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Following a tight chart race which saw Raye take an early lead, it’s Lewis Capaldi who takes the U.K. crown with “Pointless” (via Vertigo).
The Scottish singer songwriter bags his fourth No. 1, as “Pointless,” co-written by Ed Sheeran, finishes just 1,200 combined sales ahead of its closest competition, Raye’s independently-released hit “Escapism” (Human Re Sources), featuring 070 Shake.

“Pointless” improves 15-1 on the Official U.K. Singles Chart, published Jan. 13, powered by physical and digital download sales, the Official Charts Company reports, as “Escapism” dips 1-2.

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“Pointless” is the second single lifted from his upcoming second studio album Broken By Desire To Be Heavenly Sent, slated to drop in May.

“4 u.k. number 1’s!!!!. Over the moon to finally have as many number 1’s as a do STI’s,” he quips on social media.

Capaldi enjoyed a global breakthrough with 2019’s “Someone You Loved,” which logged seven weeks atop the U.K. chart. He led the chart again in 2020 with “Before You Go” for one week in 2020, and with Broken By Desire release “Forget Me,” for one week in 2022.

Completing the chart podium on the current tally is SZA’s SOS cut “Kill Bill” (via RCA/Top Dawg), up 4-3 for a new peak.

Also on the rise this week is U.S. singer Miguel, who vaults 83-14 with “Sure Thing” (Jive), his first U.K. top 20 single; Irish singer-songwriter Cian Ducrot with “I’ll Be Waiting” (Polydor) up 39-22; Lil Uzi Vert’s “Just Wanna Rock” (Atlantic) up 38-32; Tory Lanez’s “The Color Violet” (The One Umbrella) gains 41-36 and Hotel Ugly’s viral effort, “Shut Up My Moms Calling” (Hotel Ugly), which checks into the top 40, improving 47-38.

The highest new entry on the latest chart comes courtesy of producers Skrillex, Fred Again, and rapper/producer Flowdan, as their collaborative “Rumble” (Atlantic) gets to work at No. 19.

SZA cleans-up on the Australian singles chart with “Kill Bill” (via RCA/Sony), while Taylor Swift enters a 10th non-consecutive week at No. 1 on the national albums survey with Midnights (Universal).

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Swift’s 10th and latest album becomes her longest-reigning No. 1 on the ARIA Chart, eclipsing the nine-week run for 1989’s 2014. On the latest chart, published Friday, Jan. 13, 1989 dips 19-20.

“Congratulations Taylor! Ten weeks at No. 1 is a great achievement and 10 chart-topping albums in just 12 years is incredible,” comments ARIA CEO Annabelle Herd. “Australia’s love affair with Taylor and her music is not slowing down.”

Midnights manages to hold off SZA’s SOS from a first stint on the albums chart throne, as it holds at No. 2 — though the U.S. R&B star goes one better on the ARIA Singles Chart.

In a week that saw SZA drop a bloody music video for “Kill Bill,” the track lifts 2-1 on the ARIA Chart for her first leader in Australia.

Until now, SZA’s best was a No. 2 placing for “All The Stars” with Kendrick Lamar, lifted from the Black Panther soundtrack in 2018. She also featured on Doja Cat’s “Kiss Me More,” which peaked at No. 2 in 2021.

“Kill Bill” switches places with Sam Smith & Kim Petras’ “Unholy” (Capitol/Universal), which slips 1-2, just days after Smith performed an exclusive, intimate concert at the d’Arenberg Cube winery in McLaren Vale, Adelaide.

Raye’s “Escapism” (Orchard) featuring U.S. rapper 070 Shake reaches a new high, up 7-4. The British singer and songwriter snagged the U.K. No. 1 this week with “Escapism,” released independently after her public split with Polydor, part of Universal Music Group.

Meanwhile, Dean Lewis’ “How Do I Say Goodbye” (Island/Universal) is the best-placed homegrown track on Australia’s official singles chart, up 26-16, just two places removed from its peak position.

Also noteworthy is Stephen Sanchez and Em Beihold’s dark horse “Until I Found You” (Universal), which races 30-12, six months after it first impacted the top 100, while Skrillex, Fred Again and Flowdan bag the week’s highest debut, as “Rumble” (Atlantic/Warner) starts at No. 35.

