Billboard Japan

Grammy-nominated music producer TOMOKO IDA spoke with Billboard Japan for its Women in Music interview series, featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work.

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One of the few female music producers in Japan and abroad, TOMOKO IDA co-produced the first track “obstáculo” on Puerto Rican music producer Tainy’s debut album DATA in 2023, which was nominated for Best Música Urbana Album at the 66th Annual Grammy Awards. As the first Japanese woman to be nominated for a Grammy as a music producer, TOMOKO IDA shared her thoughts on why female producers are in the minority in the music industry.

How did you become a music producer?

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My mother was a music teacher and I took piano and dance lessons since I was six years old. When I was in the second or third grade, the (J-pop) dance and vocal group ZOO was popular, and I became interested in 90’s hip-hop and new jack swing. I also longed to go to New York after watching music videos and dreamed of working in the U.S. someday. Time passed and I began DJing, then a few years later, I started performing as a beat maker using a MPC in a two-woman duo. It was rare to see women performing with a sampler at the time, and people were excited to see our shows when we performed overseas. When it was time to find a job after college, I considered working for an ordinary company, but my mother said, “Why not do music?” and encouraged me, so I chose to work part-time and focus on making beats.

Why did you decide to become a music producer rather than an artist that performs in front of an audience, even though you debuted in a duo as a MPC player?

Performing live with a sampler and DJing requires flexibility and instant response on the scene, but I have always loved making things and am better at taking my time to create something. Plus, I hadn’t heard of too many female music producers, so I wanted to spearhead it. By 2016, I started to focus more on producing.

You’ve produced music for famous J-pop artists such as AI, Daichi Miura, SixTONES, and EXILE TRIBE, as well as music for fashion advertisements. Could you tell us what you do as a music producer?

I sense that the definition of a music producer has been changing with the times, and it’s also different from country to country. In Japan, the definition seems to refer to people who produce everything from the concept and selection of members [of an idol group], like Yasushi Akimoto and Tetsuya Komuro, but in the U.S., if someone makes a track, then that person is often called a music producer. In my case, I’m often asked to produce music by artists who’ve already established their careers, so as a music producer I try to produce music that will make those artists shine brighter.

A lot of the songs you produce for Japanese artists are powerful. Do you think there’s a difference in the ideal image of women in Japan and America?

It does feel different depending on the country. For example, I have a feeling Japanese men find fragile women attractive. Maybe that’s why there are lots of songs and lyrics that lean towards that direction. But in the U.S., powerful women are more popular.

You accomplished an extraordinary feat in becoming the first Japanese female producer to work on a Grammy-nominated album. From your position, do you have any thoughts on how things could be improved to make it easier for women to work in the industry?

I still think it’s necessary for forerunners [like us] to pave the way. For example, in Japan’s hip-hop scene, Awich is currently leading the way and doing well as a female rapper. I think opportunities for women will expand if there are more people like her, so I’d also like to do my best as a music producer to make it easier for more women to follow suit. I’d like to see more Japanese people go out into the world because in the community of producers and songwriters in L.A. where I currently live, there are very few of us compared to other Asians.

The skills required for both performing with a sampler and being a music producer don’t seem to be too demanding in a physical sense, so why do you think there aren’t too many women in these fields?

It’s said that female producers make up less than 3% of the total even now. We use machines and computers, so maybe people think it’s mechanical and science-oriented. I don’t think it’s a hard job for women to do, but there are so few women that people seem taken aback to see me in the studio. I also seem to surprise people in a good way for my skill, because apparently Asian women look young for their age.

What advice would you give to yourself in the first year of your career?

I’d say, “Keep making music.” It’s not always easy to get your songs chosen when working as a music producer. Even when you’re personally offered an opportunity, only a few of the songs you write will make the cut. It might seem like a glamorous world, but it takes quite a bit of quiet dedication and you just have to keep at it.

What are your next goals?

I was able to become a Grammy-nominated producer, so I want to become a Grammy-winning producer someday. I don’t know when that will be, but I’ll continue to make music toward that goal.

—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan

Born in Okinawa, Japan, in the year 2000, singer-songwriter YU-KA spent her early years in America and Switzerland. At age 15, she took up the acoustic guitar, and she started writing her own songs at age 17. She began truly throwing herself into music upon winning a special award in a movie theme song-writing audition. “Hoshizukiyo,” which she released in February 2023, took the No. 1 spot on Billboard JAPAN‘s “Download Songs” chart, making it her biggest hit. 

