State Champ Radio Japan
Page: 5
J-pop singer-songwriters Miliyah Kato and Leo Ieiri sat down 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 honor artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 conversations in this series were published in Japan last year as a “Billboard Japan Presents” collection by writer Rio Hirai, who moderates this conversation between the two popular artists.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Ieiri and Kato are both set to perform at Billboard Japan’s Women In Music Vol. 2 concert on Feb. 8, along with the Tokyo Philharmonic Billboard Classics Orchestra led by Yukari Saito as conductor. While the styles of the two singers vary greatly, they share a common ground in the way they both delve deeply into their inner selves to sublimate what’s there into their music. In this conversation, Ieiri and Kato got to know each other better ahead of their upcoming WIM concert as they opened up about their mindsets on songwriting and their respective careers.
Tell us how you felt when you were asked to perform at Billboard Japan’s Women in Music Vol. 2 concert, and what you have in store for the show.
Miliyah Kato: The purpose of this concert, women’s empowerment, is something I’ve always valued like a mission throughout my career. I was happy to be tapped to do it and could immediately imagine the way I’d feel when I stood on that stage. It’ll be my first time performing with an orchestra at Tokyo Dome City Hall, and performing with Ms. Ieiri is also special, so I think we’ll be able to add further breadth to our show.
Leo Ieiri: This is actually our first time meeting each other, but when I heard that my collaborator would be Miliyah san, I was surprised and so happy at the same time. I went to an all-girls school and all of my classmates at the time loved your songs. I never thought I’d have an opportunity to work with you and am so honored.
Miliyah: I guess you’re a bit younger than me? I recognized you as an artist with a fresh, wonderful voice, and I think we share something in common in that we both create songs by digging into our personal sides. I feel close to people who can share their dark sides like that.
Leo: Thank you so much. After all, it’s pretty much a given that the experience of falling in love or having feelings for someone could end up hurting you, right? When my soul was still childish, I couldn’t stand that hurt and songs would be born from there. As I’ve gotten older and gone through more experiences, I’ve come to understand that loving someone includes that hurt. I want to convey such changes in a woman’s mindset and growth through my songs.
I listened to your song “Aitai” in my school days, and when I listen to it again as an adult, it sounds so fresh and I can tell that it describes a different state of mind compared to the lyrics you write now. A female artist who has built her own history like that is so great.
Miliyah: Thank you. I made my debut in my teens and spent my 20s and 30s as a singer, and feel that my songs reflect the way I live my life and how I spend my days. I don’t think I’m great just because I’ve been doing this for a long time, but I’ve been able to do this for so long because of the people who listen to my music, and that’s something to be very thankful for. So I want to show my gratitude by creating places where people can have fun, like concerts.
Ms. Kato, you mentioned that the empowerment of women has been like a mission in your career. Have you always felt this way?
Miliyah: I became a singer by singing about things that were bothering me. My third single, “Dear Lonely Girl,” came out when I was 16. I was in high school at the time, and I hated grownups. [Laughs] I hated being judged so much, but I didn’t understand myself, either, and felt kind of lonely. When I sang about how I felt with bleached blonde hair, it turned out a lot of girls around me could relate. It felt like people noticed my existence, and I realized, “This is what I should sing about,” and felt it was my mission to encourage women through my songs. That’s what I’ve been doing ever since.
Leo: That’s so cool. I’ve never really been too aware of empowering women before. I’ve always thought that there’s an infinite number of identities other than female and male, and that there’s no gender difference in how a person feels. It wasn’t until I was in my late 20s that I became aware of my female identity in a new way. I think it was during what they call the “quarter-life crisis,” when I was trying to figure out how I should live from then on. More of my friends were getting married or having kids, so the awareness came naturally. But I think the melodies that come from such shifting emotions and casual daily life resonate with people the most, so I want to keep singing songs like that.
Miliyah: Now that I’m in my 30s, I think my way of thinking has changed so much that it’s hard to believe. Women in particular go through ups and downs because of the changes in their hormones or life stages. But if you stop and look back on your life, I’m sure you’ll see you did your best during each decade. I faced myself seriously from moment to moment and the results are evident in my music.
