Billboard Japan
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Billboard’s Women in Music event has celebrated artists, producers and executives who have made significant contributions to the music industry and empowered women through their work since 2007. In 2023, Noriko Ashizawa of Spotify Japan was recognized on this esteemed list.
Billboard Japan launched its Women in Music initiative last year, highlighting women in the country’s music industry through projects including interviews by leading figures in their respective fields. As the next featured guest in this series, Ashizawa spoke about working to support up-and-coming artists as Spotify’s Head of Music Planning and Operations in Japan. She also shared the company’s efforts to expand the reach of domestic artists and their work beyond borders to new listeners and fans. As the one who has been involved in the process that the streaming service has become the mainstream way of listening to music in Japan, how does she see the future of the music industry?
Congratulations on making Billboard’s Women in Music list for 2023. Could you tell us how you feel about this honor?
Noriko Ashizawa: Honestly, I was surprised to hear the news because I never expected to be chosen for such a prestigious award as someone who works in Japan. It still feels kind of unreal, but if it means that Spotify’s various efforts in Japan were acknowledged, I feel very honored about that.
Spotify encourages the activities of female creators in music through its global EQUAL project. What have been the results so far?
Spotify’s EQUAL program has selected 700 women around the world across various genres as ambassador artists, and more than 4,000 acts have been featured in the related playlists. We launched the localized program, EQUAL Japan in 2021, continuously spotlighting the works of Japanese female artists and creators and their voices through playlists. So far, a diverse range of female acts including the all-women band CHAI, rapper Awich, and Utaha of WEDNESDAY CAMPANELLA have been also highlighted as ambassador artists in the project. Moving forward, we’d like to further raise awareness of the program itself and make it more meaningful for artists to participate in it.
When a platform highlights that many artists, it definitely creates more opportunities for users to discover them. By the way, the year-end Billboard Japan top 100 chart for 2022 shows a noticeable gender imbalance with 58 male artists, 27 female artists, and 15 mixed groups. Spotify also has its own annual rankings. What trends do you see?
Spotify releases various annual rankings at the end of each year. Looking at last year’s ranking from the perspective of gender balance, there were 11 female acts including solo artists and groups on the “Top 50 Most Streamed Domestic Artists in Japan” list and 3 mixed groups with women as main vocalists. The “Top 50 Most Streamed Domestic Songs in Japan” tally saw similar results, with 10 out of the 50 songs by female acts. The ratio of women announced globally the year EQUAL launched was one in five, so it could be said that gender imbalance still exists on a worldwide level.
But there were some major differences between the global and domestic rankings. Looking at the “Top 5 Most Shared Artists” globally, female artists ranked in the upper tier with Taylor Swift at No. 1 and Lana Del Rey at No. 4. In Japan, the top 3 were boy bands — JO1, BE:FIRST, and INI — and the “Top 10 Most Shared Songs” list was dominated by tracks by these three groups.
That’s an interesting result. Do you know the demographics of their fans?
The majority of listeners supporting these boy bands are women. Supporting your favorite artist or act in a tangible way is called “oshikatsu” in Japanese, and especially during the pandemic, momentum rose to support those artists by listening to their music on streaming and then sharing it proactively via social media. In fact, when this ranking was announced, female fans of these groups posted many comments on social media expressing their joy. Looking over at K-pop, many female artists are also very popular among women in Japan, but it seems that in such cases, it’s more of a “listening for themselves” kind of mentality at work, encompassing feelings of empathy and admiration, rather than actively expressing their support for those artists.
It’s interesting to hear that men are dominating the charts fueled by the power of women. How do you analyze the current situation where women account for only one-fifth of the most played songs and artists on Spotify, both in Japan and globally?
I think there’s probably a gender imbalance in the number of creators to begin with. Many next-generation artists aspiring to become stars like Taylor Swift and Billie Eilish are emerging, but I think it’ll still take a bit more time to change this situation in a significant way.
What do you think about the gender balance on the production side of the music and entertainment industry?
Many women work at Spotify and looking around the workplace, not only at Spotify but also at other companies in Japan, I don’t see any significant lack in the number of women these days. But if you look at the industry’s senior management, it still feels like it’s mostly men, and I think there is a difference between the state of frontline workers and that of management.
Could you share some of your background? Did you envision a particular kind of woman you wanted to be growing up?
I don’t think I’ve ever thought about men and women in a separate way. I don’t personally share the view that being a woman should be given special weight, so I respect the type of woman who can assess any given situation to realize her goals as an individual human being.
You’re certainly someone who has stuck to that value of making decisions as an individual person, transcending labels and existing frameworks imposed on you by others. How did you come to work in the music industry?
I’ve been loving music since I was a child, and always vaguely wanted to make a career of it. I listened to Western music (along with J-pop), so I became interested in English and studied abroad during my college years. After joining Sony Music Entertainment Japan and building my career in the International music division, I gradually became more interested in production work, so I chose to move to a domestic label where I was in charge of A&R for a number of years. Then, when I got transferred to Sony Interactive Entertainment in 2014, I became involved in the formation of the PlayStation Music. Until then, I’d only been involved with the artists and labels that created and delivered the music, but I had an opportunity for gaining a new point of view by working on the side of a digital platform for the first time in my life.
That was just at the time when people in Japan were starting to think that the ways of listening to music might shift from physical formats to streaming. After a while, I was fortunate to get involved in the launch of Spotify in Japan as an external partner at PlayStation Music, and although I then had to return to my previous workplace as my transfer period came to an end, I decided to work at Spotify considering much potential in streaming as a game-changing platform for bringing more opportunities to various creators by enhancing discovery between listeners and artists.