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The title track of her latest EP, Sunshade, was produced by ONE OK ROCK’s Toru and is the theme song of the TV series Smiling Matryoshka. The 24-year-old musician is equally focused on both her musical activities in Japan and overseas, bringing a separate mentality to each. Billboard Japan recently had the opportunity to talk to her about her latest release, an encapsulation of where she is now. 

What’s the concept behind the Sunshade EP? 

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YU-KA: When I wrote my first album, Brighter, a lot of the lyrics I wrote were really grand in scale. The most popular song on the album, “Hoshizukiyo,” was a soaring love song. With the new album, I wanted to make something more personal. I wanted to write lyrics about love at a one-to-one level — the level of “me and you.” The artwork reflects that, too. I’m not wearing some sort of gorgeous costume, just a T-shirt. It’s made up of natural photographs taken in everyday settings, cut and pasted together like a patchwork. I wanted to give it that handmade, unadorned feel. 

I just followed my heart wherever it led in writing “forget-me-not,” and I think it brings me back to my natural roots. The lyrics to “Clouds” are all in English, and I feel like that song ties in to my indie days. At the time, I was doing a lot of live shows, trying a lot of new things, like using a looper and matching English lyrics with simple chord progressions. I think the song’s sound is connected with that point of my life. On the flip side, I was re-examining J-pop when I wrote “Sunshade”, “Tsuraikurai,” and “One more time.” I like both Western music and J-pop, and I wanted to write music that lies somewhere in-between, but I also took on new challenges by working in the vein of J-pop. 

Do you have different aims when you’re singing in English than when you’re singing in Japanese? 

YU-KA: I rely a lot on whatever words the melody and the music bring out of me. Especially when I’m co-writing overseas, I tend to write the lyrics using words that I’m drawn to, or words I want to sing because of how they sound. With English, I find that very easy. In “Clouds,” I wanted to use a lot of words, like writing in a diary. You can fit in more words with English than with Japanese, so since I wanted to pack the lyrics in, English was the way to go. Also, I think writing a song like this connects to my own roots and really expresses aspects of myself. The song’s lyrics include “Tokyo” and “scramble crossing,” so even though the song is in English, I think I’ve put in elements that are a true-to-life depiction of my life in Japan. 

“Sunshade” has four lines that start with “Ne,” (a Japanese expression that’s similar to a softer version of “Hey”). I found that use of repetition in Japanese to be particularly effective. 

YU-KA: In the past, a lot of my songs mixed English and Japanese, but lately I’ve been feeling that just using Japanese alone sounds cool. The “Ne” part of “Sunshade” would have been easier to write if the lyrics were in English, but I focused on writing in Japanese, and, I think, that’s why I was able to come up with those lyrics. I’m particularly fond of that part of the song. Deciding what Japanese to use when working with a smaller number of notes is an interesting process. It’s like writing a waka or tanka (Japanese poems). I enjoyed figuring out how to express myself within those limitations. I think that, through this process, I’ve become able to express things that I couldn’t express before, when I was mixing Japanese and English lyrics. 

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You wrote the lyrics for both “Tsuraikurai” and “Sunshade,” and Toru from ONE OK ROCK wrote the music, right? I understand that you’ve written with Toru several times in the past, too. What were some takeaways from your latest collaboration? 

YU-KA: When I was making my major label debut (“lullaby,” produced by Toru), I was just working like crazy. I didn’t know which end was up. But working with Toru, I always have a wealth of experiences. For example, I’ll go in thinking I haven’t changed but it will open my eyes to how much I’ve changed, or I’ll go in thinking I’ve gotten used to something, and I’ll find myself butting up against a wall. 

How did the writing process go? 

YU-KA: “Sunshade” is a tie-up song for a TV series. The process of writing a tie-up song involves creating something that goes beyond your own abilities alone, so I feel like it brings a lot out of you. I wanted to make the lyrics a little cryptic, but then I thought that they needed to convey where I was, what I was doing, what I wanted to do. So the lyrics became more and more concrete as I worked on the song. That process of rewriting was also a lot of fun. 

You’ve travelled back and forth between Japan and other countries. You grew up in the US and Switzerland, and you travelled to Sweden when making the album. What aspects of Japan, and of other countries, do you like when it comes to environments for creating music? 

