Billboard Japan

J-pop boy band THE SUPER FRUIT livestreamed a showcase studio set on Oct. 7 as the featured act of the month on Next Fire, the hybrid program produced by Billboard Japan and TikTok.
Next Fire is a show on TikTok Live that highlights the hottest J-pop artists of the moment, based on Billboard Japan’s TikTok Weekly Top 20 chart. The collaborative project streams live performances and pre-recorded interviews by the featured act of the month to give fans an in-depth look at their artistry. 

The seven members appeared in the studio with the opening music in the background, cheerfully greeting viewers, “Good evening! We are THE SUPER FRUIT!” The group immediately kicked off the set with “Seven Fruits” from the mini album THE SUPER FRUIT, released as a limited edition before the band’s debut. The bouncy, airy rhythm filled the studio with a cheerful atmosphere from the start, and the falsetto vocals in the chorus served as a catchy accent that left a lingering impression. From there, the group followed up with a cover of the pioneering ‘70s Japanese idol group Finger 5’s “Gakuen Tengoku” (School Heaven). The beaming members urged fans watching the show to clap and sing along to the classic number, and the sharpness of their dance during the interlude also caught the eye.

After each member introduced himself, THE SUPER FRUIT went on to perform “Kimi wa Riako Seizouki.” The song features adorable lyrics and melody, with a dance during the chorus that people would want to imitate. The excitement in the comment section steadily increased, filling up with messages calling them “Cute!” and cheering them on. The following number, “Bokura no Yoake” (Our Dawn), was performed as a piano-based ballad, with fans commenting that they were touched by the youthful and emotional vocals.

The members then went on to address viewers with some humble words expressing their current position as rookie group: “Today was the first time we got to perform five songs on a live program,” noted one member, while another shared, “We usually perform three songs at release events, so this has been a wonderful experience.” The group then wrapped up its showcase performance with “Chiguhagu,” the title song of their debut single that stayed at No. 1 on Billboard Japan’s TikTok Weekly Top 20 tally for six consecutive weeks. It’s no surprise the tune has a high affinity with the short video-sharing platform, as the positive lyrics celebrating diversity perfectly matches the cute, fun choreography.

When the song ended, the lights faded out as the boys held their final poses and THE SUPER FRUIT’s show came to an end, leaving a lingering impression. The showcase set displayed the freshness and momentum of a group that got started only a year ago. A pre-recorded interview by the members of THE SUPER FRUIT will stream on Billboard Japan’s TikTok channel starting Oct. 14, and excerpts from the livestream will be available on the boy band’s TikTok account.

GARNiDELiA are a J-pop duo who launched their career on the Japanese video-sharing platform Nico Nico Douga and have since produced numerous songs tailored for animated works.
The male-female pair released their latest digital single called “Gen’ai Yuugi” on Sept. 30, created as the opener for the Japanese TV anime series My Master Has No Tail. The track, inspired by vintage Japanese pop and anime songs, breaks new ground for the unit that has produced signature tracks infused with traditional Japanese music-flavored melodies.

In a recent interview with Billboard Japan, MARiA and toku of GARNiDELiA spoke about the production of their latest single and shared their thoughts on the music that accompany animated works.

You recently launched an NFT art project using numerous stage costumes as motifs called the GARNiDELiA 3.0 Project. You always seem to be challenging yourselves to try new things. Could you tell us your thoughts on releasing this new NFT project based on your stage outfits at this point in time?

MARiA: We have many fans based outside of Japan so we’re often asked to take on new challenges on a global scale. We’re experimenting and challenging ourselves as we go along. We participated in its launch, but we’re also looking forward to seeing how the project will expand from here. I think there will be unexpected developments in the future that will make us go, “Oh, I didn’t expect this to go in that direction.” We think there are various ways to do this, so we’re still exploring and hope to make this something we can enjoy with all of our fans.

You also restarted your J-pop cover project, GARNiDELiA Cover Collection, in March.

MARiA: This project originally got started on YouTube due to the pandemic. It’s become something of a hobby of ours, so we enjoy doing it just for fun.

toku: The songs we cover are well-known, so I thought people would enjoy the difference after we infused them with some GARNiDELiA flair and presented them with MARiA’s vocals. The series allows us to see people’s reactions right away, like when we used to upload our songs to Nico Nico Douga and get a reaction immediately upon release.