Reaching out to a global audience, which had been a high bar in the past, is now relatively easier to achieve through streaming. For instance, Fujii Kaze’s “Shinunoga E-wa” hit No. 1 on Spotify’s viral chart in 23 markets outside Japan last year and spread throughout the world. The more successful cases of Japanese artists I actually see, the more I believe there’s a lot of potential in the Japanese music industry and that we can work together to make unprecedented dreams come true.
That must have been the period when people thought it’d be hard for streaming to penetrate the Japanese market, but it turns out you made a bold decision. And since then, you and your team have supported a variety of artists to build a career in a way that might not have been possible before. Are there any female artists or acts you’d like to shout out at the moment?
Rina Sawayama’s work has been particularly remarkable lately, and her message of inclusiveness of diversity has encouraged many people. In 2020, she was selected for Spotify’s “RADAR: Early Noise,” a year-round emerging artist support program in Japan, and now she’s a superstar with a global following. Haru Nemuri is one of this year’s RADAR: Early Noise artists, and it’s really encouraging to see Japanese artists like her who convey strong messages from various angles being supported overseas even more so than in Japan, and I’d like to see this movement spread domestically as well.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Billboard Japan launched its Women in Music initiative last year, highlighting various trailblazing women in the music industry in a string of projects, including interviews by leading figures in their respective fields. The initiative follows the established example of Billboard’s Women in Music event that has honored artists, producers and executives who have made significant contributions to the music industry and empowered women through their work since 2007.
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Akiko Nakajo is next up in the Japan Women in Music interview series. Currently, the Japan country representative of YouTube Japan, Nakajo studied abroad as a student and began her career at a TV station. Overcoming biased opinions at various points in her life, such as “Why should a woman study abroad?” and “Women can’t read the news,” she paved her way to her current position. Now that she is involved in the management of a platform for creators and artists to communicate with audiences around the world, what does she think needs to be improved and what does she feel hopeful about?
Were there any women you looked up to growing up?
Firstly, my mother was always there for me when I came home. She was that kind of mother who made me feel safe and protected. I was grateful for her love and support. Secondly, I admired female broadcasters. When I was a child, women working as broadcasters began to emerge and I was inspired by their courage and determination. I thought it was wonderful to see them using their voices to communicate and to make a difference in society. Thirdly, I also admired artists and creators. I have always been drawn to all forms of entertainment. I was fascinated by the way artists could express themselves through their work. I loved a Japanese TV music show called the Best Hit USA that was very popular in my time. Because it showcased their music, their words, and the way they express themselves all leave a lasting impression on me.
You saw the various sides women have and were impressed by those different strengths.
I believe so. I have always enjoyed creating things, too. There is something magical about being able to take nothing and turn it into something. That is why I admire artists, creators, and filmmakers so much as they have the ability to take their imaginations and make them real.
Has your idea of an ideal woman changed over time?
My respect for people who express themselves has never wavered. Creators and artists of all kinds make things despite their hardships, and they give us inspiration and hope for the future. I feel empowered by their works, too. Through my own experiences, I’ve come to believe that everyone — whether they’re artists, business leaders, journalists or mothers — contributes to society and the community. I’m also inspired by people, despite how they identify themselves, who pick themselves up after they fail and achieve something new. Failure is something that happens to everyone, but it’s how we respond to it that matters.
So you’ve gained more people you respect. Of the many new artists rapidly emerging on YouTube, are there any female creators that you find worthy of note?
YouTube is home to a wide variety of content creators and artists, and they can leap to go beyond borders. In the past, it was a major challenge to expand your audiences internationally, but now, expressing your work on YouTube means “making a global debut.” The popularity and reach that people like Hyakumantenbara Salome and P Marusama have are tremendous. When seeing the diverse expressions of these creators, it’s encouraging to see that it’s OK to decide with your own expression and identity.
What were you like as a child growing up?
I recently met with my elementary school classmates and they said I used to “dress in freedom” back then. I think I was trying to free myself from something. At the time, it was common for girls to be told how to act and have their actions restricted. For example, women weren’t allowed to read the news on TV, and they were only seen as weather forecasters in most cases, or hosts of segments within a program. This was the world I lived in, and I was determined to do things as I wanted to do them. I just couldn’t give up.
What did you do to keep from giving up what you wanted to do? You could say that studying abroad and getting a job as an anchor person freed you from that “something” you mentioned.
First and foremost, I had to convince the people around me. When I told my parents that I wanted to study abroad, not only my parents but also somehow my relatives and neighbors joined in the discussion of why a girl should leave her hometown to study abroad, and they thought a local school would be good enough. It took me two years to convince them all, but I eventually succeeded. On the day of my departure, about 30 people — including my teachers and vice principals from each of my elementary, junior high, and high schools, my relatives and friends — came to Narita Airport to see me off. Looking back, it’s an unbelievable sight, but I think the long discussions were their way of showing me love and support. That’s why I think it’s only natural to give back to society, my own children, and to the team I work with.
You’re now the mother of two sons. How did motherhood affect your career?
I got married early and didn’t plan on working for long, partly because I was raised by a stay-at-home mom. I was 26 years old when I married and wanted to have kids quickly and be there for them as a mother, but we weren’t blessed with children for over ten years. At one point, I even wondered if I’d ever be a mother in this lifetime. I had no long-term vision for my career and time sort of passed as I just kept working hard every day and took on whatever challenges came my way.
