Japan
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Billboard Japan’s Women in Music initiative launched this year in the same spirit of Billboard’s annual Women in Music issue that began in 2007, with a mission to produce interviews, live performances and panel discussions focusing on trailblazing women in the Japanese music industry.
ermhoi is the second featured artist in Billboard Japan’s Women in Music interview series. The trackmaker and singer with roots in Japan and Ireland began music at an early age and continues to release works with her own unique world view not bound by any genre or style. In 2018, she formed Black Boboi with Utena Kobayashi and Julia Shortreed. The multi-talented artist looks back on her career so far and shares how she currently feels after working in solidarity with other female solo artists in this comprehensive interview.
I understand you became a musician because you’ve always loved music since childhood. Did you have any role models, women you idolized or looked up to?
I’ve never really been conscious of female figures to look up to, but I think that a lot of fictional female characters I’ve liked have been strong, independent, and unique, like Mathilda in the movie Léon: The Professional and the title character in Amélie. But I never considered them as role models and just thought they were cool. Recently, though, I had the opportunity to spend some time with the musician Eiko Ishibashi [her most recent projects include the score for the Oscar-winning film Drive My Car] and for the first time, it felt like I found a woman I could look up to. I’ve never thought of anyone in terms of whether or not they’re a woman, but Ms. Ishibashi is a person whose works are fabulous and whose way of communicating with people is lovely.
Do you ever feel empowered by the music of female artists?
There are many female artists whose works I’m simply drawn to. Joni Mitchell has always been a favorite of mine. Recently, I’ve also been into the Colombian artist Lido Pimienta. Her works and performances are fascinating, and I’m inspired by the way she openly speaks about a wide range of topics including being queer and her background and also about political issues.
Do your values in terms of what you consider cool change over time?
To me, values are something that changes every second it feels like, and it’s hard to maintain for a long time. I’m the type of person whose thoughts are always going around in circles, and I don’t have any motto that I live by. I think I’ve always chosen what I thought was good at each particular moment.
As a musician, does being a woman affect your activities in any way?
Not too many people do similar things in my category of music to begin with, and since I tend to also cross over genres, I’ve always been made aware of my position as an outsider more than the difference in gender. So I might not have had too many opportunities to be aware of being a woman. But there was this one time I was categorized as what’s called a “takuroku joshi” (bedroom producer girl), which made me feel uncomfortable because recording stuff at home is just a tool of expression and it’s not like my activities center around being “a girl who records stuff at home.”
There was a time when women in the minority in a male-dominated genre were mocked as being “so-and-so joshi” (girls) in Japan, perhaps to highlight their presence, but I didn’t feel comfortable with that. I also often hear about the difficulties of artists categorized as “female singer-songwriters” in Japan. Male fans would criticize them in a condescending way and give them advice they didn’t ask for. In other words, mansplaining is a thing that happens a lot.
Sexual harassment has become an issue in the dance music scene, in places like clubs and music festivals for example.
I sometimes feel uncomfortable when I attend events as a listener. I don’t deny the motives of people who come to clubs to meet people, but I’m there to listen to music, and there are people who approach me more than necessary. I’m not the type of person who goes out that much, so when I do go out and have a bad experience, I wish I hadn’t come at all. And although I’ve been lucky to have never experienced such a thing, I’ve heard stories of sexual abuse and it’s a shame that opportunities to enjoy music aren’t equal.
On the other hand, such problems have come to light lately and I’ve had more opportunities to sense the determination of organizers and performers to create safe parties. There’s also a movement to even out the ratio of male and female performers, so I hope things are moving in the right direction.
You formed Black Boboi in 2018 to create a place for musicians who are hard to categorize. How did this project get started?
I was used to being the only woman in a predominantly male environment, but when I met Utena Kobayashi and Julia Shortreed we started talking about a lot of things and I realized that there were times when I wasn’t really being myself (in such environments). Not that there were misogynistic people around me, but I was still in the minority, so I felt a difference in values and sometimes felt uncomfortable in the homosocial atmosphere. I started Black Boboi because I wanted to create a community with members who shared these feelings so we could support each other.
In Japan, it feels like whenever a woman speaks out when a problem arises, they tend to be described as being a “hysterical feminist” and are shut down. That may be why women can share the problem amongst each other, but there aren’t too many opportunities to share it with men. My partner is Australian, and when I ask him about his upbringing, I get a sense that gender equality is naturally prevalent in his environment and that’s one of the reasons why I feel comfortable sharing things with him. I also get the impression that many people in the younger generation have more of an unbiased perspective.
So there are those you feel comfortable talking about gender inequality and other issues and those you don’t.
Yes, I’ve become very careful about what I say on Twitter and elsewhere, not only about gender inequality but also about social issues. I worry so much that I get uptight and find myself choosing my words too carefully. I was actually a little apprehensive about doing this interview as well.