Leo: That’s so true. I’m 29 now, and I’ve been looking really forward to hitting my thirties, and hearing you say that just now makes me feel more strongly about it. I’ve included parts of myself that are embarrassing and weak in my songwriting, and as I grow older, I sometimes look back on the things I made in the past and wonder why I was thinking that way at the time. But they prove I’ve been opening the door to my heart and making music seriously. I sometimes sing songs written by other people, which is also really fun, but I’m set on continuing to write my own lyrics as well.
We women accumulate personas, don’t we? To marry or not, to have kids or not… there are so many paths and so many roles that we’re forced to take on. How we maintain our identity in the midst of all that is important. Looking at your Instagram, I’m struck by how energetic you are. You work out stoically, yet you also enjoy shaved ice and whatnot as a treat for yourself. It helps me see that people who keep moving ahead have two sides, taking time to be strict and easy with themselves as needed.
Miliyah: Oh wow, you’ve checked out my account? [Laughs] Yes, I think being up for a challenge in life is definitely more interesting. There are people who want to pursue beauty, and there are people who want to live a simple life without luxuries, and it doesn’t matter what you take on as a challenge.
I say I want to empower people, but that desire might make me unwittingly use strong words and that could make the recipient think they need to achieve something big. But that’s not what I really want to get across. I think living is also about how much you end up liking yourself over the course of your life. We all have our own hang-ups and it’s impossible to force yourself to keep working hard all the time. But everyone is equally capable of taking on a challenge. If you keep challenging yourself, no matter how small, I think you’ll come to like yourself even more than you do now.
Like you said, women experience changes in their environment and their sensibilities depending on the stages in their lives. Is there anything you both value in order to continue your singing career for a long time and in a healthy way?
Miliyah: Well, I think what I value is the sense of trying to be strong, even if I can’t always be strong. As a solo artist, I’m the only one who bears the brunt, but behind the scenes I’m being supported by my staff and fans. So in order to be the kind of person that everyone wants to follow, I want to stay strong, cheerful, and energetic. I can stay strong even when things make me nervous because I never forget that.
Leo: I think all human beings are actually weak. Men and women are equal in mind, but their bodies are inevitably built differently. So the inclinations stemming from those differences led to women being forced in the home, into weaker positions at certain points in history. When you find yourself in such positions, it’s up to you to choose whether you live your life feeling sorry for yourself, or thrive because you don’t want people to feel sorry for you. I think Ms. Kato is a really strong person who believed in herself and walked with a sense of mission no matter what position she found herself in.
There was a time when I thought I wasn’t cut out for a career in music and wanted to quit. At that time, I helped out at a nursery school, partly because I like picture books. But when I spent some time in another field, I was able to look at my own situation objectively. I realized I liked to sing after all and returned. I don’t know if I’m suited for it or not, but I couldn’t pretend that I don’t love it.
Hearing that you felt conflicted like that even though you’re so successful comes as a surprise. What advice would you both give yourself when you were just getting started in your career? In particular, Ms. Kato, you debuted when you were just 16. What did worry about back then?
Miliyah: In the first year of my career, I was like 100 times bolder than I am now. [Laughs] Lacking experience and ability, I was bold out of ignorance. But if I could speak to myself from back then, I’d probably say, “You don’t have to worry so much.” Unlike today, social media wasn’t as widespread, and maybe things were easier in that sense, but even while being bold, there was a part of me that worried about people’s reactions and thought maybe I’d get in trouble. So I’d tell younger me to just go all out.
Leo: Well, I was desperate to find a way to protect my worldview. I was even afraid of things that people said to me out of kindness, because I felt like they were dismissing who I was. Now I truly want people to tell me what they think because I know that stimulation from the outside is what expands my own world.
But because of that time I spent protecting myself like that, I enjoy meeting people later on in life. You don’t have to try to be so mature, and if you’re afraid, it’s OK to protect yourself. I’d like to say to myself at that time, “If something bad happens to you, try to understand what it is you don’t like about it and let your feelings out.”