Shakira’s new “BZRP Music Sessions Vol. 53” alongside Argentine DJ and producer Bizarrap, is the equivalent of a sonic bomb. The 45-year-old Colombian star went to town, pulling no punches in a track that aims squarely at her ex, soccer player Gerard Piqué, who split with her for a far younger woman.

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This isn’t the first time an artist lets it all out next to Bizarrap. Last year, Puerto Rican rapper Residente made major waves with his “BZRP Music Sessions Vol. 49,” on which he lambasted the industry as a whole and J Balvin in particular.

And this isn’t the first time Shakira has taken aim at her ex either. Prior to the Bizarrap session, she released the more poignant “Monotonía” alongside Ozuna, lamenting the loss of love to “monotony.” But in the past few weeks, Shakira’s equanimity seems to have evaporated, as evidenced by a series of Instagram posts, including one that said: “There are more good than indecent people.”

Clearly, some disses at Piqué were to be expected, but there’s a lot to digest in this track, written by Shakira along with Bizarrap, Colombian songwriter Keityn and Santiago Alvarado. In line after line, Shakira spits bullets against Piqué that make one almost feel sorry for the guy. And though it’s hard to imagine Shakira being any more direct (as Spanish singer Aitana wrote on Twitter: “I’ve seen all these TikTok videos ‘analyzing’ the hints…what hints?”), there are some lines here that merit a closer view.

1. “Tanto que te las das de campeón, y cuando te necesitaba diste tu peor versión” (You go around saying you’re a champion, and when I needed you, You gave your worst version): Piqué, a former Manchester United and Barcelona soccer player, is widely considered one of the best defenders in the game’s history. He announced his retirement from soccer on Nov. 5, in the midst of his separation from Shakira.

2. “Una loba como yo no está pa’ tipos como tú, A ti te quedé grande y por eso estás con una igualita que tú“ (A she-wolf like me is not for guys like you; I’m too much for you and that’s why you’re with one just like you): The “Loba” reference harks back to Shakira’s 2009 mega-hit “She-Wolf” (loba in Spanish). The song is an ode to Shakira’s inner-she-wolf, who goes out hunting at night for real men because the one she has at home isn’t living up to expectations.

3. “Entendí que no es culpa mía quе te critiquen, Yo solo hago música, perdón que te sal-pique. Me dejaste de vecina a la suegra, Con la prensa en la puerta y la deuda en Hacienda” (I understood that it’s not my fault that they criticize you; I only make music, sorry that it splashed you. You left me my mother-in-law as my neighbor, media outlets at my door and in debt with the government): Let’s just say no translation can do justice to these lines. The word salpique, which translates to “splash” (as in, I’m sorry it splashed you) is used here as a play on Piqués name: “Sal Pique,” written as two different words, means “Get out, Piqué.” And then, of course, Shakira gets even more pointed: “You left me my mother-in-law as my neighbor, media outlets at my door and in debt with the government,” she laments, referencing her ongoing legal issues with Spain’s treasury department, for which she’s scheduled to go to trial this year.

4. “Las mujeres ya no lloran, las mujeres facturan” (You thought you hurt me but you made me stronger; women don’t cry anymore, they cash in): Ooh. You can expect this one to become a rallying cry for spurned women everywhere for years to come.

5. “Tiene nombre de persona buena, Claramente no es como suena” (She has the name of a good person; it’s clearly not what it sounds like): Another tough translation. Piqué’s girlfriend’s name is Clara, which literally translates to “clear” — as in “clearly it’s not what it sounds like.”

6. “Yo valgo por dos de 22, Cambiaste un Ferrari por un Twingo; Cambiaste un Rolex por un Casio” (I’m worth two 22-year-olds, you traded a Ferrari for a Twingo; you traded a Rolex for a Casio): And no, Shakira definitely didn’t spare Piqué’s girlfriend Clara Chía Marti from her tirade. Shakira, 45, says she’s “worth two 22 year-olds,” but she doesn’t stop there. “You traded a Ferrari for a Twingo,” she adds, referring to the tiny, low-budget Renault model. The Rolex vs. Casio, though, we take a bit of exception to; not just because there are expensive Casios out there, but because we’re fond of the sturdy watches, which still have an element of hip.

7. “Ah, mucho gimnasio, Pero trabaja el cerebro un poquito también” (Lots of time at the gym, but your brain needs a little work too): Wait… is Shakira calling Piqué a dumb jock?