YU-KA: When I was in Sweden, I was working really fast, making one or two songs a day. It built up my explosive power — my ability to take off running. In Japan, on the other hand, I feel like I spend a lot more working with each song, struggling with how to improve it and constantly making refinements. When I co-wrote with non-Japanese people, I was worried that I’d be overwhelmed and just let myself get swept away, falling by the wayside, but actually the opposite was true — the core parts of me that are constants, and the parts that make me who I am, would remain. I write music before I talk to the people I’ll be working with, so the melody lines and the interactions I have while we’re working on the music are like a self-introduction for me. The way that I needed to instantly introduce myself through my music was a real eye-opener and helped me grow. 

You’ve performed at the SXSW for two years running, and you’re an active musician overseas. What kind of musical activities do you want to do in Japan and in other countries? 

YU-KA: As an artist, the way I am in Japan and the way I am overseas are like mirror images. When I’m in Japan, the fact that I lived overseas, and the way that experience affects my music, are like a part of my persona. Overseas, the fact that I’m Japanese and listen to J-pop sets me apart. I think that going back and forth between those two environments makes my own musical sensibilities more clearly defined. 

Going back and forth between Japan and other countries, I sometimes ask myself what it means to be true to myself, but I think who I truly am is what comes out of me when I just act naturally. That’s why when I’m overseas, I think of myself as a Japanese artist as I make and perform my music. I want to reach a position that I’m uniquely suited to and to create works that really convey what I intend, to both Japanese and overseas audiences.

—This interview by Reina Murakami first appeared on Billboard Japan

On Sept. 4, VK Blanka released his new album, Knightclub. In early 2024, he launched his first North American tour in nine cities throughout the United States and Canada. In July, he performed at the largest anime convention in South America, Anime Friends 2024, in São Paulo, Brazil, followed by his first Latin American tour, VK Blanka Latin America Tour 2024, in Santiago and Mexico City. This new album is his first in three years, released in the middle of this heavy overseas touring schedule. These overseas performances have had a tremendous impact on him, which comes through in his music.

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How was your first Latin American solo tour?

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It was so fun. It’s the other side of the world, so there was a whole different type of excitement. What really stuck out was everyone shouting out their love for my music. In Japan, for our shows, we try to create something of a journey, but the audiences in Latin America were amped up the whole way through, regardless of the show’s flow. That made me feel great.

So you can feel differences in countries’ national characters through the audience reactions?

Right. In Japan, there’s this feeling of humanity and spirituality. In Latin America, whether it’s Brazil or Mexico, everyone’s always so cheery. With North American audiences, sometimes they’re going crazy but sometimes they’re cool and collected. All that comes through in the shows. For the Middle East, in Saudi Arabia everyone’s shouting “Yeah!” So, in that way, it feels the same as North America, Latin America, and Europe…except that no matter how energetic the show is, the audience is all sitting back watching it from these cushy seats. Then, when the show ends and you say “Thank you so much, Saudi Arabia!” they give you a standing ovation. In their culture, the way you watch a music show is the same as the way you’d watch a play. I think those differences are really interesting. In that sense, playing in places other than Japan is very stimulating.

In countries like Saudi Arabia, clothing can’t be very revealing, so I’m guessing these cultural changes could also affect wardrobes.

Yeah, they did advise me about that. You can’t wear shorts, so I wore full-length pants, despite the heat. But in town, you’d see Europeans wearing shorts and jogging like it was no big deal (laughs). So there were people from countries who didn’t care about things like that, but since we’re Japanese, we took care to dress the “proper” way. You’d see that gap, as well, in lots of places, which was interesting.

Have these experiences overseas brought about any changes in your own lifestyle?

Yeah, they’ve changed the way I think. Of course, I’ve become more interested in different countries, and my experience has brought things like social situations, politics, economics, and culture closer to home. For example, now if I see that there’s a demonstration happening in France, I know where it’s happening, and I think about the friends I have there, that are my own age. I wonder what they think about the situation. Performing overseas, you establish a lot more connections like that. I feel like, without even being conscious of it, I’ve become more “borderless.”

What’s the meaning behind the title of your new album, Knightclub?

I like giving my albums cool names, like “wizard” or “Devil” (laughs). So, in line with that, I was originally thinking of naming it “Knight.” But then I decided to give it a more musical title, so I took “night club,” which has a cool feel, and then I put a “k” in front to make “Knightclub,” which would also have the double meaning of a legion of knights.

The first song, “Yomigaeri (with Noriyuki Makihara & ayaka),” has a spiritual feel to it. What’s it about?