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Atarayo, a three-member band that calls itself “a band raised on sadness,” released their new song “I am…” on Jan. 8. It’s been consistently praised for its lyrics, which are delicate depictions of people’s emotions, and its sound, which help highlight the lyrics to even fuller effect. “I am…,” their first release of 2024, was written as the opening theme song for season two of the TV anime The Dangers in My Heart. It’s written from the perspective of the show’s protagonist, reflecting his inner feelings. Billboard Japan spoke with Atarayo about their past and future growth, including their first-ever overseas performance, playing in Taiwan in 2023, about their latest song, and about their plans for future overseas shows.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
In 2023, you played at the ISLAND’s LA RUE Music & Arts Festival in Taiwan. What was it like playing a show outside Japan for the first time?
Hitomi (vocals and guitar): At first, I was really nervous, but the audience was really engaged, and everyone sang along in Japanese. That blew me away. Japanese audiences almost never sing along with us, they listen intently. The Taiwanese audience was different. There was a real sense of oneness with the crowd. It was really fun.
Takeo (bass): At first, I was pretty nervous, too, but then when we actually started playing, the audience’s vibe was great.
Marcy (guitar): Yeah, everyone was filming with their phones, but they were really into the show. There was a real sense of freedom. It felt very different from Japan, and it was a ton of fun. The stage was huge, too. When we were checking out the venue the day before, I idly wondered what the place would look like totally packed, but the on the day of the show the audience was really big.
Did experiencing your first show outside of Japan give you a stronger desire to play overseas more?
Hitomi: Yeah, it was a great experience seeing how warmly we were welcomed. After playing the festival in Taiwan, we got offers from other countries in Asia, saying “Come play here, too.” If there’s that much of an audience who wants to see us, I’d love to actively perform more overseas.
You recently released “I am…,” your first release of 2024. It’s the opening theme for the second season of the anime The Dangers in My Heart. What kind of concept did you have going into the writing process?
Hitomi: First off, since it’s the opening theme song, we wanted it to have a lot of energy. As for the lyrics, the anime’s producers asked that we write the song from the perspective of the show’s protagonist, Kyotaro Ichikawa, so we always kept that in mind as we worked on the song. I’d read the comic the show is based on, so when writing the lyrics, I imagined what kind of poem Ichikawa would write if he were to write a poem. There’s actually a scene in the show where he writes a poem, and my own personal impression is that people who write poems have something buried deep inside. Ichikawa must have a lot inside that he thinks but doesn’t say out loud, so I thought about how he’d express that if he put it to music. Ichikawa’s feelings are especially reflected in the first verse.
What kind of character do you see Ichikawa as?
Hitomi: Hmm…kind of difficult and stubborn (laughs). He has these ideals and things he wants to do, but he just can’t fully accept himself and his ideas for what they are. However, in season two, he gradually comes to accept himself more.
What are your feelings on The Dangers in My Heart itself?
Hitomi: It’s not just a simple, straightforward romance anime. There are a lot of lines that really get you, emotionally, in its depictions of how Ichikawa grows as a person. When I read it, I had a lot of insights myself.
Marcy: When I read it, I just thought, “Man, I’m jealous. I wish a beautiful girl like that was in love with me when I was that age” (laughs).
Hitomi: You’re too honest (laughs).
Marcy: But, seriously, in the song, there are two guitar solos, which represent the relationship between Ichikawa and his love interest. We wrote the song so that its whole sound — both its highs and its lows — depict Ichikawa’s own feelings.
Takeo, what do you think about The Dangers in My Heart?
Takeo: I sympathize with Ichikawa.
Hitomi: Ichikawa’s a lot like Takeo (laughs). Sometimes, looking at Ichikawa, I’m like “Is this Takeo?”
Takeo: Both Hitomi and Marcy were telling me that, so I read the comic, and there were all these times where I found myself thinking, “I get it, Ichikawa. I know exactly how you feel” (laughs).
I feel like the lyrics to “I am…” depict a real sense of change, as epitomized by the line “It’s like I’m no longer me.” In your activities as Atarayo, have there been any changes of your own that have surpassed your own expectations?
Hitomi: Ichikawa’s own changes are changes for the better. Through his interactions with Anna Yamada he discovers parts of himself that he wasn’t previously aware of. I’ve felt the same about myself. I was really shy and withdrawn when I was little. Now, I’m standing on stage, singing in front of people. That’s because these two people changed me. I’m still scared to get up on stage sometimes, but I think if we keep on as a band, I’ll grow even more bold, and one day the me that’s up there on stage will be one that I didn’t even realize was in me. That’ll probably change our live performances and how we express ourselves, too.