“Today, I am a singer,” Alec Su You-peng says shortly after he sits down.
After nearly three decades, Su, formerly a member of one of the earliest Chinese boy bands, is ready to make a comeback as a singer in another band this year with new music.

Such is its power — music always has a way of making enthusiasts return to it no matter how long they have been away.

Music is as vital as water

Su learned to play the keyboard at a very young age. However, when he was in middle school, his parents wanted him to excel academically and therefore made him give up his music lessons. It was also then that Su became fascinated with pop music. He followed Billboard hits introduced by radio DJs. Music gradually became the most reassuring haven and source of companionship for teenage Su. He rattled off the names of some of his favorite superstars, such as George Michael, who had a glorious singing voice, and Mariah Carey, who can sing beautiful melodies with pearl-like clarity.

“It may sound like a bit of an exaggeration, but at that time, music was like water to me. I could not live without it,” Su says. Looking at the Billboard logo during his Billboard China cover interview, Su says, “This had been a window to my life.”

Growing up in Taipei, Su was a teenage singer in Taiwanese boy band Xiao Hu Dui (also known as Little Tigers). The record company provided the band members with basic performance training before their debut. Blessed with his previous theoretical foundation and musical knowledge, Su excelled in his musical studies and gradually enhanced his songwriting skills. By the time of his solo release, he had a better opportunity to gradually showcase his creative talent. He composed songs in a variety of styles, such as “Ca Jian Er Guo” (Like ships that pass in the night), “Xun Zhao” (Seeking) and “Da Bu Liao” (Big deal). However, Su rarely brings up his original works. In his opinion, creation is highly specialized. An abundance of creative energy, continuous inspiration, and a huge time investment are all essential. He believes if he cannot even satisfy himself with the music he creates, there is no need to describe himself as a composer to the public.

Over the past 30 years, Su has dabbled in several trends, including folk music, love songs, R&B, hip-hop and electronic music. He says he would always keep up with the latest trend even though he may not be able to pull off every style. This is something that singers must try to achieve.

Su also misses the older days of music where it was simpler. “Back then, to get your song on the music charts, you only had to ensure that it sold well and did well on radio and TV,” he says. “Now the evaluation is much more complicated. Streaming data is also taken in account. In short, I feel that the value of songs hitting music charts is not quite the same now.”

Customized playlists and smart music recommendations that are popular on the Internet do not seem to reflect Su’s preferences very well. However, making playlists used to be his favorite thing. When he was in middle school, he recorded songs from the radio onto cassette tapes and then transcribed them into his exclusive collection. Only his best friends could receive such a tape on their birthdays. Su admits that now he, like most people, does not have the time or energy to select songs and make his own playlist. He has gradually become used to being “fed” by streaming media. However, no matter what stage of his career he was at, his love for music has never strayed.

Keep going, there’s always a door open for you

In the late 1980s when they rose to fame in their native Taiwan and throughout Asia, Xiao Hu Dui had an unparalleled influence that was beyond the reach of the idol bands that followed. After the band split in 1995, its three members each started a new phase in their lives.

From singer to actor, Su was rejected many times because of his baby face and idol status. He left everything behind to travel overseas for leisure and further his studies in the United Kingdom. But after returning home, his will to achieve his goals still remained strong.

Su devoted his full attention to each of his records and eventually composed classic songs such as “Bei Bao” (Backpack), “Zhen Xi” (Cherish), “Deng Dao Na Yi Tian” (Waiting for That Day) and “Wo De Hao Xin Qing” (My Good Mood). In his acting career, he has portrayed different personalities in roles such as Yong Qi (My Fair Princess), Du Fei (Romance in the Rain), Zhang Wuji (Heavenly Sword and Dragon Saber) and Bai Xiaonian (The Message). His progress is evident with each passing role.

Later in his career, Su turned to directing. He does not see The Left Ear or The Devotion of Suspect X as perfect, but the rigor and meticulousness displayed in his work makes the detail of his films worthy of attention.

Su is now working on his third film. According to the initial plan, shooting will start in October. In March, he unexpectedly received an offer to star in the show Call Me By Fire. At first, he politely declined the offer because the show’s shooting schedule conflicted with his film production schedule. However, the show’s crew was unwilling to give up on him. His film partner later learned of this situation and was willing to set up a film crew for him in Changsha, allowing him to work on the film production between his show recordings. Su agreed to join the show two days before shooting began.