That wasn’t the kind of song I set out to write from the start, but it ultimately ended out with this theme of life and death. Ever since I was an elementary school kid, I’ve thought about what it means to live, and what it means to die. I feel like my outlook on life and death has come through with the different experiences I’ve had.

“Daddy (Dying in NY)” is an English language song on the album that starts out with a chaotic soundscape. What’s the story behind it?

When I was doing a show in Europe, one of the fans shouted out “Daddy!” I didn’t know what it meant at the time, but when I looked it up later, I found out it was a sexual come-on for a hot guy. I talked about that on the North American tour, too, and then one day I played this show in New York. The show was incredible, and it was the last of the tour, so at the end I felt totally spent. That’s why I gave the song that name, like “a hottie dies in New York.”

“High Love” is a standout song, sung entirely in falsetto. You did the whole thing, including the chorus, yourself, right?

Right. I recorded the whole thing in my home studio. When I debuted, what set me apart was how much falsetto I used and how high I sang. The music I wrote after my debut was more flexible, but one day I realized that I’d never really gone full-steam since my debut song, “Slave of Love.” I wanted to use that same approach again, so I wrote “High Love.”

“Never Run” has an 80’s feel to it. What can you tell us about this song?

Los Angeles musician Josh Cumbee, who mixed the song with me, said “There used to be groups whose music all used this beat, so if we use it, it’s going to sound retro.” I found that pretty surprising. It wasn’t my intent to revive an old sound, I simply thought that it was a great rhythm, the kind of rhythm that could always get people moving. The lyrics to this song are also all in English, and the audience really got into it during our Latin America tour. It’s hard for foreign audiences to sing along to Japanese songs, but this song was surprisingly easy even for audiences in Chile and Mexico. The song showed a lot more global potential than even I’d expected, which I think is fascinating.

“Fortress” is a beautiful, soaring ballad. What were you trying to express through it?

The theme is “defense,” which, in a way, is a passive act or mentality. In the song, I tried to embody this concept not of defending or bearing something out of weakness, but instead because if you go all the way in your defense, then you’ll be unrivalled.

So playing piano and singing are where your true musical roots lie?

Even now, the piano is always my main instrument. That will probably never change. But the direction I use when I perform is changing. Actually playing live shows, it’s really constricting being trapped behind the piano the whole time. I want to move around more and be more active, so there are parts of my approach that are changing little by little. One thing that is true for both my first album and this album is that I handled all the arrangements myself. Recently, I’d been asking lots of different people to work on arranging the songs, but with this album, I’ve come full circle and did all the arrangements myself again. That’s one connection between the new album and my first album.

“Matane” is a simple song with very intimate vocals. I feel like it gives a glimpse of the true you.

I took a straightforward, genuine approach with “Matane.” When I wrote it, I thought it would be a good song to end the album with, and I hoped that it would linger with the listener, even after it ended. My concept for it was to create the same feelings that I hoped the audience at one of my shows would have as they headed back home.

What do you see in your future?

I want to create great music, for everyone to listen to that music, and to put on shows in every city. Other countries are no longer a mystery to me. The world is now my home, so I think it would feel wonderful to put on a complete world tour, playing in cities in Japan, Latin America, North America, the Middle East, Europe, and Australia.

—This interview by Takayuki Okamoto first appeared on Billboard Japan

Kocchi no Kento, the creator of “Hai Yorokonde,” which is going viral on the video platforms, recently sat down for an interview with Billboard Japan. Kocchi no Kento is a multimedia creator who began making music in 2022. He’s also the younger brother of popular Japanese actor Masaki Suda. In this interview, he talked about his roots and what’s behind the creation of his addictive music.

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To start off, could you tell us what led you to start making music?

When I was a freshman in university, I joined an a cappella club. We sang covers of existing songs, and I started writing my own songs in 2022 as an extension of that.

What was the first experience you had with music that opened your eyes to how fun and fascinating it can be?

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There were two things that got me into music. The first was that my dad loved music. He’d often play guitar and sing at home. In the car, too, there was always music playing, and it was often new to me. The other thing is that I played soccer when I was in elementary school. Our offense was amazing, but that meant that us on defense had nothing to do. Apparently, I would just run around dancing. My parents said “dance might be a better fit for him than soccer,” so I started taking dance lessons. That’s what led me to feeling music with my whole body and expressing it through movement.

As an artist and singer, where do you think your own individuality lies, and what do you see as your strengths?