Marcy: During our shows, I used to really look in from the outside, taking a kind of aloof stance, but lately I’ve really been getting absorbed in the shows, and sometimes I find myself sobbing despite myself. I think I get more into the songs now and I’ve become able to play my guitar in a way that better conveys the emotions of the songs to people. Another change is that I couldn’t afford to buy draft beer in the past, but now I can drink it every day (laughs).
(Laughs) Marcy and Takeo, have you seen any changes in Hitomi?
Takeo: Um… Not really (laughs).
Marcy: She’s been the same since we were in school (laughs).
Hitomi: No, I’ve changed! (Laughs) For example, my voice doesn’t tremble during shows anymore. I feel like before I wasn’t able to focus on how to express myself, or on my performance, I was just trying to make it through the show.
Marcy: Yeah, when it comes to music, you’ve changed. Listening back to old demos, your voice was really, how should I say it…green? Very youthful. Now your voice has gotten a lot bolder. Also, the amount of feeling you put in to the lyrics and singing is totally different from our first live shows. It’s not just Hitomi, either. Our legs used to always be trembling when we performed, so that’s been a big change. But our day-to-day lives haven’t really changed, right? At least, when we go to a bar, nothing’s changed (laughs).
Hitomi: As long as I’m growing musically, that’s enough (laughs).
—This interview by Fumiaki Amano first appeared on Billboard Japan
tuki.’s “Bansanka” rises 4-1 on the Billboard Japan Hot 100, dated Jan. 24, giving the rising singer-songwriter her first No. 1 on the Japan song chart.
“Bansanka” debuted on the Japan Hot 100 at No. 14 on Oct. 11 and stayed in the top 20 for 16 consecutive weeks. The poignant ballad with a title that means “Supper Song” finally reached the top spot this week after streaming climbed 3-1 with 9,760,960 weekly streams (up 9.7%) and downloads 8-5 with 6,629 units (up 41.8%). Total streams in Japan for this track have passed the 100 million mark. This song was popular online since before the actual recording was digitally released, through covers and other secondary uses that continue to be uploaded in droves. This explains the increase in video views (moving 5-4 with 1,980,614 views, up 19%), and karaoke (7-4).
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
[embedded content]
Creepy Nuts jump 27-5 with “Bling-Bang-Bang-Born,” the opener for the anime series MASHLE Season 2, after debuting on the chart last week. The rapper/DJ duo’s latest hit broke into the top 10 in three metrics of the chart’s methodology: downloads (11-3 with 6,976 units), streaming (30-4 with 8,944,345 streams), and radio airplay (37-10). This song has been spreading on TikTok mainly in the U.S. and debuted at No. 8 on the Global Japan Songs Excl. Japan chart released Jan. 18. It’s gaining fans internationally, charting in the top 10 in four countries: U.S., France, U.K., and South Africa.
Mrs. GREEN APPLE charts two songs in the top 10 this week, with “Que Sera Sera” rising 5-4 after streaming increased slightly from the week before. The other track is “Nachtmusik,” which debuts at No. 7 after its digital release Jan. 17. The theme song for the film Silent Love rules downloads with 10,872 units, which is about 28% more than the first-week figures for “Que Sera Sera,” the trio’s previous single. “Nachtmusik” comes in at No. 11 for streaming with 5,480,372 streams, No. 6 for video and No. 14 for radio.
[embedded content]
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 15 to 21, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
On Dec. 8, 2023, Billboard JAPAN announced its NICONICO VOCALOID SONGS TOP20 year-end results for 2023. This chart, which tracks the popularity of VOCALOID songs on Niconico, was launched on Dec. 7, 2022, so this is the first time that an annual ranking has been released for the chart. Taking the top position for the year is Yukopi’s “Kyoufuu All Back.”