There was also a positive side to experiencing motherhood at a later age. I was in a different phase of my career, and I felt more prepared to handle parenting because I had a better understanding of my job. No matter how old you are when you become a parent, there will always be things you don’t know about raising a child. But if you don’t know how to do your job, managing both parenting and work will be chaotic.
Throughout my journey, I’ve made a conscious effort to engage in multiple activities simultaneously. For instance, I have been involved in non-profit work alongside my career, taught at schools, and pursued further education. Juggling multiple projects at the same time became second nature to me. When I eventually became a mother, I was able to redirect some of the time and energy I’d invested in those personal projects towards parenting. I believe that my experiences allowed me to apply the lessons I’d learned to parenting and vice versa, looking at the positive side of becoming a mother after gaining experience.
What you just shared may encourage people who are trying have children at an older age. What do you think is necessary to make it easier for women to work, society-wise?
Information is now much easier to access than when I was in my 20s and 30s. I think this saves time and makes it easier to design one’s daily life. On the other hand, something that can’t be solved through technology is one’s mindset and the mindset of the people around them. Even if a system is in place, it will be difficult to achieve a working style if the right mindset is not present.
What do you mean by “mindset”?
I believe that many solutions can be found in society, companies, and other organizations if we properly address the basic issue of “creating an environment where people can be themselves, respect each other, and contribute to each other.” Simply put, this means “psychological safety.” For example, we often hear from parents who find it difficult to tell their colleagues that they have to leave early because their child is sick. This is a sign that the workplace may not have a culture of psychological safety. I’m sure some aspects have improved in recent years, but it’s still far from enough. It is important for individuals to take professional responsibilities as well as be responsible for their own set of rules and for those around them to respect and support them.
We’re in the midst of a major shift in values as a society in Japan. As a parent, is there anything you try to be conscious of regarding gender inequality?
Actually, my sons are quick to point out any stereotyping if I might have. They will say, “Mom, isn’t that stereotyping?” It seems that the schools they attend proactively engage in discussions on gender inequality and other social issues. I think it is great that they are aware of these issues, and I am glad they feel comfortable speaking up frequently, and I find myself learning from my sons everyday.
It’s encouraging to hear that efforts are being made in schools to eliminate gender bias. What do you think needs to be done to promote gender equality in the Japanese music and entertainment industry?
I think it’s safe to say that there are signs of change in gender equality. In the past, I often found myself in situations where I was the only woman in a meeting, but that’s becoming rare. We’re also seeing more and more women in decision-making positions, where they weren’t given the opportunity before.
For example, gender inequality in higher education, especially in the sciences, is a problem that’s being addressed at last in recent years. But until fairly recently, parents and teachers would often say things like, “Girls are better suited for the liberal arts.” These words are imprinted in our minds. While the concept of “women belong in the home” is considered outdated, I was influenced by my mother and had no intention of pursuing a career when I was young. This shows the immeasurable influence of mindsets unknowingly imprinted by our environments, such as family and society.
There are still many obstacles that need to be overcome, but I am hopeful because in addition to individual efforts, positive efforts by society as a whole are being made. This includes programs encouraging the growth of the next generation. It goes without saying that gender has nothing to do with how talented someone is. We should remain optimistic and work towards accelerating this change.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
YOASOBI’s “Idol” continues to rule the Billboard Japan Hot 100, holding at No. 1 for the fourth consecutive week on the chart dated May 10.
While figures for both metrics are down slightly from the previous week, the Oshi no Ko opener continues to rule streaming with 25,433,131 streams and video with 8,570,370 views. The track also returned to No. 1 for downloads this week with 32,878 units, up 7 percent from the week before. These results show the diversification of fan activity in terms of contact and ownership, indicating that this latest hit could be expanding the fanbase of the breakout duo itself.
Additionally, the song rises 9-3 for karaoke with a 90 percent increase, also showing the rapidly expanding fanbase of the “Monster” pair. The track’s point total is more than double that of the song at No. 2 this week and its domination of the Japan charts is likely to continue.
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THE RAMPAGE from EXILE TRIBE’s “16BOOSTERZ,” the song at No. 2, and Sexy Zone’s “Cream” at No. 5 were the two new singles vying for No. 1 for physical sales this week, and the four-man Johnny’s group’s 23rd single came out on top with 227,372 copies, ahead of the 16-member LDH group’s 19th single, which launched with 197,450 copies. But “16BOOSTERZ” racked up points in other metrics, coming in at No. 2 for radio, No. 86 for downloads, and No. 45 for streaming, overtaking “Cream,” which only added points through radio airplay (No. 10) and video (No. 55).
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 1 to 7, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
YOASOBI’s “Idol” logs its third consecutive week atop the Billboard Japan Hot 100 on the chart dated May 3.
Last week, “Idol” stayed at No. 1 after surging in streaming, video views, and other metrics — scoring an 83.7 percent increase in overall points. The Oshi no Ko opener maintains its momentum this week, racking up 25,783,683 streams (26.6 percent gain) and 9,030,423 views (7.6 percent gain) to dominate streaming and video. Overall points for the track increased by 17.3 percent this week and reached 23,211. With 25,783,683 weekly streams this tracking week, YOASOBI’s “Idol” ranks second on the all-time record behind BTS’s “Butter” that clocked in at 29,935,364 streams on the week of June 2, 2021. Official HIGE DANdism’s “Subtitle” follows at No. 3 with 21,708,199 weekly streams (Nov. 23, 2022).