MARiA: It’s really like those vocaloid cover challenges on video sharing platforms (that originated from Nico Nico Douga). We’re originally from that niche pop culture, so I guess it’s just that the focus has shifted from vocaloid numbers to J-pop songs. The boundary between vocaloid culture and mainstream J-pop is blurring now, and songs written by producers of vocaloid music are now leading the current mainstream J-pop scene. So a strange phenomenon where whenever I cover a hit J-pop song, I still end up singing vocaloid music (like in the old days) is happening. [Laughs] I think this mix of cultures is what makes the current J-pop scene so interesting.

“Kaikaikitan” Cover by GARNiDELiA from the GARNiDELiA Cover Collection

Let’s talk about your new song “Gen’ai Yuugi.” It contains elements of vintage and current J-pop while maintaining the feel of a standard anime number. The song is signature GARNiDELiA in the way various essences are condensed into it. This song was created as the opener for the TV anime My Master Has No Tail. How did the collaboration begin? 

toku: The producers of the anime series said they wanted “a dance track with a traditional Japanese-style melody, and also add horns to make it flashy.”

MARiA: Our previous song, “Otome no kokoroe,” was the opener for another anime series from last year called Taisho Otome Fairy Tale that was set in Japan’s Taisho period (1912-1926), so that was the same (as My Master Has No Tail). What’s more, the request for horns for a big band feel was the same as our previous track, so we had to find a way to differentiate the two. So after some discussion, we came to the conclusion that we wanted “Gen’ai Yuugi” to have a glaring edge to the flamboyance.

What do you mean by “glaring edge”?

MARiA: My Master Has No Tail is a story about mastering an artistic skill, and although the visuals of the anime is pop, the characters say some edgy things about the world they live in. The story starts out with the idea that you have to be out of your mind to want to live in the arts, and I thought that applied to us (GARNiDELiA) too. [Laughs] As someone who has been in the arts for a long time, I felt a strong connection with (the anime), so in the end we were able to differentiate the new song from the previous one.

toku: My Master Has No Tail is about rakugo [traditional comic storytelling], so I thought it’d be good to pack words into it, with more notes in the chorus than our usual numbers. That way it’d sound more flamboyant when the horns were added in-between. That’s what I focused on.

Combined with the vision depicted in the lyrics, it makes for a thrilling track, while also tapping into the genres of vintage J-pop and oldies-but-goodies anime music. All that while maintaining your signature sound. So it’s really a perfect balance.

MARiA: We’re not sure how we’re giving off that GARNiDELiA vibe anymore, actually. [Laughs] We’ve worked on such a wide variety of genres at this point that everything we create together just ends up like, “Well, that sure sounds like us, doesn’t it?”

toku: Anime music itself is a mixture of various genres and it’s where lots of music that will become the cutting edge of contemporary J-pop is born.

MARiA:  It has rock and EDM and even vintage J-pop styles, too.

toku: Anything is possible, and it can be taken as cute or cool depending on the listener, so I guess anything goes so long as it’s effectively linked to the anime work. I feel that people who listen to a variety of anime songs are really in tune with things. That’s one of the things that makes us nervous every time we write a song.

And you’re already set to drop your next digital single called “Oukaranman” on Oct. 19. This is the latest song from your Odocchattemita dance challenge series featuring GARNiDELiA tracks, and it’s different from “Gen’ai Yuugi” in that it’s a pretty straightforward GARNiDELiA number that mixes modern EDM tracks with traditional Japanese music.

MARiA: Miume, the dancer we were working with on the Odocchattemita series, is retiring from the stage at the end of October. This will be the last piece the three of us will work on together, so we started out by discussing what kind of piece it should be. We wanted the song to be a culmination of what we’d built together.

toku: I included a little bit of the melodies and arrangements that give a glimpse of parts of each song in the dance challenge series so far, so it’d be great if listeners take it as a summary of the series.

It’s an irresistible tune for those who enjoyed the series. You really did come up with two completely different songs.

MARiA: It’s interesting, isn’t it? We have so much fun. Both titles are inspired by Japanese four-character idioms, and from the time we wrote the song “Kyoukiranbu,” we thought we’d run out of songs flavored with traditionally Japanese sounds that have four-character idiom-like titles. But we still managed to make a few. [Laughs] Since we’re fortunate that our fans, not only from Japan but from around the world, ask for more, we can’t just say we’ve run out and have to come up with what they want.

toku: I was thrilled when the song that’s an extension of the Odocchatta series was chosen as the opener for My Master Has No Tail.

MARiA: That is how big an impact the Odocchattemita series had on us. It’s a project that changed our lives. It helped us meet lots of people and gave us opportunities. I think it was reason why we were able to create the song “Oukaranman.”