Su was told that the show’s audience would determine whether celebrity contestants would stay or leave. As most of the audience was between 20 and 30 years old, they would have been familiar with his film and TV hits. But Su felt that since he was returning to the music stage, there was no reason for him to sidestep Xiao Hu Dui’s songs. “Xiao Hu Dui has a lot of hits, but I am not a great dancer,” he says, “I had to prepare for more than three months before I performed ‘Qing Ping Guo Le Yuan (Green Apple Paradise)’ on my debut as a mentor on Produce Camp 2019. So I just avoided songs that would require dancing. I thought I would never ever forget the dance using sign language for the song “Ai” (Love), but to my surprise, I had trouble remembering the details. Later, I found a sign-language video from a young girl on the Internet to refresh my sign-language skills.”

When rehearsing, Su realized he was out of practice; his moves and control over his expressions never seemed to be precise. “It was easy for me to tell the trainees how to perform while mentoring them,” he says. “But when it came to my turn to perform, I realized it was difficult to regain the skills I had back then.”

In the end, the performance of “Ai “(Love)  went viral online.

When he returned to the stage, it was as if he was once again the young man who was not afraid of the arduous journey ahead. He fought hand-in-hand with his band and eventually won another opportunity to establish his boy band in a starring role. Su often considered himself a poor dancer. But with the help of his team, he started to enjoy dancing. It was more gratifying to Su than being the center of the boy band. “It was a miracle for me,” he says.

Su went from being an idol singer to a popular TV and movie actor, then a director, and now a singer again. “We should seize the present moment, and not worry about where it may lead,” he says. “You just keep moving forward, and sometimes you do not know which door will open for you.”

Catching up with everyone through new work

When Su first debuted, the route to becoming a star was monopolized by various companies. There was a high entry requirement to become a star. However, in the era of self-media, everyone has the opportunity to become famous. From his perspective, that is definitely a good thing, but it also means the superstar era is gradually fading away, as celebrities are slowly becoming less mysterious and less distant from the audience.

In the past, the young and famous Xiao Hu Dui members were adored by a large number of fans. This made the band members quite nervous, so they made a pact with their fans to place an emphasis on honor and order, hoping that everyone would focus more on their individual lives. Su, as a first-generation idol, is a bit puzzled by  fandom behavior today. “As idols, we must understand our value and responsibility, then set examples for our fans, and continuously strengthen our performing skills,” he says. “The adoration of celebrities should never be quantified in monetary terms, nor should it be used as an excuse to interfere with other people’s lives. Celebrity fandom is supposed to be a positive thing. How does this become a shackle between celebrities and their fans these days?”

While the release schedule is still being finalized, fans should be able to hear two of Su’s new songs before the Lunar New Year (beginning Jan. 22).

Alec Su for Billboard China

Photo: Xiaoming; Editor: Mi; Stylist: Lindsay

In recent years, you’ve doubtlessly felt some major shifts in the Western pop music scene. Of course, there has been the rise of reggaeton, fresh takes on pop-punk, edgy new grooves from London, and hit trends that originated on TikTok. While these are all fascinating movements, there’s another in the air — the meteoric rise of Asian artists.

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Since the late 2010s, listeners around the world have been reappraising music from Asia, and the development of streaming platforms has provided Asian music with an even greater presence. Special note should be taken of the presence of musician Hikaru Utada, who uses they/them pronouns and has drawn a great deal of interest for their rich catalog of songs, including “Somewhere Near Marseilles,” a club-like tune that deftly evokes the precarious emotional states people have been thrust into by the pandemic. In 2022, they released their latest album, BAD MODE, to the acclaim of music lovers everywhere.

Hikaru Utada is now known for their intriguing style, drawing the listener into a maze of fine, spiraling rhythms, working with producers such as Floating Points, A. G. Cook and Nariaki Obukuro on their new album. It’s important to remember, however, that long before they released songs like “Face My Fears” and “Simple and Clean,” which became well-known in the West due to their use in the Kingdom Hearts games, they had already created universally loved hits.

One of those was “First Love,” the topic of this column. “First Love” has become a hit song in many countries throughout Asia, taking the No. 1 and No. 2 spots on the Apple Music Daily Top 100 and Spotify Daily Rankings Hong Kong and Taiwan. It’s also rising rapidly through the charts in Korea and Indonesia, enjoying a passionate revival not only in Japan but across national borders. This rediscovery was sparked by the November release of the Netflix series First Love. The Netflix series was inspired by the interaction generated from the Hikaru Utada songs “First Love” and “Hatsukoi” and their maddening sense of heartache. The show has become a hit throughout Asia.