BE:FIRST‘s “Smile Again” bows at No. 2 on the Japan Hot 100 after taking the top spot for downloads and preventing the soaring “Idol” from holding for a second week. The ballad also rules radio and comes in at No. 2 for physical sales, streaming, and video, scoring high in each metric to reach a total of 19,494 points, but this wasn’t enough to overturn the point difference between YOASOBI’s hit in streaming and video.
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AKB48‘s “Doushitemo kimi ga suki da” (“I just love you so much”) debuts at No. 3 on the Japan Hot 100, launching with 473,635 copies to hit No. 1 for sales. The 61st single by the girl group, its first after switching labels to Universal Music Japan, sold more CDs in its first week than the previous single, “Hisashiburi no Lip Gloss,” released last October (429,419 copies) but couldn’t supplement this lead with the other metrics. Total points for this track added up to 7,219, far behind the two top songs competing at a high level this week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
For the full Billboard Japan Hot 100 chart, tallying the week from Apr. 24 to 30, see here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Japanese punk rockers Hi-STANDARD announced that their new single “I’M A RAT,” released digitally April 19, will drop as a 7-inch picture disc via their U.S. label, Fat Wreck Chords.
Originally slated for digital release only, the physical version is a tribute to late drummer Akira Tsuneoka, who died Feb. 14 at the age of 51. All proceeds from the disc will be donated to Tsuneoka’s family.
Fat Mike of NOFX, owner of Fat Wreck Chords, first suggested the new single be released on vinyl to the surviving band members in response to the news of the drummer’s death. “This 7 inch means more to me than anyone can know,” he says. “When NOFX first played with Hi-STANDARD in 1995 in Tokyo, we became lifelong friends. I flew them out to SF in 95 and produced their first album. Then NOFX took them on tour for the next year. We were more than close. Hi-STANDARD are a band that I am truly proud of. What people don’t know is that at one point they were the fucking biggest selling band on Fat Wreck Chords. They are the only FAT band that can sell out STADIUMS!”
“This 7 inch is not about that,” the NOFX frontman continues. “This 7 inch is about the last song Hi-STANDARD ever recorded with their drummer Akira Tsuneoka. What a sweet talented man. He always had a smile on his face, and he was always the first to be in the studio. He was an amazing drummer and he will be missed by all who knew him. I hope you’re hangin out with Bohnam, Barnes, and Moon up in drummer hell! Will never forget you Tsune…. RIP.“
According to the label founder, born Michael Burkett, the picture disc will be “specially designed with the cover art of ‘I’m a Rat’ on the A side and a photo of Akira Tsuneoka printed on the B side.“
YOASOBI’s “Idol” holds at No. 1 on the Billboard Japan Hot 100, dated April 26, dominating three metrics of the chart’s measurement this week.
“Idol” continues to soar powered by the popularity of the anime series for which it serves as the opening theme, Oshi no Ko. The track rules streaming (20,366,113 streams, up by 130 percent from the week before), video views (8,388,791 views, up by 94 percent), and downloads (30,505 units, up by 4 percent). It also comes in at No. 4 for radio airplay and No. 52 for karaoke to stay at No. 1 on the Japan Hot 100 for the second week in a row, with over double the total points from the song at No. 2.
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Hinatazaka46’s “One Choice” is this week’s No. 1 song for physical sales with 538,086 copies sold. While the group’s ninth single fared relatively well in the other metrics, coming in at No. 27 for downloads, No. 98 for streaming, and No. 32 for radio, the total wasn’t enough to overturn the huge difference between “Idol,” which racked up points in an extraordinary way this week. “One Choice” launches at No. 2 on the Japan Hot 100.
The girl group’s previous single, “Tsuki to Hoshi ga Odoru Midnight,” launched with 459,613 copies, so the new single tops it by approximately 17 percent, indicating the group’s steadily growing popularity.
Spitz’s “Utsukushii Hiré” (“Beautiful Fin”) is down a notch to No. 3 this week but holds at No. 1 for radio, where it’s rare for any song to stay at the top for consecutive weeks. The theme of the latest Case Closed (Detective Conan) movie also rises 7-2 for streaming with 8,585,967 streams (up by 69 percent) and continues to hold in the top 3 after debuting on the chart at No. 2 last week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from to Apr. 17 to 23, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Japanese singer-songwriter Haru Nemuri is the next featured artist in Billboard Japan’s Women in Music interview series. Billboard Japan launched its Women in Music initiative in 2022 to celebrate women in the music industry through a string of projects including this series. Billboard Japan’s Women in Music follows the established example of Billboard’s event since 2007 that has honored artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.
Haru — her name is stylized in Japanese order, surname first — has toured internationally and her music is highly acclaimed outside of Japan. The 28-year-old artist has shared in past interviews that she writes her distinctive style music that shouts anger and indignation “to keep from dying.” Billboard Japan sat down with the outspoken feminist who delivers her messages through song and asked in detail about the inspirations and thoughts at the base of her music.
Are there any female artists who have influenced you?
Haru Nemuri: I tried to think of an answer to this question, but couldn’t come up with anyone in particular. My parents love animated movies by Studio Ghibli and I’ve watched their works since I was a kid, and remember liking Princess Mononoke. I liked the way she was honest about her feeling of wanting to kill her enemies.
Did you consider any particular female figures as your ideal?
I try not to have too many ideals or visions of how things should be. The only ideal I have is to avoid holding on to symbolized motifs like male or female figures in my mind.