The chart ranks the top 20 Vocaloid songs on Niconico using data such as the total number of plays of original and derivative videos, the total number of videos, the number of comments, the number of likes, and other figures, multiplying them by coefficients developed by Billboard JAPAN. Looking at the top 20 songs, it becomes apparent that songs on the chart come from a wide span of time — everything from Kairiki Bear’s “Venom,” released in 2018, to Sasuke Haraguchi’s “HITO Mania,” released in August 2023. wowaka’s “Unknown Mother Goose” (2017) and “Rollin’ Girl” (2010) also appeared in the chart. The ranking’s lineup represents a broad slice of Vocaloid culture, not just the latest trends. Another interesting point to note is that the ranking spans various generations of Vocaloid producers. There’s Kanaria, a young Vocaloid producer who debuted in 2020 and who took the throne as a top producer with their second song, “KING,” an instant smash hit. At the same time, there’s also the hit-maker PinocchioP, who has maintained a solid presence in the Vocaloid scene since his debut in 2009 and who has three songs in the chart (one of which is a joint production with another Vocaloid artist).
What can the chart results can tell us about the unique evolution of Vocaloid culture and key points to note about hit Vocaloid songs?
It would be no exaggeration to say that growth of Vocaloid culture has come hand-in-hand with secondary works posted on Niconico. User-generated content (UGC) like dance and vocal covers is becoming popular worldwide, and its impact is being felt on all kinds of platforms, like YouTube and TikTok. Looking at the chart, it’s clear that there’s been a lot of growth in original songs and also in secondary works, from “Goodbye Declaration,” which led the finger dance craze on TikTok, to “Phony,” “Yoidoreshirazu,” and “Marshall Maximizer,” which were featured in many dance covers. Nine of the 20 songs on the chart also took places on the annual 2023 “Top User Generated Songs” chart, which ranks UGC posted to YouTube.
The top-placing song, Yukopi’s “Kyoufuu All Back,” was part of this trend, coming in second for original songs and first for derivative works. “Kyoufuu All Back” was released on March 15, and in less than two weeks it had racked up over one million views on YouTube, becoming a mega-hit in the blink of an eye. The song has captured the hearts of all kinds of listeners, not just Vocaloid fans, due to its lyrics, which take a comedic look at an everyday situation, its catchy melodic structure, which is instantly unforgettable, and its laid-back, cute anime music video. After landing on the weekly chart in the number two position on April 5, it then climbed to first place in the following week, where it remained for eight weeks. This tremendous hit led to a rise in major collaborative Vocaloid songs, discussed on the following page.
It’s been 16 years since the release of Hatsune Miku. At some point during the intervening time, Vocaloid songs went from being a minor subgenre to a major musical genre. This is due not only to Vocaloid becoming well-established and accepted, but also to the rise of the internet and social media changing people’s lifestyles by making it easier for younger listeners to access music across genre lines.
The impact of Vocaloid is no longer confined to net culture and subcultures. It is now even affecting products and titles that are part of our everyday lives. Yukopi’s “Kyoufuu All Back,” was adapted in July with new lyrics for Nissin Foods “Eat Seafood in Summer” Cup Noodle commercial. The speed with which the new song went to being used in a tie-up was startling, as was the fact that a Vocaloid song hit it so big. Fans were overjoyed to see Kaai Yuki, a somewhat niche Vocaloid character, appear not only in the original song’s music video but also in Nisshin’s commercial.
September saw the announcement of Pokémon feat. Hatsune Miku Project VOLTAGE 18 Types/Songs, a collaborative project between Pokémon and Crypton Future Media. There are 18 types of Pokémon, so the ongoing project, which has already begun, will be releasing songs and music videos from 18 Vocaloid producers in total. On December 1, all of the previously released songs were submitted to Niconico, so in the December 6 weekly chart that immediately followed, Project VOLTAGE-related songs took the 7th place and the 2nd to 5th place positions.
At the same time, events on Niconico itself, such as The VOCALOID Collection (often simply called “VocaColle”) and Mushoku Tomeisai, are broadening the listener base. VocaColle, launched in December 2020, is the world’s largest user submission-focused Vocaloid event. Organized by Dwango, it is held twice a year on Niconico. VocaColle 2023 Spring was held in March 2023, followed by VocaColle 2023 Summer in August. Highlights included the TOP100 Ranking and the Rookie Ranking, a gateway to success for young Vocaloid artists. VocaColle Summer also debuted a new event feature, the Neta Kyoku Tokosai (“Joke Song Festival”), and several of the songs from this festival also captured places on the NICONICO VOCALOID SONGS TOP20 Chart.