But I decided to do it because I figured there might be something I could convey, even if I’d acquired that perspective from someone else. When I refrained from speaking out, there was a period of time when I took a break from thinking about such topics at all. I needed that time to step away, but when I noticed something and wanted to talk to people about it, I started thinking again. Now that I’ve started thinking again, it’s occurred to me that the time I wasn’t thinking was such a waste.
I recently had the opportunity to get a hands-on look at what the Japanese non-profit Houboku does, and perform at a crowdfunding concert for this organization that supports those in need mainly in northern Kyushu. I’m not a protest musician, but it occurred to me that I could shed light on other issues through music. I feel that working independently allows me to choose whether or not I speak out and to take responsibility for it.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan.
Billboard Japan unveiled its 2022 year-end charts on Dec. 9. Breakout singer Ado topped the Artist 100 ranking, compiled from the results of the Japan Hot 100 and Hot Albums lists.
The enigmatic songstress burst into the J-pop music scene with her smash hit “Usseewa” two years ago, and this year she dominated the Japan charts as Uta from the blockbuster animated movie One Piece Film: Red. The young singer, born in 2002, says she “took on new challenges” this past year and looks back on some of her major accomplishments including her headlining show at her dream venue — the Saitama Super Arena — and her smash OPFR collab in this latest interview with Billboard Japan.
You’re the No. 1 artist on Billboard Japan’s year-end Artist 100 ranking, which combines the Japan Hot 100 and the Hot Albums charts for this year. Could you share your honest impression about this result?
I’m really happy that so many people are listening to my music. After singing the songs for One Piece Film: Red, I checked the charts quite a bit, and when it looked like, Ado, Ado, Ado all the way down from the top, it really took me by surprise.
What kind of year was 2022 for you?
I performed a headlining concert at Saitama Super Arena in August, which was the biggest dream of my life so I was really happy about that. It was my second headlining show after the first one in April at Zepp DiverCity, so I was surprised that I reached my goal so unbelievably quickly.
The scope of your activities has been expanding at a dizzying pace. When was the first time you noticed your music’s reach?
When “Usseewa” charted on the Billboard Japan charts, I couldn’t help but think, “Whoa, awesome!” Of course, rankings aren’t everything, but “Usseewa” was the first song of mine that ever charted and I was blown away when it reached the top.
Any other moments in your daily life when you feel you have some hits?
When I suddenly hear the chorus of “Usseewa” being used on a variety show, or “New Genesis” on a YouTube video that has nothing to do with the song… When I see people mentioning my songs or me in a genre that’s completely different from my own, it really hits home that my music is reaching a pretty wide audience.
“New Genesis,” the theme of the animated movie One Piece Film: Red, hit No. 1 on Billboard Japan’s Hot 100 for a total of six weeks. It’s become your biggest hit so far.
I sang 7 songs (on the soundtrack album) and each was completely different from the other in taste, including a ballad, which I’d never sung before, and a song with full-blown rap. Before I recorded these songs, I was worried about whether I’d be able to sing them properly or if everyone would enjoy them, but the fact that so many people listened to them gave me a lot of confidence.
If you were to compile a personal song chart for 2022, which song would be No. 1?
Wow, there are too many to choose from! But one that I listened to a lot for a while was “Future Eve ft. Hatsune Miku” written by Sasakure.UK for this year’s [Hatsune Miku event] Magical Mirai.
Billboard Japan launched a new chart in December, the Niconico Vocaloid Songs Top 20, which ranks the popularity of vocaloid songs on the Japanese video-sharing platform Niconico, courtesy of Dwango. How do you usually come across new vocaloid music?
My main go-to is still Niconico. After the Vocaloid Collection (Voca-colle) event began, I’ve been using it a lot. Niconico lets you to add various tags to videos and when you jump to the links of the tags, you can find lots of songs in a similar genre. I came across a hip-hop vocaloid track before that was tagged “Mik-hop” and was like, “Wow, I never knew this kind of thing existed.”
Hatsune Miku meets hip-hop?
Right. There’s also “Alternative Mik,” a combination of alt-rock and Hatsune Miku. I personally like the tag “Osharena Miku-uta (stylish Miku songs).” Also, the rankings on Niconico are easy to see and Voca-colle even has a rookie list, so it’s useful in finding new artists.
You began your singing career by uploading covers of vocaloid songs online. How did you first get into vocaloid music?
When I was in first grade or thereabouts, I visited my cousin who told me “I’ve been listening to some interesting stuff lately,” and showed me “Daughter of Evil” and “Servant of Evil” by mothy (Aku no P) on the computer. They were derivative videos characteristic of the vocaloid genre. After I came across this world that I’d never known about, I asked my dad to teach me how to use the computer and began searching for similar stuff online on my own.
Any vocaloid producers that you’ve been into lately?