When did you begin feeling that such gender biases were symbolic?
I think it was after I made my debut to be exact. I went to an all-girls’ school in junior high and high school, so I was surrounded by girls and didn’t really have the experience of being made aware of my own female identity. After my debut, I became known as a “female college student singer-songwriter,” which made me aware that I’m being labeled as a “woman,” a “female artist,” and a “female college student.” Male artists who also happen to go to college are almost never referred to as “male college student artists,” but women who fit the same criteria are often labeled as such.
You’re absolutely right. No matter what their profession may be, being labeled as a “female college student” is something that happens often in Japan and it must be uncomfortable to be appraised as such. Do you think being a woman affects your activities in any way?
Not really. When I’m asked about my gender in terms of that definition, I say “cis woman.” But if you were to ask me, “What percent female are you feeling now,” my answer would vary from day to day. I might feel like a little boy on a certain day, or might not even feel human on another. I think the self-identifying gender of any person isn’t really fixed and is always fluid. But I do feel that visibility is important, so for example, when I’m asked, “How do you feel about it as a female artist,” I have a responsibility to answer as a person belonging to the majority as a cis-gender woman, and I do so because I believe it’s a task I should be taking on.
When did you start to think that you should be taking on that task?
About 3 or 4 years ago, I think. “Haru Nemuri” to me is the kind of person I wished existed when I was about 14 years old. So I think about the responsibilities I wouldn’t like to see her shirking, then reverse that to find the roles Haru Nemuri should be fulfilling and try to take on those tasks myself.
What do you consider important when sending out messages as someone belonging to the majority in terms of gender identity?
I try to make sure that the voices of the parties concerned aren’t lost in my words. I also try to consider each time whether the anger I’m feeling is really something I should be expressing. For example, when I feel angry about some damage caused by a misogynistic system, I think I should speak out, but I can’t speak for the damage caused by transgender discrimination because I can’t be a party to it. The mechanisms that lead to my anger are similar, but if I’m not a party to the situation, of course I can’t understand everything about the problem. That’s why I think it’s important to listen to the voices of the parties involved.
But to bring about change, allies in the majority need to stand with the minority concerned, don’t you think?
Yes. There are definitely moments when solidarity is necessary, but it can also lead to overgeneralization. That’s why we should listen to what each person has to say. When you’re listening to people’s voices like this, balance will be lost if your own voice becomes louder. But I have a platform as a musician so I have to take on that risk as well. By personally taking on this responsibility, I might be able to prevent overgeneralization.
I see, that’s why you respect the voices of those directly involved. How about you? Do you ever feel discriminated against or find it difficult to live as a cis woman?
Being subtly underestimated is a thing. For example, I write all of my own songs. Recently, I’ve been asking my manager, a guy, to stand in front of my computer and press the play/stop button during my live performances. Then after the show, people would come up to him and say, “Those songs are really good.” He operates the computer behind me and I’m singing with only a microphone, so I suppose I can’t blame people for thinking so, but I’m pretty sure part of the reason why it doesn’t occur to them that I write my own songs is because I’m a woman. Also, people who say that to my manager speak politely to him but use overly friendly language when addressing me.
I can see that happening. You’re also active in the U.S. and have done many interviews there. Do you notice any differences in the treatment of female artists in Japan and the U.S.?
I’m open about the fact that I’m a liberal feminist, so people who defend contrary positions don’t approach me very often. In that sense, I’m not sure I can rely on my experience as a data point, but I had many opportunities (in the U.S.) where I was treated with a sense of empowerment and respect. (Interviewers in the U.S.) aren’t put off when I say I’m a feminist, and in fact, they often ask me to speak in that context.
You’ve said in previous interviews that being a feminist isn’t accepted in Japan. Do you still feel the same way about that?
I think maybe more people are willing to listen to what I have to say now because they’ve done some reading or learned about it on their own. I expressed my messages pretty clearly in my second album, SHUNKA RYOUGEN, and many people seem to have read off of that.
What function does writing lyrics serve for you?
I didn’t become self-aware until fairly late and was quite unaware of my ego until I was about 18 years old. It was between the ages of 18 and 21 when I realized what I didn’t want to do, and ran away from home because I didn’t want to take a corporate job. I began writing lyrics from around that time, and I think I did it then to verbalize, realize, and grasp how I was feeling and what made me sad.
Did anything change when you started putting your sadness and anger into words?
At first I was really happy to be able to verbalize those thoughts and it felt liberating, but as I continued to do so, I was often confronted with the feeling that nothing can be done about what’s causing that sadness and anger until I die. So now it feels more like, “What I’m doing is meaningless but I have to do it anyway.” But after majoring in philosophy in university, I began to think that one’s thoughts and actions can be separated, and learned that they affect each other, so I think that is why I’m able to keep at it.
I’m sure many people are empowered by your music. Is that something intentional on your part when you sing or write your music?
You know what, that’s not really my intention. They’re for me; I write my songs in desperation, in order to survive. Things that are done in desperation has energy, so there might be people who are pulled along by it, and I also believe that writing songs and presenting them is a violent act like hitting someone. I compose and write lyrics feeling pain, coexisting with the thought that “people might be better off not knowing things like this.” It’s almost like I’m experiencing life through pain.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
YOASOBI’s “Idol” rules this week’s Billboard Japan Hot 100, dated Apr. 19, coming out on top among six songs that bowed on the chart this week.
The lineup of the top 10 changed dramatically in a rare week in which the top six tracks were debuts. In particular, the top three songs respectively earned more than 9,000 total points and any of them could have taken the top spot.