“First Love” was revealed to most of the world from the main stage at the Coachella Festival in 2022, but it first captivated Japanese listeners back in 1999. Even though Hikaru Utada was just 16 years old at the time, the song has been a continuing inspiration throughout the years. In that way, as well, the fate of the song resonates with the series First Love, whose story winds back and forth through the past and the present.

What has influenced the path of “First Love”? As is clear from the fact that the song has become a hit again throughout Asia, 23 years after its initial release, it’s clear that “First Love” possesses a certain kind of universality. 

Its structure is extremely simple — just piano, bass, drums, and acoustic guitar. This format brings out Utada’s vocals to their fullest. Their vocal performance, which demonstrated a highly refined expressive sensibility despite the song being one of their debut-era releases, can be enjoyed to its fullest on “First Love (A Cappella Mix),” included on the exclusive limited-edition 7-inch single. Their vocals, like a tightrope walker that sways with the music but never falls, are nothing less than breathtaking.

Special attention should be paid to their use of breath. Throughout the song, they use an unusual breath approach, but only for the verse. The floating opening of the song begins, “Saigo no kiss wa, tobacco no flavor ga shita, nigakute setsunai kaori” (“Our last kiss was the flavor of cigarettes, A bitter taste”). They take a breath between “sa” and “igo,” and then again before “kiss,” expressing the fluttering, flustered feelings of love. However, although they pause midway through the word “tobacco,” they don’t take a breath. There’s a momentary silence, one in which even their breathing is stopped, deftly expressing time coming to a halt during a kiss. In the second verse, “Tachidomaru jikan ga ugokidaso to shiteru, wasurerarenai koto bakari” (“Time, standing still, is about to start moving, So many things I don’t want to forget”), the lyrics are accompanied by surprising, bold breath usage. Time, which was stopped for a moment by a kiss, starts up again, along with their breath. Utada uses an “a-i-o” rhyme pattern in both verses (“saigo” and “tachido”), but there’s a crucial difference between them. This deliberate use of breath is also reflected in the newly released Dolby Atmos version, “First Love (2022 Mix).”

A lot has been said about how “First Love” demonstrates unique vocal timing, with pauses where they would not normally be found in Japanese, along with novel uses of breath as an instrument. However, what’s truly notable, more than the methods themselves, are the way that Utada interwove their use of breath with the lyrics to create a sensation of time coming to a standstill during a kiss tinged with a hint of the smell of a cigarette, or the sadness that comes with time starting again when you realize that love has ended. It is because these feelings are shared by people throughout time, we have — unforgettable experiences that are hard to put into words. “First Love” uses breath to breathe new life into emotions that have had an indelible impact on us but have dissipated with time. This is bound to become a universal, or perhaps invariable, artistic technique that will become part of the common language of music, transcending time and borders.

—This article by Tsuya-chan first appeared on Billboard Japan

Official HIGE DANdism’s “Subtitle” continues to steadily extend its record at No. 1 on the Billboard Japan Hot 100, dated Jan. 11, now at 10 weeks with only one more to go to tie the record for longest-leading hit.

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The all-time record for most weeks at No. 1 on the Japan Hot 100 is 11 weeks, held by Gen Hoshino’s “Koi.” HIGE DAN’s current hit dominated three metrics of the chart’s methodology when it ruled the song chart last week — streaming, downloads, and radio airplay — and is down to one this week (streaming). While “Subtitle” continues to hold for the sixth consecutive week at No. 1 on the Japan song chart, total points for the song is down by about 2,000 on the latest list, so it remains to be seen whether it can catch up with Hoshino’s smash hit from 2016 on the next.

Solo music producer Vaundy made a splash nationwide on the year-end live music extravaganza, the 73rd NHK Kohaku Uta Gassen, and the effects are showing on the charts. The 22-year-old singer-songwriter currently charts eight songs on the Japan Hot 100: “Kaiju no Hanauta” (No. 3), “Odoriko” (No. 30), “CHAINSAW BLOOD” (No. 42), “Fukakouryoku” (No. 46), “napori” (No. 72), “Tokyo Flash” (No. 80), “Hanauranai” (No. 95), and “Koikaze ni Nosete” (No. 97). These tracks increased points in streaming, downloads, video views, and karaoke, indicating that his performance of “Kaiju no Hanauta” on the historic music program left a strong impression and spilled over to other songs in his catalog. The young artist also performed “Omokage (produced by Vaundy)” with star singers milet, Aimer, and Lilas Ikuta on the program, which also boosted this track from No. 84 to No. 20 this week.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 2 to Jan. 8, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

Raye ascends the U.K. singles chart for the very first time with “Escapism,” while Taylor Swift snags another albums chart crown.
A teary Raye celebrated her spectacular result on social media. It’s a moment that carries extra significance for an artist who, in 2021, publicly cut ties with her major label after claiming she’d been shelved and overlooked for years.