I go through Iyowa phases periodically. I’m currently going through one now and have been listening to his works like I’m possessed. Many of his songs have a kind of dissonance in a good way, like melodies that make you feel a little uneasy. On the other hand, each number has a story that’s a little sad and human. They make you want to listen to them over and over…They feel like those dreams you see when you have a fever.
You recently announced a partnership with Geffen Records in the U.S. Was working outside of Japan one of the goals you’d originally envisioned?
No. Around the time I first got into music, the idea of working overseas was so huge in scale that I felt intimidated by it and never thought I could pull it off. But I did think that it’d be so cool if I could. I receive comments from people living in other countries and I think it’s really awesome that they’re listening to my songs despite the language barrier.
When I received this offer, I thought it was my turn to approach those fans. I also hope I can help promote J-pop music through my activities. Even if we don’t understand each other’s languages, I’m sure we share the same feelings and emotions as human beings, so I hope I can convey those aspects. I’m committed to my music so I hope to touch people through my songs.
Do you have any specific goals for your activities outside of Japan?
Concerts definitely. I’d love to perform at festivals and events overseas, too. My first domestic tour will began in December, and I’m looking forward to doing more shows going forward.
Lastly, please tell us about your aspirations for next year and beyond.
I don’t think too many people have seen me perform live yet, so I’d like more people to get to know “Ado in concert.” I took on new challenges in 2022. I finally invited Hatsune Miku into my home and started singing with her. I also hope to be able to do other things like producing.
Aimer’s “Zankyosanka” rules Billboard Japan’s 2022 year-end Japan Hot 100, the comprehensive song chart that includes CD sales, streaming, and video views. The J-pop singer’s smash hit, featured as the opener for the entertainment district story arc of Demon Slayer: Kimetsu no Yaiba, topped the mid-year chart and continued to be loved by listeners during the second half of 2022, becoming a hit number that symbolizes this past year in Japan.
The 32-year-old songstress celebrated the 10th anniversary of her debut in September 2021, marking the milestone with her domestic arena tour entitled Cycle de 10 ans that ended in October this year. Aimer is wrapping up her anniversary celebrations with the release of a new mini-album called Deep down Dec. 14 and spoke to Billboard Japan over email about her progress over the past year, as well as the turning points and dreams that have come true in the decade since her debut.
“Zankyosanka” hit No. 1 on Billboard Japan’s mid-year Japan Hot 100 and has since remained a long-running favorite for many music listeners. Congratulations on the song topping the 2022 year-end chart.
The song was written by the team I’ve been working with since my debut, and I’m so happy and touched that so many more people than we imagined in the beginning have listened to it. I’m very honored.
What kind of year was 2022 for you?
It was an exciting year, like I’ve been riding various roller coasters repeatedly without getting bored.
If you were to compile a personal song chart for 2022, which song would be No. 1?
I’ve been giving my full attention to my own music, so sometimes there are moments when I distance myself from listening to music, but Lizzo’s “About Damn Time” gave me a lot of energy, so that’s my choice.
Your 10th anniversary concert in October was great. How do you look back on it now?
Thank you so much. It was a live show that we carefully created so we could trace our past ten years and depict the next ten together. I recalled so many memories of each song as I sang them during the concert, which was something I’d never experienced before. I was able to express my gratitude in the form of a live performance to each and every person who discovered me, and was overcome with deep emotion to see people accepting my appreciation.
Could you share a moment from the past decade that you consider to be a turning point?
I think that making my fourth album daydream was a turning point. I was celebrating the fifth anniversary of my debut at the time, and to be able to create music with artists that I respected was a rewarding opportunity. It was very inspiring for me as a musician, and was an occasion that turned my focus outward.
Tell us about your dreams that have come true since your debut. Also, what kind of future do you envision for next year and beyond?
I feel that my biggest dream of continuing to sing has been fulfilled for the past decade in a very gratifying way. I’d like to continue to express and pursue various kinds of music more voraciously in the next ten years, and would like to stand on many stages that I’ve never been to before together with everyone who supports me.
Could you tell us about your new mini album Deep down, which comes out on December 14?
Since I was able to meet many new people through “Zankyosanka,” something I had in mind for one of the themes for the album was “to kick off the next ten years, I want to make music from a perspective I’ve never encountered before.” A number of songs were created during the tour, and “Ivy Ivy Ivy” was written while thinking of all the people I was able to meet at each stop.
The title track “Deep down” is the ending theme for the animated series Chainsaw Man. What was your initial reaction when they offered it to you? Also, what was your impression of Chainsaw Man and what aspects of it did you want to incorporate into the music?
The episode I was offered to write the ending theme for was where “the story suddenly plunges into deep muddy waters,” and I was very honored that they thought I was the right person for the role. I wanted to create a song that symbolized the dark side of Chainsaw Man, which permeates the episode I wrote for, and would trace the deepest parts of the heart with both hands and go even deeper.
Which song do you feel like you were able to break new ground with on Deep down?
