an idol. Miko’s sweet vocal qualities and the powerful song combine in a wonderful blend of sweet and spicy. The lyrics were also tweaked for Sakura Miko, such as by changing “mona wink” to “miko wink.”

4. Hokori Takaki Idol by Tokino Sora

This song by mona is one of pride in the face of the people who look down on idols. Here, it has been covered by Tokino Sora, a pillar of hololive since debuting as its first virtual idol.

5. Sis x Love by Kureiji Ollie, Anya Melfissa

This song by the sisters Sena Narumi and Mona Narumi has been covered here by a close-knit duo of second generation members from hololive Indonesia. The lyrics, about the powerful bonds between sisters that grew up together, convey a different sense of bonding when sung by Ollie and Anya. The scintillating string parts and uplifting sound bring tears to your eyes.

6. Daikiraina Hazu datta by Shishiro Botan, Omaru Polka

This bittersweet love song, originally sung by Kotaro Enomoto and Hina Setoguchi, is famous for a version sung by members of Nogizaka 46. In this cover by a duo of fifth generation hololive streamers, Botan plays Hina’s part and Polkaa plays Kotaro’s part, backed by a piano rock tune that is the embodiment of glittering youth — a duet that paints a picture of pure, bashful love.

7. Tokyo-Summer-Session by Oozora Subaru, Amane Kanata

This cover of a popular song depicts a scene of youth in full bloom — a couple, more than friends but less than lovers, realize their mutual attraction at a fireworks festival one summer night. Subaru plays the boy’s part and Kanata plays the girl’s part in a song that sets the listener’s heart fluttering with lyrics like lines from a drama and nuances that evoke the innocence of a young couple.

8. Kessen Supiritto by Moona Hoshinova

This beloved song by CHiCO with HoneyWorks was the ending theme to the TV anime Haikyuu!! To the Top. Here, it is covered by Moona Hoshinova, one of hololive Indonesia’s finest vocalists. The energetic performance is a perfect encapsulation of the drive to always keep pushing forward, using failure as a springboard for future success.

9. Doutan Kyohi by Momosuzu Nene

Momosuzu Nene, a fifth generation hololive member who is always bubbly and full of energy, sings this pop number, a straightforward declaration of devotion by Chu-tan, from the Heroines Run the Show series, to her favorite idol.

10. Senpai by AZKi, Ookami Mio, Yukihana Lamy

This song, originally performed by the voice actor unit TrySail, was the opening theme song of the anime movie The Moment You Fall in Love: Confession Executive Committee. Here, it has been covered in pure, three-part harmony. The song dramatically depicts the powerful romantic feelings of a student for an upperclassman that go tragically unnoticed.

—This article by Hajime Kitano first appeared on Billboard Japan