Released through Human Re Sources, J. Erving’s distribution and artist services company, “Escapism” is one of several singles Raye has dropped in recent months ahead of her upcoming debut album My 21st Century Blues, alongside “Hard Out Here,” “Black Mascara” and “The Thrill Is Gone.”

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The most-streamed song for the latest chart U.K. chart week, with 5.6 million streams, “Escapism,” featuring U.S. rapper 070 Shake, is Raye’s tenth top 40 single, and first U.K. top 10 as lead artist.

Meanwhile, SZA lands her first solo top 10 in the U.K. (and third overall) with “Kill Bill” (up 32-4 via RCA/Top Dawg), while Bugzy Malone and TeeDee also earn their first spot in the top 10, as “Out of Nowhere” (BSomebody) lifts 38-9.

The Christmas music exodus is in full force, which powers a string of singles to new peaks on the latest chart, published Jan. 6. They include Lewis Capaldi’s “Pointless” (up 60-15 via Vertigo); Tiesto & Tate McRae’s “10:35” (up 80-18 via Atlantic/Ministry of Sound); Lady Gaga’s Born This Way-era recording “Bloody Mary (up 74-22 via Interscope); which is powered by a viral TikTok dance sensation inspired by Wednesday star Jenna Ortega; and Australian singer-songwriter Dean Lewis’s tear-jerker “How Do I Say Goodbye” (up 86-23 via Universal Music Australia).

Over on the national albums survey, Swift secures the first No. 1 for 2023 with Midnights.

By racking-up four non-consecutive weeks at the top, Midnights surpasses Swift’s 2020 effort folklore as her longest reigning LP in the U.K.

Brits love the U.S. pop star in 2023 just as much as they did in 2022. Midnights is one of five Swift studio albums in the top 40 — folklore (No. 22), 1989 (No. 24), Lover (No. 35) and Reputation (No. 40).

Mobile Suit Gundam: The Witch From Mercury, the first Gundam animated TV series in roughly seven years, has just drawn to a close. For the first time in the franchise’s history, the protagonist was a woman, and the show generated a lot of buzz for the new directions it was taking Gundam, such as including elements of school life and inter-corporate war.

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The show’s writer, Ichiro Ohkouchi (also responsible for Planetes, Code Geass: Lelouch of the Rebellion, SK8 the Infinity, and more) was asked to “create a Gundam series that could be enjoyed by newcomers to the franchise, including young viewers.” This, he explains, is why he added new elements to the anime. “I’m not all that young myself, so I thought if I merely tried to match the story’s sensibilities to those of young people, I’d end up missing the mark. Instead of simply lowering the target age, I expanded it — up, down, left, right — with the hope of making a series that would also be appealing to younger viewers. Traditionally, Gundam is mainly about tragedy, battles, and wars, but this new series also involved school life, society, and romance.”

However, he couldn’t turn his back on the traditions of the franchise, which began in 1979. “I wanted to create something that was true to Gundam. I added new elements to the excellent foundation established by previous Gundam shows. However, that also made it hard to control the amount of information involved. Maintaining balance was a struggle.” Ohkouchi did this out of respect for Gundam fans and for the traditions of the franchise. “The reason Gundam is so famous is that countless people have created an uninterrupted chain of works that feature the things that make the franchise great. I couldn’t just ignore that and make something totally different.” “One thing I can say is that one of the central elements is a certain hard-edged tone. When the first Mobile Suit Gundam came out, most of the new series’ viewers hadn’t even been born yet. Viewers knew many people who had lived through war themselves, and so war was still something that still felt real and familiar. When I thought about what fighting meant to today’s generations, I thought ‘companies.’ People experience factional struggles, they get called to oppressive meetings and harassed by superiors. I thought I could use those kinds of battlefields to create something that wasn’t all that divorced from modern audiences.”