All of the songs were written from a slightly new perspective, but I particularly like the title track “Deep down” because I feel like I was able to reach out to the bottom of darkness more than any of my previous songs.
Do you have a message for your audience?
If you discovered me through “Zankyosanka,” it’d make me really happy if you could also get to know the music that I’ve been expressing for the past decade, including my new mini album Deep down.
As a significant part of HYBE’s grand plans for 2022 and 2023, the Korean entertainment corporation’s first Japan-based act officially arrived on the music scene with its debut EP this week.
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&TEAM is the nine-member boy band aiming to be a “global” group with representation from their Japanese, Korean, Taiwanese and German backgrounds. Consisting of members K, Fuma, Nicholas, EJ, Yuma, Jo, Harua, Taki and Maki, the nine were selected from the singing competition show &AUDITION – The Howling that wrapped in September. The program featured HYBE chairman Bang Si-Hyuk leading and advising the group, while Scooter Braun and Zico appeared as special producers for the show. BTS, SEVENTEEN, Tomorrow X Together and ENHYPEN cheered on the contestants.
The boy band started their journey with their rock-pop lead single “Under the Skin,” released in late November, to preview their forthcoming EP, First Howling : ME. Produced by Slow Rabbit (who’s produced multiple singles for BTS and Tomorrow X Together), “Under the Skin” showed early indication that trusted HYBE collaborators would also work with the new act with contributions from Melanie Fontana (who’s written on multiple BTS, TXT, and ENHYPEN singles) and Kyler Niko (ENHYPEN, LE SSERAFIM).
For the release of First Howling : ME and the Southern hip-hop/pop track “Scent of You,” &TEAM once again had production handled by Slow Rabbit as well as Supreme Boi (the HYBE rapper and producer who’s appeared on BTS and J-Hope albums) with a music video that spotlighted the precise choreography K-pop acts are famous for shot by a 360-degree camera. Bang also helmed the group’s new song “Buzz Love.”
While &TEAM is not the first Japan-based group to debut from a Korean label, the group does stand out by already incorporating into multiple parts of the K-pop conversation. &TEAM’s music videos are uploaded on the HYBE Labels YouTube channel (with more than 69 million subscribers) and have released a performance of “Under the Skin” with popular K-pop dance company STUDIO CHOOM (where performances from the likes of Stray Kids, (G)I-DLE and Kep1er have racked up tens of millions of views). &TEAM also has had global distribution on streaming services when many Japanese labels still do not share their music worldwide.
After &TEAM confirmed its lineup in September, the members shared their international ambitions. K, born in Japan and once competed for a spot in ENHYPEN, said via a press release that “our ultimate goal is to reach a global audience and be charted on Billboard like BTS.”
The group didn’t have to wait long as “Under the Skin” already bowed at No. 80 on the Japan Hot 100 chart dated Dec. 3. Where the group will go next—and what charts they may enter—will be exciting to watch as &TEAM and HYBE look to expand their global reach.
J-pop songstress JUJU spoke to Billboard Japan for its latest Women in Music interview featuring trailblazing women in the Japanese music industry. The initiative launched this year in the same spirit of Billboard’s annual Women in Music issue that began in 2007, with a mission to produce interviews, live performances and panel discussions focusing on women who continue to break new ground in Japan’s music business.
The 19-year veteran of Japanese showbiz continues to make great strides this year, including her new song “Hana” (Flowers) written as the theme for the movie Motherhood, which hit Japanese theaters in November. The pop star who has inspired legions of fans with her powerful vocals throughout her music career shared her thoughts on self-acceptance and celebrating individuality in this latest interview.
Have you ever felt that being a woman was an obstacle in your career?
At the moment, not at all. This year marks the 19th anniversary of my debut as a singer, but I don’t think I’ve experienced anything where I felt that it was difficult to accomplish because I’m a woman. When I look around me, however, I do feel the need to change the system. The way society works was mostly established more than 60 years ago during the period of economic growth in Japan, and is out of step with the times. Even the systems that were created specifically for women need to be updated by assessing what we really need. For example, a blanket rule for maternity leave isn’t enough, don’t you think? People have completely different potentials whether they’re a woman or a man, in terms of physical strength and family environment and such, but the disadvantages may be greater if everyone is bound by a set of rules that aren’t flexible.
Since you mentioned maternity leave… Your latest song “Hana” is the theme of Ryuichi Hiroki’s new movie Motherhood, which depicts the complicated relationships between mothers and daughters.
The movie is a story that revolves around women, but the title of the theme song “Hana” expresses the idea of respecting all individuals as we live our lives as people, including being women. We all grow up knowing that there are many different kinds of flowers, right? From the kinds we don’t know the names of that bloom on the roadside to the ones in a magnificent bouquet made at a florist, flowers bloom at different times and in different ways, but they’re all splendid. The spirit of the lyrics is, “Wouldn’t it be great if we each could bloom in the place of our choice, in the way we decided, and in the color we want to be?” I hope this song inspires listeners to reflect on whether they’re being true to themselves. I’d like people to remember that it’s OK for you to be who you are.