GARNiDELiA’s catalog can be heard here.

—This interview by Tomokazu Nishibiro first appeared on Billboard Japan

Takanori Iwata — a performer in EXILE and J SOUL BROTHERS Ⅲ, an actor, an artist, and a creative director — is a versatile and busy creator. Roughly a year after his debut as a solo singer with the single “korekara,” he launched his first album, The Chocolate Box, on Oct. 12. According to Iwata, “COVID made me reflect on my own purpose and the basics of my work. It was a huge turning point in my singing career.”
Billboard Japan talked with him about the album — his expectations for it and the spirit he poured into it — and about him as a person.

Why did you name the album The Chocolate Box?

Iwata: Looking back on the finished album, I felt that it delved deeply into the topics of love, in a broad sense, my life experiences, and my beliefs. So at first I was considering keywords like “LOVE” or “LIFE,” but choosing a grandiose title like that for my first album would be a little embarrassing for me. [Laughs] Then I recalled a line from one of my favorite movies, “Life is like a box of chocolates. You never know what you’re gonna get.”

Like the single that preceded it, you also drew the illustration used on the album cover, right?

Iwata: I couldn’t pass up the chance for self-expression presented by the album and other artwork. A lot of people leave things like that up to the creative director, but I really like to draw. As a creator, it brings me a lot of joy to express my worldview through one of my creations, and that encompasses both music and artwork. For packed products, especially, the artwork is the “face” of the product. Being able to represent my album the way I want is nothing but upsides for me.

The illustration shows a couple embracing. Should we see this as the “love” you were referring to earlier?

Iwata: Yes. There are a lot of different types of love, though, and trying to express them all in a single image would just result in a very abstract cover. That’s why I tried to create artwork that you could associate with all kinds of things, while also adding a personal touch and doing what I wanted to do. I also paid close attention to the color palette and tested out various palettes. The pastel colors are striking, and I chose them to represent skin tones. When I finished the album, I felt that it had a warm, human feel, so I expressed that through the pastel colors.

The artwork isn’t the only great thing about the album; every single one of the songs is wonderful. I’ve heard that the theme of the first streaming single, “Ready?,” is a night drive.

Iwata: I wrote the lyrics to match the tracks, but at the same time I also created the jacket (for the streaming release). I wanted to try my hand at creating an image that expressed the world-view of the song, so I just listened to the track and drew. That became the artwork for the album, and the music video was also an embodiment of that art. I used some of what came to mind during the drawing process in the lyrics. When we met to discuss the filming of the music video, and when we scouted for locations, what I had drawn connected to ideas like “the magic hour” and “going for a drive.” As for my performance, I had a clear vision of presenting an image of an artist who can both sing and dance.

“Ready?” Music Video

So the drawing was the start of everything. “Ready?” is in the same genre as the track that came before it, “korekara,” but it feels like it has a different groove. You also worked on the lyrics to “korekara,” right?

Iwata: When I first heard the track, I felt like the strange addictive quality of the main vocal melody of the intro and chorus was key. The intro is catchy, so it stays in your head. When writing the lyrics, I tried to really take advantage of that. There was also a sense of speed, which is why I went with the straightforward concept of going on a drive. On some other songs, I sang about what I wanted to communicate, about the messages I wanted to share with the world, about love. With “Ready?,” I avoided abstruse lyrics and instead sang about an everyday scene from daily life. When you hear that the concept is “going on a drive,” you might imagine music that you’d listen to while driving, but for me the concept was like taking the steering wheel of life itself. I’d like for the listeners to think of the road they’re driving down as their own life. It’s a message of being positive and carefree, living life the way you want. From the hook in the second half of the song, “Turn up the base line,” it feels like a jazz club. This song is all about the vibe. [Laughs] You don’t need to understand it, just feel it and enjoy it.

Where there any songs that were easy to write, or any songs you struggled with?

Iwata: Things went really smoothly on the third song, “Keep It Up.” This song is a song of personal encouragement. The lyrics contain a lot of things I’ve said in interviews and the like. It’s the kind of song that my fans would hear and say “That sounds like Iwata.” I don’t try to rush through life, but I do often say “the time we have is limited.” I tell myself that, as well, and I try to stay active, because you can’t turn back time. That’s the spirit of this song. I also tried using a rap-like flow. I’d chop it up, taking care to make it sound good, and then fine tune it. I repeated that process a few times, and the whole writing process went smoothly. One of the lyrics is “like the shimmering summer heat” (“kagero” in Japanese). Last summer, I was looking at a mayfly (also “kagero” in Japanese) and thinking about what a sad sight it was. Mayflies only live for a few days after they hatch. It reminded me of how short life is and how our time is limited. I didn’t put the expression in there as a seasonal expression to give the song a stylish, poetic feel, but because it was a specific experience of mine.