YOASOBI’s “Idol” won this close race, racking up points mainly through streaming with 8,868,810 weekly streams and video views with 4,334,923 views, ruling both metrics. The opener for the anime series Oshi no Ko also launched at No. 2 for downloads and No. 22 for radio airplay.
Spitz’s “Utsukushii Hiré” (“Beautiful Fin”) — the theme of the latest Case Closed (Detective Conan) movie Kurogané no Submarine — follows at No. 2 on the Japan Hot 100, ruling radio and coming in at No. 3 for downloads, No. 4 for sales, No. 7 for streaming, and No. 13 for video. With a new album set for release in May, the veteran four-man pop-rock band is off to a great start with its first collaboration with the beloved series.
At No. 3 is SixTONES’s “ABARERO,” launching with 434,274 singles to rule sales and coming in at No. 2 for radio and No. 10 for video. The six-man Johnny’s group’s ninth single sold approximately 35,000 copies more than its previous single, “Good Luck!” (398,252 copies), indicating the band’s growing popularity.
Bowing at No. 4 is MAN WITH A MISSION × milet’s “Kizuna no Kiseki,” the opener of the highly anticipated latest Demon Slayer: Kimetsu no Yaiba TV series, depicting the Swordsmith Village story arc of the popular manga. The collaboration between the anonymous wolf-masked band and enigmatic singer came in at No. 1 for downloads with 38,843 units, No. 20 for streaming with 4,105,630 streams, and No. 12 for radio.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
Check out the full Billboard Japan Hot 100 chart, tallying the week from to Apr. 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
aiko recently released her 15th album, Ima no Futari o Otagai ga Miteru. The singer/songwriter from Osaka made her debut in 1998, and her down-to-earth lyrics about romance from a woman’s perspective, together with her songs’ pop melodies, have earned her fans of all ages. Her greatest-hits album, aiko No Uta., released in 2019, took the No. 1 position on Billboard Japan’s all genre Hot Albums album chart.
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In this interview, her first with Billboard Japan, aiko talked about the making of Ima no Futari o Otagai ga Miteru, her relationship with the charts, the recent music scene and more.
You’ve recently released a new album, Ima No Futari O Otagai Ga Miteru. This is your first album since the release of Doushitatte Tsutaerarenaikara two years ago. How did the album production process go?
I began producing my own albums starting with my last album, and this time I had more opportunities to talk with music arrangers. I’ve been able to take care of a lot more in the field this time, like pointing out “I want to use this scale in the guitar solo” or “Let’s try out the outro and the closing of the song in person.” I can see every individual step of the songwriting process, from 0 to 10, in greater detail than before, and I’ve been happy to get a deeper understanding and appreciation of the fact that each song is really the fruit of countless musicians and staff members.
That might also be helping you reflect your own ideas and feelings in your songs even more. I love the title Ima no Futari o Otagai ga Miteru (“The Two Look at Each Other”). There are so many ways to interpret it.
Even my own interpretation changes from time to time (laughs). When the title first came to mind, I was like, “What does that mean?” Normally, I decide on the album title towards the end of the album creation process, but this time the title sprang to mind in the middle of making the album. I told the staff in the recording studio, “I’m thinking of titling the album Ima no Futari o Otagai ga Miteru. What do you think?” Even when two people love each other, “looking at each other” can have so many meanings. Maybe they’re right in front of each other. Maybe they’re far apart, but they’re thinking about each other. Maybe I love someone, but I’m looking at him as he’s talking to another woman. But in every case, it’s always “the two.”
The two are really seeing each other in the midst of their constant change.
I hope so. It’s lonely if you’re looking but they’re not looking back. I hope they’re looking at me the same way. Sometimes I wonder if that kind of miracle is really even possible (laughs). It’s a wonderful thing when you have two hearts that are really seeing each other as they truly are.
Needless to say, the new album is mainly focused on love songs. You’ve always been fascinated by singing about love.
That’s right. Not to change the topic too much, but I think it’s interesting how you can have an automatic, physical reaction to things. There are all kinds of examples, like your hands becoming clammy when you’re nervous or your ears turning red when you’re embarrassed. But when you’re spending precious time with someone you love, you feel this tightness in your chest. It’s like what you see in girls’ comics (laughs), but it happens to me even today. It’s a physical reaction, so never know when it’s going to happen. I don’t experience it as often as when I was younger, but because of that, when I get that tightness in my chest, I’m like “Oh, there it is!” When it happens, I realize that I’m really in love, and I want to sing about that feeling.
Let me ask you a little about the songs on the album. The first song is called “Areta Kuchibiru wa Koi o Nakusu” (“Chapped Lips Lose Love”). It’s an upbeat tune that’s perfect for an album opener.
At first, I was planning to start the album with an upbeat rock tune, but my musical arranger, Masanori Shimada, created a really gorgeous arrangement, and now it’s one of the songs I look forward to singing live. When I thought up the lyrics, my lips were actually chapped (laughs). I woke up in the morning, looked at my slightly chapped lips, and thought “When you’ve got lips like this, even the person your heart is set on will turn their back on you.” When I experience something bad or sad, or I’m not feeling well, I have this tendency to see everything in a negative light. I often reflect that outlook in my lyrics, but in “Areta Kuchibiru Wa Koi O Nakusu” I wanted to convey the idea of accepting yourself and the gradual changes you undergo, along with my own desire to keep on loving nonetheless.
aiko “Areta Kuchibiru wa Koi o Nakusu” music video
In “Saraba!,” the line that goes “When it’s no good, it’s no good” really stands out.