I get the impression that you firmly believe that people are diverse in their own ways. When did you start thinking this way?
Ever since I was a child, I think. There were a lot of weird adults around me growing up. My family and the other grown-ups around me didn’t care that there were children around and never hid anything from me. Even topics that people would normally be like, “Don’t let kids hear that!” would be openly discussed. Maybe they figured, “If she’s going to eventually hear about it elsewhere, she might as well hear it from us.” Like, “If she doesn’t understand something, she can ask an adult around her on the spot. That way, she won’t end up misunderstanding.” People would come to our parents’ gatherings crying and asking for advice about their problems. Because I grew up in such an environment, I was able to imagine that even those who normally seem happy can have such problems, and I came to think, as a kid, that being a grown-up can be hard.
I spent some time in New York later on, a place where people of different races and languages gather, but I realized that in the sense that people have various worries and problems even if they don’t show it on the outside, the world is no different from the one I’d seen growing up.
How have you dealt with your own worries and problems?
Whenever I’m in a difficult situation, I think back to a letter a friend sent me long ago. It said, “A day is a day, no matter how you spend it.” Things happen as you live your life and sometimes it can be hard. Still, the days go on, and no matter how you spend it, the same amount of time will pass. Then let’s try to not take it too seriously, so that we don’t spend all our time on the hard things. That’s the message I got from the letter. I mean, today is the youngest day of our lives. And tomorrow we’ll be a day older and maybe wiser. So I’m not afraid of getting older, and it’s never too late to start something. After all, a day is a day no matter how you spend it. That’s why I try to think that things will work out no matter how I do it. Though sometimes it’s not good enough even when I do try to think like that.
You know it, but sometimes it’s not good enough. Is there a way to cope when you can’t bring yourself to think, “A day is a day no matter how I spend it?”
I’m the type who doesn’t know when to give up, so I can’t give up on myself when I’m in a bad situation. What inspires me when I want to pull myself up again is a line from Whitney Houston’s “Greatest Love of All”: “I decided long ago / Never to walk in anyone’s shadows / If I fail, if I succeed / At least I’ll live as I believe / No matter what they take from me / They can’t take away my dignity.” I sing this verse out loud when I want to fire myself up.
I’m sure there are many people who are inspired by the way you motivate yourself to perform on stage and by hearing your voice.
I’d be happy if that were so. Even if we have to go through some painful experiences, it’d be nice if we could learn a lot from them. I’ve loved to sing since I was a child and always wanted to be a singer and was lucky enough to make that dream come true. Still, there are times when I feel bad or sad, but each time I think, “Oh, now I have one more thing I can sing about,” so I’m able to continue without breaking down. I think everyone has their own way of putting things into perspective like that, even if they’re not singers.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan.
Official HIGE DANdism’s “Subtitle” returns to the top of the Billboard Japan Hot 100 again, extending its record to 5 weeks at No. 1 on the chart dated Dec. 7.
“Subtitle” continues to sit at No. 1 for streaming for the seventh straight week (from 19,306,522 to 18,006,563 weekly streams) and hits No. 1 for downloads (from 14,583 to 15,611 units) for the fourth, while also coming in at No. 3 for video (from 2,869,548 to 2,696,956 views), No. 6 for radio airplay, and No. 8 for karaoke.
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Last week’s No. 1 song, Kenshi Yonezu’s “KICK BACK,” falls to No. 2, coming in at No. 2 for streaming (from 13,272,889 to 12,507,777 streams), downloads (from 14,349 to 11,613 units), video (from 4,356,710 to 3,031,299 views) and karaoke. In other metrics, the track hit No. 10 for radio and No. 11 for sales. Both “Subtitle” and “KICK BACK” are slowing down figure-wise, but “Subtitle” saw a smaller decrease overall and their positions reversed on this week’s list.
King & Prince’s former No. 1 single “Tsukiyomi” holds at No. 3 on the Japan Hot 100 and continues to perform well. The single sold 111,385 copies this week (up from 80,306 last week) and rises 3-1 for the second time on the metric, and also holds at No. 1 for video for the third week although figures have decreased slightly from 3,564,897 to 3,363,622 views.
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 Nov. 28 to Dec. 4, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Suzume, the highly anticipated latest animated feature film by director Makoto Shinkai, hit theaters in Japan on Nov. 11. The movie’s music is by RADWIMPS, fronted by Yojiro Noda, marking the third time the hugely popular J-rock band collaborated with Shinkai on his movies following Your Name. from 2016 and Weathering With You from 2019.
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The featured female vocalist on one of the theme songs called “Suzume feat. Toaka” was selected through auditions, and the film’s score was co-produced by RADWIMPS and Kazuma Jinnouchi, who has written music for numerous video games and films including the Metal Gear Solid series and Ghost in the Shell: SAC_2045.