What songs did you struggle with?

Iwata: One song that it took me a long time to develop the concept for was “Can’t Get Enough.” When I heard the melody, at first I thought making it into a love song wouldn’t be a bad approach, but I decided to try out two different directions. I wrote down a lot of different words. During this process, I started thinking that I wanted to make it a powerful, passionate song, so for the chorus I wrote strong, straightforward lyrics. Then, based on that, I built up the verses and the bridge. It ended up being a really fiery fight song. [Laughs] Once I decided I wanted to make it a motivational song that would give you that extra push, the words just started flowing out, but it took a long time to decide on that concept in the first place.

You’ve written lyrics for songs with diverse concepts in all kinds of genres, so your lyrics use a wide range of words. Where do they come from?

Iwata: Whenever a word jumps out at me in day-to-day life, I write it down on my phone. Words that strike me when I’m reading a book, words that catch my attention when I’m watching the news, things that people say that make me nod my head. I write all kinds of things down, even really little things, and sometimes I use them. When I decide on the concepts of songs, sometimes the inspiration wells up inside me and the words just flow. I also get ideas from movies. The song “Monday,” for example, was somewhat inspired by the risqué American love comedies that were so popular in the early 2000s. I wanted to write a love song that’s light, mature, and a bit erotic — kind of like a hangover.

It’s been a year since you started your solo music activities. How do you feel you’ve changed during this time?

Iwata: When I started last year, it created quite a stir, but it hasn’t really hit me yet. However, I have announced a tour, so I expect that things will look very different to me once this year’s schedule is all finished. I’m looking forward to it. For now, I just want to make the tour a success.

Looking not only at your work as a soloist, but also as a member of a group, as an actor, and as a creator, you’re truly versatile.

Iwata: People say that a lot, but I don’t think of myself as being all that versatile. It’s not something I really feel. People say it, but it doesn’t quite click. I always like to stay moving. I also work in a lot of different fields, so if I get all stressed out with one kind of work, then when I do other work it allows me to unwind. I’m kind of a career-minded person, so I’m just doing what I want to do. Fans often ask me what it is that I’m working towards, but I don’t have my sights set on anything in particular. [Laughs] I’m not aiming to achieve specific goals, I’m just doing what I like. To be honest, I’d like to ask myself what I’m working towards. [Laughs] If you set goals, then you start seeing the end approach.

I think that your versatility is what enables you to succeed in so many different fields.

Iwata: In my case, I can do it because I started out as a member of a group. I think it all ties back to group-work. So the question is what I’ll do one day in the future, as I get older, if I’m no longer working as a member of a group. Another thing I constantly struggle with is the quality of my work. All I can do is make incremental changes to improve the quality, but I’m a bit of a perfectionist, so sometimes I feel a little down.

You’ve taken a really multi-faceted approach in your work on The Chocolate Box and in your other activities. What stimulates you?

Iwata: I’m inspired a lot by music and film. Recently, I watched Green Mile again, for the first time in a long time. I don’t just watch Hollywood films, though, I also enjoy European films. Even just gazing at the scenery is a joy. When I write lyrics, I picture vistas in my head, and I transform what I’ve seen and heard in my own personal way. That’s why I listen to music and watch movies from all genres. I constantly keep up to date with new hip-hop tracks and trends.

How would you define “stimulation”?

Iwata: Hmm…I guess it’s when something moves me. Of course, that includes music and movies, but also the words I jot down on my phone — they’re words that move me, so they’re stimulating, too. Also, no two days are alike in this line of work, so I’m never at a lack for stimulation. However, when I’m pushed to my limit, sometimes I want the thrill of just kicking back and drinking to my heart’s content. That’s “stimulation” in the same sense as splashing some cold water on your face when you think your mind is just going to explode. It’s a kind of stimulation that’s vital to maintaining your own mental balance. Ultimately, it all ties into the process of creation. In that sense, I might not need to take a trip overseas to seek out new stimulation. My everyday life might just be stimulating enough on its own.

This interview by Azusa Takahashi first appeared on Billboard Japan.

By: Billboard JAPAN / Photo: Yuma Totsuka

https://www.billboard-japan.com/special/detail/3694