When I was writing the song, it really was no good (laughs). Tomi Yo arranged the song, and I really loved the bridge after the line “I melt into my bed,” so I told Tomi that directly: “I love that arrangement!” The guitar solo really makes an impression, and the whole thing is cool. Like I said at the start, I loved talking in depth with everyone and being able to say “This part is great.” The musicians I worked with perform in all kinds of places, so I don’t know what they were thinking when I told them that I thought some part was great, but when someone praises my own singing, it makes me really happy (laughs). So when I think that someone in the band has done something good or cool, I try to share my feelings with them.
I’d like to ask you about the charts. All of the albums you’ve released since Billboard Japan launched its overall album chart in 2015 have gotten into the top 3. When you put your music on streaming services in 2020, it also created quite a stir. What are your feelings about the charts?
I keep my eyes on the charts. Each time I release something, I talk seriously with the staff (about how it’s doing in the charts). We talk about all kinds of things, covering lots of ground, but I always end up looking inward, thinking, “I need to write great songs.” I made my debut 25 years ago, so a lot of people know my singing voice, but one issue has always been, given that, what kind of songs should I write? My unwavering guiding principle has always been to write songs that are fun to record and fun to sing live — songs that get me amped up. I try my best to share that kind of music with people. I can’t bring myself to ingratiate myself with others. I’ve always loved music and wanted to do something interesting, and since I started making songs back when I was 18 or 19, I’ve found it exciting to create something from nothing. I never lose sight of that feeling, but after I’ve released something, that’s when I get into the serious discussions (laughs).
What are your thoughts on musical trends, fads, and changes in the music scene as a whole?
There are so many artists, appearing so quickly. I’ve been surprised at the sheer speed of that cycle. I realize that that’s the age we’re living in today. The other day, I was watching TV and there was a segment introducing hot new artists. Every week, there’s a whole new selection of artists, so we’re really living in amazing times.
It’s becoming even more common for artists who were recently complete unknowns to suddenly break into the spotlight.
Right. In the past, television and the radio were key, but now there are a lot of people who are out there on social media, and songs that are like 30 seconds long are becoming huge hits. On social media like TikTok, there are all kinds of parody songs and vocal covers, and they spread like wildfire. It’s totally different from how music spread back when I debuted, and to be honest I sometimes find myself at a loss, so I end up deep in thought, but I’m really happy that I’ve been able to enjoy my long career.
—This interview by Tomoyuki Mori first appeared on Billboard Japan
LMYK is a singer-songwriter who debuted in November 2020, and her music has touched listeners around the world via anime works after being featured as the ending themes of Vinland Saga, The Case Study of Vanitas and other series. Two years and four months after her debut, the enigmatic artist — LMYK are the initials of her real name, but that’s about all we know of her profile — has finally completed her first album, a collection of 12 tracks that expresses her thoughts on life and death, joy and pain and other concepts that she has contemplated in the years since she was a child, given shape as if guided by sounds.
This project, called DESSERTS, was produced by Jam & Lewis, the producer team famous for their collaborations with numerous superstars including Janet Jackson, Mariah Carey and Hikaru Utada. Although the tracks included on the set are pop songs, they’re distinctive in that they were created using methods different from those commonly used in commercial music, and are precious musical works that carry listeners out to the sea of the mind and thoughts that people aren’t usually aware of. In this interview, writer Yukako Yajima spoke with LMYK on behalf of Billboard Japan about the inspirations and themes of her debut project.
Now that you’ve completed your first album, what do you think underlies these twelve tracks? In other words, what is fundamentally important to you in making music, or what’s the essence of LMYK that naturally overflows into the music you make?
Being alive. Questioning that. I think I’m always aware of the transience of time. Questioning being alive, and transience. Those things naturally go into my music. I also like humor. Maybe it’s because I’m originally from the Kansai area (where there is a long-standing culture of stand-up and other forms of comedy). [Laughs]
Your sense of fun can be felt throughout the album in a balanced way. I see what you mean about “questioning being alive.” We look within ourselves and at others, and by observing others, we understand ourselves again. I thought that kind of cycle was being depicted in each of the twelve songs. That sense of understanding oneself because others exist, is it something you’re strongly aware of?
There is a dual relationship between “you” and “I”. There are aspects that we share that are exactly the same, and those that are unique to each individual. “Separated” and “connected,” I feel both. Even if we’re physically separated, we are fundamentally the same and feel connected. We can’t see it, we can’t imagine it, we don’t know it… It’s a mystery.
I get the impression that your music uses sounds to delicately express things like emotions and the natural order of the world that we humans don’t understand, things that we haven’t yet been able to put into words or that science hasn’t yet been able to prove. Is expressing such things important to you?
I think the sounds probably take me there naturally. When you play sounds, it’s a different world, isn’t it? The sounds take you to places that you can’t put into words, or to places that exist at the root of existence. Maybe it’s a place where thought can’t catch up. Language “solidifies” things. So it’s like being in between thoughts. When you play sounds, you naturally go there.
The sense of being able to connect through sounds to feelings, phenomena, something like the root of existence, before it becomes thought or language. How about what you said before about the transience of time, why do you think that’s one of your central themes?
It makes me think about life and death. The fragility of human beings. It’s hard to tell if humans are strong or weak. They have both sides. They’re fragile, but also powerful and resilient. The passage of time also feels different depending on what you’re doing, doesn’t it?