Suzume takes place in various ruins around Japan as a girl named Suzume goes on a journey to close the “Doors of Disasters.” Noda sat down with Billboard Japan and shared the process of creating music for the project, which Shinkai notes that he’s “confident that you’ll feel the impact of what can be described as a musical experience in theaters.”
I understand this project began around the spring of 2020. Did Mr. Shinkai ask you to work with him again?
Yojiro Noda: It was the same with Weathering With You, but Mr. Shinkai would send me the screenplay beforehand without fanfare. Kind of like, “Here’s what I have in mind for the next movie, please read it if you have the time.” He never clearly says, “Please work with me again.” He waits for me to send him something.
Around the time when I first sent him my feedback, the world was going through a major pandemic crisis and the mood of society was like “now isn’t the time for this,” so we sort of stopped contacting each other for a while. But I was able to go to the studio, so I wrote some music and sent him several demos including the prototype of “Suzume” around August. “Suzume” is the only one that made it from that batch.
What did you think when you first read the script?
I found this one the most exciting (compared to the other two Shinkai collaborations). I love road movies and the way people change during their journeys, and I also have a thing for abandoned buildings, so there were a lot of elements I liked. But at that point I still didn’t know how the story would end and I couldn’t imagine what the “mimizu” (literally, “earthworm”) that appears many times in the story would look like just from the words, so those unknowns also fueled the excitement because I wondered how they would play out. I remember telling Mr. Shinkai that I really looked forward to seeing the story.
What parts of the screenplay inspired you?
First, I wanted music that was different in flavor from the past two works. While this is a story about people living in the modern world, at the same time it’s a story that focuses on villages and towns that have fallen into decline, and the activities, vitality, and liveliness of people who once thrived, so I also wanted a somewhat nostalgic sound. Kind of like a folk song-ish nuance from no particular country, or the sound of ethnic instruments.
Why did you decide to feature a female vocalist again for the theme song for this movie, like you did with Toko Miura (for Weathering With You)?
Mr. Shinkai had told me that he wanted to use my voice for this one, so that was my intention when we started working on it, but once the arrangement was finalized, we both began to feel that a female voice would better define the impression of the track. So we spent about a year last year searching for a female vocalist.
We didn’t have anything specific in mind but did want a voice that would transcend current times. There were many people who simply had a good voice, or sang well, or had a voice that would sell in 2022. But we needed a voice that felt like it resonated 100 years ago and would still do so 100 years from now. A transparent voice with an endless clarity, like. At the same time, a voice with strength of will. While we were looking for something like that, we came across Toaka’s voice and it just clicked. It was an almost immediate decision, including Mr. Shinkai.
RADWIMPS’ “KANATA HALUKA” is the other movie theme song. How did you come up with the idea of featuring two songs?
Mr. Shinkai always said he wanted another song. I had to squeeze it out so hard it was like, “I can’t come up with anything else!” I was also working on the movie score, so at the last minute I said, “I’ll give it one more try. If it doesn’t come out next time, let’s just go with ‘Suzume,’” and gave him “KANATA HALUKA” and one more track, I think. The other one was a really simple tune accompanied by an acoustic guitar.
And “KANATA HALUKA” was chosen from there.
This movie discusses so many themes like disasters, how to survive in the modern world, matters about parents and children, and history. But when I considered what I should sing about in the end, I wanted to sing about how it’s a story about Suzume and Sota. They travel together, gradually building a relationship, and she ends up risking her life to save him.
Everything that happens during their journey contains various themes, but Suzume doesn’t care about them. She wants to see Sota and save him and wants to live in a world where he exists. During the two years that we were working on this film, I think Mr. Shinkai, Mr. Genki Kawamura (producer), and I all sort of lost sight of that part, so I’m glad we were able to realize it by the time we finished.
Compared to your past two soundtracks, the rock band feel is much more subdued. Instead of the exuberant rock-meets-orchestra style of ”Shukusai” (Weathering With You) and “Zenzenzense” (Your Name.), the themes for this work feature beautiful piano melodies and delicate strings accompanied by Toaka’s and your vocals.
I didn’t have a rock band sound in mind at all. This is sort of like what I said about Toaka’s voice, but rock is one of the musical genres that emerged in the last few decades, and (for this film) I knew I needed a kind of timeless resonance or series of sounds that someone could have been playing a hundred years ago and could still be playing a hundred years from now. There’s a guitar sound at the end of “KANATA HALUKA,” but I wanted the root of the song to be simpler, not a rock band sound, but a phrase that could be played with your index finger, or even by a kindergartener.
Mr. Shinkai has said that while he always liked to make things by himself, he tries to be conscious of the fact that he’s making big movies, especially after Your Name. Do you also feel that opportunities like these tie-ins have broadened your horizons and changed the scale of your activities?