The Mushoku Tomeisai, on the other hand, is an anonymous submission event thought up by users as the antithesis of the VocaColle, which tends to emphasize rankings and numbers. It was held for the second time in November 2023, and the weekly chart that immediately followed consisted almost entirely of Mushoku Tomeisai entries.
Because of events like these, there are now specific days when Vocaloid songs especially stand out. They create buzz on social media, lowering the barrier to listening to Vocaloid songs or watching Vocaloid music videos. Hiiragi Magnetite, the Vocaloid producer behind “Marshall Maximizer,” which took 9th place in the annual chart, first captured the limelight when he came in 1st place in the first-ever VocaColle Rookie Ranking. “Kyu-kurarin” took 3rd place in the annual chart thanks to its 1st place position in the VocaColle 2022 Fall TOP100 Ranking, the ardent wish of its creator, Iyowa. In the VocaColle 2023 Spring TOP100 Ranking, leading Vocaloid producers Marasy, Jin, and Shota Horie (kemu) collaborated on the song “Shinjinrui,” which was ranked in 7th place on the annual chart.
No discussion of notable recent events in Vocaloid culture would be complete without mentioning the Project SEKAI Colorful Stage! feat. Hatsune Miku smartphone game (often called simply “Proseka”). The Sensor Tower APAC Awards recognize exceptional mobile apps and games from the APAC region, and in the Sensor Tower APAC Awards 2022, Proseka, a music game based on Vocaloid songs, was selected as the winner of the Most Popular Mobile Game in Japan Award. The game’s players are mostly men and women in their teens or twenties, and the game has played a major role in extending the reach of Vocaloid songs to young people.
Whenever a previously released song is announced as appearing on Proseka, social media begins buzzing, and it’s not unusual for the song’s name to become a trending topic on X (formerly Twitter). 13 of the 20 songs on the NICONICO VOCALOID SONGS TOP20 annual chart have appeared in Proseka, and nulut’s “Flower – Lower one’s eyes” was written specifically for the game. Proseka includes existing songs and songs written by Vocaloid producers for use in the game, but it also discovers new creators through Proseka NEXT, a contest that seeks out new songs to feature.
One of the most notable features of Vocaloid songs is that they don’t immediately fall out of favor. Hit derivative works and song connections shine new light on nostalgic favorites, drawing new attention to them and keeping them fresh and vibrant. The Niconico platform actively supports the creation of new songs while at the same time promoting the rediscovery of older songs through events like the Kizon Gakkyoku Fukkatsusai (“Existing Song Rejuvenation Festival”) event, held in November.
Veteran Vocaloid producers from the early days of the scene remain important figures, and new songs might find themselves facing off with popular old songs as rivals. Billboard Japan extends its heartfelt congratulations to the producers whose works claimed positions in this annual chart in the midst of this chaotic competitive landscape.
—This article by Yuka Higaki first appeared on Billboard Japan
Megan Thee Stallion, drag entertainer Aquaria and Japanese singer/songwriter LiSA are among the presenters set for the 2024 Anime Awards, which honors the craft and artistry of Japanese animation. The awards, to be hosted by voice actress Sally Amaki and entertainer Jon Kabira, will be presented on March 2 at the Grand Prince Hotel Shin Takanawa in Tokyo.
“Watching anime is one of my favorite things to do!,” Megan Thee Stallion said in a statement. “I love cosplaying all of my favorite characters, I love the storytelling, and I love getting inspiration from the different anime art styles! I’m really excited for the opportunity to attend and present an award at this year’s Crunchyroll Anime Awards. I’m looking forward to traveling to Tokyo and joining my fellow anime lovers as we celebrate and honor the best anime creators and shows in the world.”
LiSA, who has performed a number of hit anime theme songs, added: “Beyond time and borders, anime allows us to connect and be touched, be excited, and share the same emotions with others, regardless of age or values. Anime has the same potential and appeals that I feel towards music. I hope the wonderful Japanese anime continues to bring joy to many fans around the world. I consider anime to be one of the cultures that represents Japan, so I am very honored to be chosen as the presenter.”
Aquaria, American fashion model, drag entertainer and DJ who was crowned the winner of RuPaul’s Drag Race season 10, is also set to present. Aquaria is likewise a long-time anime enthusiast.