Matching the desires of the series’ creator to share Gundam with even more people by expanding its audience, YOASOBI (a musical duo known for producing songs inspired by novels) wrote the show’s opening song, “The Blessing.” YOASOBI consists of two artists, Ayase and ikura. It was formed in 2019, and its debut song, “Yoru ni Kakeru,” took first place in Billboard JAPAN’s 2020 “Hot 100” year-end song chart.

YOASOBI’s Ayase recalls, “Honestly, there was a lot of pressure. However, I wanted to create a great song that would live up to those high expectations. At first, I had these ideas for concepts that I thought would be interesting, but ultimately I decided to make a powerful, straightforward song that reflected my image of Gundam.”

ikura added, “It’s the opening theme, so you hear it every episode. That’s why we talked about making a song that you could interpret in different ways as the story progressed. We hoped to make a song that would remain fresh, with new things to discover each time you listened to it, instead of just keeping the impression it made when you first heard it.”

Each of YOASOBI’s songs is based on a novel. “The Blessing” is based on Cradle Planet, a novel by Ohkouchi. “When I first heard their song,” says Ohkouchi, “I was amazed. The novel isn’t a happy one, so the song they wrote could have ended out like a witch’s curse, but their imagination led them to come up a response in the form of ‘The Blessing.’”

Cradle Planet is written from the point of view of the Gundam Aerial, the mobile suit piloted by the show’s protagonist, Suletta Mercury. Ohkouchi explains why: “Suletta starts out unaware of what’s really going on, so I thought that a song based on a novel about her would end up being really vague. Writing about the adults around her would result in a song that doesn’t really match the series. The show is about Gundam, so I thought ‘Why not make a Gundam the protagonist?’ I proposed writing about how Suletta would look from the perspective of the Gundam, and they took up my idea.”

The name The Witch from Mercury conjures to mind images of “curses” and “spells.” Ayase talked about the creation process that led them to “The Blessing.” “At first, I was just kind of thinking, ‘What’s the opposite of a curse?’ I’m not sure if it would be a blessing, but reading through the novel and other materials, there were these different situations involving people encouraging and supporting each other, which, I felt, threw the curses into sharper relief. I always struggle with naming songs when we finish them, but this time the process went surprisingly smoothly. ‘Curse’ is such a strong word, but at the same time it’s commonplace, something you can feel in all kinds of places. ‘The Blessing’ is, of course, about the world of The Witch from Mercury, but I also think it connects, in a way, to actual society.”

 In the past, vocalist ikura has decided on delicate singing nuances before going into recording, but this time was different. “I didn’t think too hard about it, but instead read the novel, listened to the music, and then decided to throw in all the power I felt from them. The lyrics are powerful even compared to other YOASOBI songs, and I’m singing about really sweeping themes, so I thought that instead of trying to load the lyrics with my own delicately detailed emotions, it would be better to sing the words as they are written, expressing the feelings I had when reading the story.” “Suletta is doing her best to survive in the environment she is thrust into, but that’s a curse placed on her by her mother. She doesn’t realize this, but her partner, the Aerial, knows all about it. At the end of the novel, when Suletta chooses to confront her situation head-on instead of fleeing, the Aerial tells her ‘I’m here with you.’ I hope that the Aerial’s kindness and Suletta’s power come through in the song.”

When Ohkouchi heard the song, he says, “I was moved at how accurately the image of the original novel was retained, and how it was opened up to make the song.” At the same time, he also points out how the lyrics can be interpreted differently after watching each episode. The song itself changes as the story progresses.

“That’s what we focused on the most,” explains Ayase. “The season consists of 12 episodes. I wanted viewers to listen to the opening every time, without skipping it. I wanted to make it a song that developed along with the heroine, so that it felt different as the story went along, and its emotional impact flowed with the story.”

“I’m amazed that they were able to write it that way,” says Ohkouchi. “Originally, it’s a song about Suletta, but, for example, after you watch episode 7, it becomes a song about Miorine. Then, at some point, it becomes a song of encouragement for the audience. It’s wonderful how its range of interpretations blossoms like that. When you try something new, at some point you’ll be tempted to give up. If ‘The Blessing’ springs to mind at a time like this, it’ll inspire you to keep pushing forward.”

—This interview by Takuto Ueda first appeared on Billboard Japan.