There are moments when it’s actually not very interesting to just do what you like, and I come up with more interesting things when I’m asked, “What can you do on this kind of theme?” Makoto Shinkai’s works are the perfect example. Without that motivator, a song like “Zenzenzense” would never have been born, and the same goes for “Is There Still Anything That Love Can Do?” (Weathering With You) and “KANATA HALUKA.” I would never have come up with those words if it were only for myself and could never have maintained that kind of grit like, “I’m going to deliver this song at any cost.” You tend to exert more strength when doing things for the people you care about.
Could you give a message to the people who will see the movie?
I’m really happy now that the film is completed at last. It’s a work that has an overwhelming force. Some may like animated works and some may not like this style of movie, but it’s really a magical film that will definitely take viewers to a single goal. It’s Japanese entertainment at its best and I think that I’m fortunate to be able to see it in real time. I want to share this happy experience with you and hope that you’ll savor it.
—This interview by Takuto Ueda first appeared on Billboard Japan.
Kenshi Yonezu‘s “KICK BACK” returns to No. 1 on the Billboard Japan Hot 100, dated Nov. 30, topping the chart for the second time after six weeks.
The CD version of the Chainsaw Man opener went on sale during the chart week and launched with 289,147 copies. The single rules sales and video (increasing 57.1 percent from 2,772,899 to 4,356,710 weekly views), while also coming in at No. 2 for streaming and No. 3 for downloads, look-ups, Twitter mentions, karaoke, and radio airplay. The points for this track across all metrics added up to 20,784 this week, which is the second highest for any single this year following Yonezu’s own record for the Shin Ultraman theme “M87” (20,881 points).
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After hitting No. 1 on the chart released Nov. 16, King & Prince’s “Tsukiyomi” continues to hold in the top 10 of the Japan Hot 100, rising 7-3 this week. Weekly sales for the single increased by 147.5 percent from 32,441 to 80,306 copies, lifting the track a notch to No. 3 for the metric. While the song slips to No. 2 for video (dropping 10 percent to 3,564,897 views), it rises 2-1 for Twitter this week, and nine songs in the top 10 for the metric are King & Prince numbers. The untiring support from the currently five-member Johnny’s group’s fans has boosted the total points for “Tsukiyomi” by 47.3 percent from the previous week to 9,400 points, elevating it back into the top 3 on the Japan Hot 100.
The excitement generated by the 2022 FIFA World Cup has fueled King Gnu‘s “Stardom” into the top 10 this week, moving 16-8. The song is being featured in NHK’s soccer broadcasts and has risen significantly in a number of metrics: streaming increased by 108.3 percent to 4,189,640 weekly streams (69-17), and radio by 146.6 percent (9-2). It remains to be seen how the ongoing enthusiasm surrounding the World Cup will affect this and other songs related to the broadcasts in Japan.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, Twitter mentions, YouTube and GYAO! video views, Gracenote look-ups and karaoke data.
Check out the full Billboard Japan Hot 100 chart, tallying the week from Nov. 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Japan-based boy band ONE N’ ONLY — consisting of members EIKU, TETTA, REI, HAYATO, KENSHIN, and NAOYA — recently digitally dropped its bouncy new single “Good Day.” The six-member dance and vocal unit has been steadily expanding its global fanbase, particularly in Asian and South American countries, through their unique style of music they’ve coined “JK-pop” that blends the best qualities from both genres.
Billboard Japan caught up with the members for the first time since they performed in front of their fans in Brazil at the end of July. The members chat about “Good Day” and share their thoughts on the danceable tune, plus give away some behind-the-scenes details about its recording and choreography in this latest interview.
You recently released your new song “Good Day.” Could you tell us a bit about this cheerful, uplifting number?
NAOYA: It’s like we’ve added another track to our repertoire of cheerful numbers such as “Video Chat,” “LUCKY” and “HOLIDAY.” “Good Day” is a song that really looks great performed live and can be presented in a different way from the other songs I just mentioned. It’s just a lot of fun to dance to. It brings out the members’ genuine expressions. It’s also unusual in that it starts and ends with the A melody (first verse). I’m pretty sure it’ll becomeone of our signature songs in the future.
It’s very addictive.
REI: Yes, it is. I think it’s a song that really goes straight into people’s hearts. I want it to be the kind of tune where people think, “Yes!” when they hear the intro at a concert.
EIKU: I really like the choreography of the chorus. The part where the members dance facing each other just makes me smile, and I tried to make the song feel fresh and spontaneous in my own way when we recorded it.
You make eye contact one-on-one?
KENSHIN: We do, a lot!
NAOYA: I’m on the outermost end of the formation, so I get to make eye contact with KENSHIN, then look other way and make eye contact with SWAG [the group’s fans]. It’s one of the fun parts of the song, so I’m looking forward to performing it live as much as we can.
How do you feel when you face each other individually like that?
KENSHIN: It cheers me up! I love seeing the other members faces close up like that. But when I make eye contact with EIKU, I always crack up.