One of my distinctive features is my natural singing voice, but also, in the a cappella group, I spent four straight years doing covers of Disney songs, so I developed the ability to sing with emotion but without becoming pitchy. I think those two are my main strengths.

Where did the name “Kocchi no Kento” come from?

After I graduated university, I worked as a businessman for a year. Putting on that suit and tie, I felt like I was biting off more than I could chew. I wasn’t really myself, so when I was in my suit, I was “that Kento” (in Japanese, “acchi no kento“). When I was singing, on the other hand, I was more my true, natural self. I was “this Kento” (in Japanese, “kocchi no kento“).

Your first single, “Tiny,” is a heartwarming song. It’s the kind of song you wish you could hear when things are tough. I feel that same mindset in all of your songs. I get the sense that that’s what you want to convey and express through your music.

Right. Every time I put out a new song as Kocchi no Kento, I think about the fact that there are people out there who might draw strength from it.

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Have you had any feedback from listeners that really stand out in your mind?

When I released my second single, “Shinuna!” (Japanese for “don’t die”) I was getting dozens of comments a day. Some were saying that they decided to hang in there, while others were explaining why they wanted to die. This flood of comments settled my own turbulent mind, and I was just happy to be able to help people in what little way I could.

“Shinuna!” generated a lot of buzz on video platforms. Is there anything you try to keep in mind or do with respect to how you release your music?

After “Shinuna!” I’d make dances for TikTok to get my music exposed to lots of people. But even more than that, I think it’s important that I make music that I could listen to and enjoy, myself, without ever getting tired of it. Lots of people danced to “Hai Yorokonde,” but what I think is great about that song is that, even now, I like it so much that I can listen to it anytime. If I get tired of a song when I’m making choreography for it with someone, or singing it a cappella, or singing an English version of it, then I can’t put my heart and soul into it. The listeners can hear that. They’d be like “He’s just going through the motions” or “He’s just clinging on to that song.” I think the most important thing is that I really love the music I create, with all my heart.

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On the August 14 dated Billboard JAPAN Hot 100 chart, “Hai Yorokonde” reached a new peak of No.5. When did you first start feeling that this song was getting some traction?

There were a lot of people listening to it on the day it came out. I hadn’t released a song in about six months, so I guess there were a lot of people looking forward to a new song. Then, when I released the dance video on TikTok, even though I hadn’t done a collaboration with anyone, it got a lot of views, so I started realizing “wait a minute, we might have something here.” I got Kazuya Kanehisa to do the music video. He turned it in about a month earlier than expected, and in his email, he wrote “I just couldn’t put my pen down” and “The song is wonderful, so it was smooth and effortless to translate what I was feeling into visuals.” When I looked at what he’d created, I knew it would directly connect with people.

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What kind of song had you set out to create at the start?

Initially, the theme I had in mind was a little different. I suffer from depression but I decided against killing myself. I decided to live. Someone told me “Don’t die,” so I was like “Okay, I won’t,” and I lived. And everyone got used to me being alive, and one day I realized they’d started demanding things of me. Like “You’re alive, and you’ve got time, so how about getting a part-time job?” And I was like, “No, no, no, my goal was to live, and by choosing to live, I’ve already accomplished my goal.” The song was like “You said don’t die, so I didn’t die, but don’t go trying to make more demands.” My goal was, ultimately, to arrive at the conclusion that “Choosing to live is an option in itself. All you need to do is live.” But it gradually became more of an SOS song—more a song about calling out for help.

Like you were doing all you could just by staying alive.

Right, that’s how it turned out.

You released an English version at the end of July. What led to that?

The “giri giri dance” (in English, “at my wit’s end dance”) of the chorus was originally “get it get it done.” But the music video art style was very Japanese, so having a chorus in English didn’t seem right, which is why I changed the way the lyrics were transcribed to “giri giri dance.” Phonetically, they sound the same, but I thought it would be interesting if there were separate Japanese and English versions, and I’d wanted to write an English version from back when I was still in the production stage. Luckily, I got a lot of comments from overseas listeners, so I consulted with my record label, and we decided to release an English version.

I’m sure your number of overseas listeners must be skyrocketing now. Did you think there would be this kind of response from overseas audiences?

No, I wasn’t expecting it. Sure, I hoped that I’d reach people overseas, but I thought that my music would have to take off here in Japan, first, and then after that it would spread overseas. Instead, it happened at almost the same time. I was just really, really lucky. It just goes to show how much we’re living in the age of social media.