It’s a New Year, Christmas songs perform their disappearing act for another time, and “Unholy” is back on top in Australia.
Sam Smith and Kim Petras’ global hit lifts 13-1 on the ARIA Chart, published Jan. 6, for its fifth non-consecutive week at No. 1.  

The 2023 rebirth of “Unholy” (Capitol/EMI) closely follows the announcement that Petras will headline Sydney WorldPride’s closing concert, Rainbow Republic, on March 5, and comes ahead of Smith’s intimate performance at McLaren Vale’s d’Arenberg Cube in Adelaide.

“Unholy” leads a fresh top 10 on the ARIA Singles Chart, as Xmas tunes tumble out of sight.

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SZA‘s “Kill Bill” (RCA/Sony) vaults 12-2, while former leader “I’m Good (Blue)” (Warner) by David Guetta and Bebe Rexha leaps 25-3.

Meanwhile, British singer and songwriter Raye enjoys a new chart peak with “Escapism” (Orchard), up 26-7. “Escapism,” which represents a new, independent era for the rising artist, was the top single on the midweek U.K. chart.

Following the publication of ARIA’s year-end charts, which saw Harry Styles’ “As It Was” (Columbia/Sony) coming in at No. 1 for 2022, the Harry’s House number is once again on the rise. “As It Was” lifts 34-9 on the weekly survey.

Just one single makes its debut in the top 40 on the new chart, Dutch DJ Tiesto’s collaboration with Canadian singer-songwriter Tate McRae, “10:35” (Sony/Warner). It’s new at No. 24.

The top album for 2022, ARIA reported earlier in the week, is Taylor Swift’s Midnights (Universal). Swift’s tenth and latest studio album holds at No. 1 on the latest ARIA Chart, for its ninth non-consecutive week at the summit. It’s one of five Swift albums currently in the top 40.

Harry Styles really did own the keys to 2022. The British pop singer’s third studio album Harry’s House was the biggest LP of the year in the U.K., according to new data published by the Official Charts Company.

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The ex-One Direction singer leads the year-end albums survey with Harry’s House, which shifted north of 460,000 U.K. chart units over the year, including 160,000 sales (150,000 physical and 10,000 downloads), the OCC reports.

Harry’s House logged six non-consecutive weeks atop the Official U.K. Albums Chart in 2022, more than any other album, and the lead single from it, “As It Was,” tops the U.K.’s year-end singles survey.

Compatriot Ed Sheeran comes in at No. 2 on the year-end albums list with = (Equals), which snaffled upwards of 433,000 U.K. chart units during the calendar year. Sheeran has made a career habit of racking up big numbers. In November, the OCC announced all four of his solo studio albums — (Plus), x (Multiply), ÷ (Divide) and = (Equals) — had spent a total of at least a year inside the Official Albums Chart top 10.

Completing the 2022 podium is Taylor Swift’s Midnights, which, in less than three months, captured more than 417,000 U.K. chart sales, including 217,000 sales (206,000 physical copies and11,000 downloads). Midnights got away to a particularly explosive start. First-week U.K. chart sales exceeded 204,000, more than double her previous best, 2014’s 1989 (90,300 chart units).

It’s hard to keep a good thing down. That’s certainly the case with ABBA and Queen’s barnstorming career retrospective albums. ABBA Gold became the first album in U.K. chart history to log 1,000 weeks on the chart, a feat it achieved in July 2021. It’s still going strong. Powered by the ABBA Voyage virtual residency in London, the LP appears at No. 10 on the year-end U.K. chart. Indeed, Gold improves 20-13 on the latest Official U.K. Albums Chart, doing so in its 1,078 week.

Queen’s 1981 release Greatest Hits reached the 1,000-week milestone on the U.K. chart in 2022, and it finished the year in 11th place on the year-end tally. Greatest Hits is the best-selling album in U.K. recorded music history, shifting more than seven million combined units.

Music streaming reached new heights in 2022, the BPI reports. Across digital and physical formats, the equivalent of 166 million albums were streamed or purchased during the year, up 4.3% on 2021.

Official Top 40 biggest albums of 2022

Harry’s House, Harry Styles

=, Ed Sheeran

Midnights, Taylor Swift

The Highlights, The Weeknd

Sour, Olivia Rodrigo

Curtain Call – The Hits, Eminem

Diamonds, Elton John

50 Years – Don’t Stop, Fleetwood Mac

Between Us, Little Mix

Gold – Greatest Hits, ABBA