EIKU: He twitches his eyebrows. He tries to make me laugh.
KENSHIN: I also make eye contact with NAOYA, and he looks at me like, “How’s this?” [Laughs] We goof off like that, so fans are encouraged to look out for those moments.
REI: HAYATO is over there looking like he has nothing to do with this conversation, but he’s the one who makes the weirdest expressions.
HAYATO: I don’t deny it. [Laughs]
TETTA, anything you want to add about the track?
TETTA: I really like the A melody(first verse) too. Actually, I heard that our choreographer came up with the dance for this part by imagining me dancing to it. The soft spot I have for this part has grown even more after hearing that. Besides, the choreographer praises me every time I dance to it.
KENSHIN: We all tend to thrive on praise.
TETTA: Yeah! Praise us!
Do you all often praise each other?
REI: We often praise TETTA after he finishes singing. Also, HAYATO’s rapping is really awesome. I was surprised at how much he evolved during the fall tour. But in Sapporo, he called SWAG “twag.” [Laughs]
HAYATO: I did my best to pretend it didn’t happen. [Laughs] That was my first time performing a solo on stage, and since it was my own idea, I was still sort of pondering what to do. That was part of the reason why I got nervous onstage and blurted out “twag.” It was pretty vexing so I was super careful during the rest of the performance. [Laughs]
KENSHIN: No, you really did better with each performance. The final was even more amazing with the added emotion.
REI: You’re always quick to praise, KENSHIN.
TETTA: The momentwe finished “STARLIGHT~Mirai no Tobira~,” you came over to tell me it was great and it made me so happy.
KENSHIN: I can’t hide my feelings. I want to communicate my thoughts every time.
Getting back to the subject, HAYATO, tell us your favorite part of this song.
HAYATO: I like the part where REI sings, “Life goes on, risou o koete (beyond ideals).” His voice matches and it feels so good. It really does go “beyond the ideal.” I’d like everyone to listen carefully to that part along with the lyrics.
REI: Sweet. You pointed out what I was aiming for! Actually, that part is deliberate and I’m singing at full volume while staying relaxed.
HAYATO: So that’s why it feels “beyond the ideal”! After that, you tighten it up with “ready.”
REI: Thanks for saying all that. [Laughs]
HAYATO: The cadenced way you handle the ending of each line is really cool, too.
REI: I learned that from TETTA.
Did you decide who sings which parts by yourselves?
TETTA: The writer of the song had all the parts laid out at first, but we discussed things among ourselves and changed it while were recording it.
REI: My part we spoke about just now used to be EIKU’s at first, right?
EIKU: Yeah. But REI’s voice fits better, and since I’m in charge of the beginning of the chorus, it’s better to have someone else do it. REI’s voice adds a really nice touch to the song.
KENSHIN: It turned out really well. It’s really great because EIKU’s chorus brims with encouragement and respect for those who live and work hard every day, and it can be interpreted as us saying, “Let’s keep on growing together from now on.” It’s heartening and uplifting so I recommend listening to it in the morning.
NAOYA: First thing in the morning is good.
KENSHIN: Recently I’ve been challenging myself to play this song the moment I wake up and get ready to leave the house during the three minutes it takes to finish. Everyone should give it a try!
NAOYA: That sounds pretty thrilling. [Laughs]
—This interview by Kana Yoshida first appeared on Billboard Japan.
Official HIGE DANdism’s “Subtitle” returns to No. 1 on the Billboard Japan Hot 100, dated Nov. 23, extending its record to four weeks atop the list.
“Subtitle” rose to No. 1 again powered by streaming (21,377,577 to 21,708,199, No. 1 for the metric), downloads (22,717 to 19,838, No. 1), and video views (2,934,239 to 3,025,749, No. 2). While showing a slight decrease in downloads, the track continues to add weekly streams and views, and the track has also accumulated more points overall compared to the week before.
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Naniwa Danshi’s “Happy Surprise” sold 517,381 CDs in its first week to rule sales and look-ups, but couldn’t add enough points through the other metrics (No. 11 for video, No. 10 for radio airplay, No. 39 for Twitter mentions) to debut at the top and launches at No. 2 on the Japan Hot 100. Still, the rising Johnny’s boy band has sold over half a million CDs in its first week for three singles in a row — its debut single “UBU-LOVE” sold 632,655 copies and the follow-up “The Answer/Sachiare” sold 534,004 copies — showcasing the seven-member group’s rising popularity.
Last week’s No. 1 song, King & Prince’s “Tsukiyomi,” falls to No. 7, but continues to perform well in various metrics, coming in a No. 1 for video, No. 2 for look-ups and Twitter, and No. 4 for sales. In particular, the track has been coasting along in the top 5 in video since its debut on the metric, moving 1-5-5-4-3-1 and logging its highest weekly view count this week at 3,957,470 views.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, Twitter mentions, YouTube and GYAO! video views, Gracenote look-ups and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.