It sure does. Is there a reason why you began thinking about the passage of time and life and death in this way?
I lost my mother when I was 18. It was a huge shock at the time. Death is perceived differently depending on how important a person is to you, but when you lose something absolutely irreplaceable, you lose a part of yourself as well. That’s how big the impact is and it really shakes us up.
So that was one of your major motivators in making music.
Yes. I started making more music a few years after that, so I think maybe it’s related. It could be all the stuff that I had pent up inside.
Your music also feels like it brings down something from another world that’s not our reality. For example, in “Sorakara” you sing about something “falling from the sky (sora kara furu).”
That’s the earliest song on the album, from around 2017. The title means “from the sky,” and it’s about a region on the far side of the sky that we don’t understand or the other side of life. The feeling of being connected to those things but also not understanding them. I don’t understand exactly what I meant by “sora kara furu” either, but it felt right. When I create a piece of music, it’s a combination of parts that clearly make sense to me and parts that are more abstract.
Do you remember what you were thinking five or six years ago when writing “Sorakara”?
Looking back objectively now, I think I was acting tough. There are lyrics in the song where I say “I know,” “I don’t need it” and “I have no complaints.” The words came naturally from me at the time, but when I read them later, I think I was trying to be strong. But that’s also typical of me.
Chronologically, “Weak” is also an earlier song, but would you say it expresses something exactly the opposite?
Yes, “Weak” is really honest. It admits my own weakness without any hesitation. But there’s also the question, “Is it OK to be weak and to need your love?”
The philosophy expressed in your songs often feels like it hits the truth. “Sorakara” is one and the bridge of “Little bit lonely” is another.
What is expressed in the lyrics of my music is something I think about all the time. Where does human suffering come from? Why do we suffer? What’s the difference between “suffering” and “having a hard time” and “feeling exhausted”? Human suffering can lead to one choosing to take its own life — the emotions behind behavior and where those emotions come from are things that interest me.
Which is closest to the sense you have when you make music: do you write songs from your own conclusions, or do you use sounds to express what’s going through your mind, or is it about wanting to affirm someone?
Now that you mention those three… I feel all of them while I’m working. Because when you affirm yourself, you’re also affirming others. I often write while thinking about people who are important to me, and I write music about things that I think I’ll never come to a conclusion about, and things that I feel but can’t put into words. I also write about things that I think I’ve come to a conclusion about, but it might not really be a conclusion. I guess I do what I do because I think maybe someone else will feel the same way as me when I find an answer to something that doesn’t need an answer.
So the thoughts and feelings you have are expressed not only in the lyrics but also in the music itself. As you mentioned at the beginning, that’s probably because sounds connect to your unconscious and you select the notes that inspire you. Do you usually start writing your songs sound first?
I have a notebook where I write down lyrics, and usually start from a lyrical idea or concept.
When I make a track, I often look for sounds or create from sounds I like. I get inspired by what resonates with me and what I like, by using plug-ins and changing effects.
After making the track, I go, “Those lyrics I wrote before fits this track” and combine them.
You took your demos for this album to L.A. to complete them, right?
I went to L.A. for two weeks in April and two in June last year. I have fond memories of working with Jimmy (Jam) and Terry (Lewis) to finish up the demos I brought with me. The songs were brought close to completion all at once there.
For example in “Smiley” and “Tendency,” you combine Japanese and English and even Korean to make rhymes. What was your inspiration for this?
I think there’s music I listened to as a child that’s become embedded in me with rhymes that feel good. I can’t give specific examples, but I used to listen to Hikaru Utada a lot, so I guess it’s the music she created as a bilingual singer that influenced me.
Why do you call this album DESSERTS?
DESSERTS represents the pleasures in life that alleviate the burden that comes with living as a finite being in spacetime. Alleviating that burden is what surviving means. In that process, emotions are born, like feelings of joy and sadness that we all share. I thought those emotions were honestly expressed on this album. And also, the questioning the root of those emotions that arise. So the emotions on the surface and the fundamental root of our existence that causes those emotions are expressed in all the songs on this project. When you read DESSERTS backwards, it’s “STRESSED,” so I wanted to communicate the relationship between pleasure and pain and how they are inextricably linked.
Your music feels to me like it overflows with zest for life. Could it be that this is because your desire to live comes across naturally in the music from the thought process you shared with us today?
I’m always overwhelmed by how beautiful the physical life is through my five sense despite the pain that comes with it, so that probably comes across. I feel both pain and beauty very strongly. I also feel beauty in the transience of finite things.
The things you can feel with your five senses are so fleeting. And if you don’t recognize them fully, they slip away.
Thoughts can go forward and backward. That’s also why humans can survive. We can write songs and create art with our imagination, and thinking ahead can prevent the risk of dying. For humans, it’s what’s called “a gift and a curse” in English. Both a strength and a weakness.
The album DESSERTS that expresses what you shared with us today will probably be an important and tangible part of your life going forward. I’m sure listeners will also find it valuable, and the more I hear you talk about it, the more I feel glad that you’re making music.
I also feel glad that I came across the act of making music. This album is filled with what I honestly wanted to express at various moments in the past five years. It contains parts of me that probably won’t change in the future, and also things that I could only feel at that moment in time. Everything that I felt at the time is valuable to me. There are lots of songs that I wrote over the past five years that aren’t included in this album, so I’d like to finish those, too. I’m looking forward to releasing more music.
–This interview by Yukako Yajima first appeared on Billboard Japan