Other presenters set for the Anime Awards live ceremony or the Anime Awards pre-show include actress Iman Vellani (Ms. Marvel and The Marvels), Japanese night club host and TV personality Roland, British rapper Che Lingo, content creator Lena Lemon, artist and producer Yaeji and singer Ylona Garcia.
Crunchyroll, the streaming service that connects anime and manga fans across 200+ countries and territories, today revealed the nominees for the eighth annual Crunchyroll Anime Awards. The full list of nominees and voting instructions is available here. Fans can vote for their favorites across all 26 categories daily through the close of voting just before midnight PT on Jan. 27.
In celebration of this year’s Anime Awards nominees, a selection of nominated series streaming on Crunchyroll will be available on AVOD starting today. Fans interested in exploring the honorees have until March 2 to stream the titles for free, with ads. Anime Awards-nominated series will be available for AVOD viewing worldwide, pending regional availability.
Crunchyroll, LLC is an independently operated joint venture between U.S.-based Sony Pictures Entertainment and Japan’s Aniplex, a subsidiary of Sony Music Entertainment (Japan) Inc., both subsidiaries of Tokyo-based Sony Group.
Sony Music Solutions, Inc., a subsidiary of Sony Music Entertainment (Japan) Inc., will support Crunchyroll in the execution of the Anime Awards.
Billboard Japan spoke with Japanese alternative rock band hitsujibungaku for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan began last year to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai, who continues to speak with women to highlight their stories.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
hitsujibungaku consists of two female members Moeka Shiotsuka (vocals & guitar) and Yurika Kasai (bass), and one male member, Hiroa Fukuda (drums). The trio’s recent achievements include its hit song “more than words” being featured as the ending theme for the popular anime series Jujutsu Kaisen’s Shibuya Incident story arc and recording an exceptional turnout at this year’s FUJI ROCK FESTIVAL ’23 for a daytime performance on the Green Stage.
The band released its third studio album from a major label called 12 hugs (like butterflies) on Dec. 6. The members chatted about this latest release and shared their thoughts on some of the gender imbalances in the Japanese music industry from their perspective as a mixed-gender group.
Congratulations on the release of your new album 12 hugs (like butterflies). It has a jacket that leaves a lingering impression featuring Ms. Moeka Shiotsuka in a pose known as a butterfly hug. The album itself starts off with an acoustic number that gives off a personal vibe. Could you share a bit about why the album’s lineup turned out this way?
Moeka Shiotsuka: We were thinking of ending the album with an acoustic-type song at first. That’s how the song “Hug.m4a” came about, but when we put it at the end, it gave a really dainty impression and we were like, “This isn’t it.” So we decided to end the album on a strong note with the song “FOOL.” And when we placed “Hug.m4a” as the first track, the lyrics seemed to symbolize the whole album and felt like a great intro to it. That’s why we decided to go with that structure.
Hiroa Fukuda: When Shiotsuka shared the idea of the titles and structure with me, I thought her word choices were excellent. I learned the term “butterfly hug” for the first time with this album, and thought it was perfect because I’d sensed that kind of “giving yourself a hug” vibe in each of the 12 songs on the set. There are many songs that I personally like, and it feels like this album is an updated version of our early stuff.
Yurika Kasai: “Butterfly hug” is a nice sentiment isn’t it? I have a lot of problems, but I’ve come to accept that I am who I am, even including the part about having problems. I now think about how to go on living based on that. I also like how it focuses on the number 12 because each of the 12 songs are different in color.
This album is your first full-length album in a year and a half. It feels like hitsujibungaku expanded its reach dramatically during that period of time.
Shiotsuka: I’m glad we have more opportunities, like performances on TV and in music festivals, to reach people who haven’t been exposed to the kind of music we do. For example, at festivals where multiple artists perform, if I see someone in the audience who looks like they’re not into our show, I feel like, “I really want to make that person smile.” I don’t mean I want everyone to like every one of our songs, just that it’d make me happy if even a small number of people think, “Maybe I like this one,” and the number of people like that increases.
Fukuda: Having popular appeal has been our goal since we started the band. Balancing mainstream and underground. Our music is influenced by various genres like alternative rock, shoegazer, and post rock, and we want people who aren’t familiar with these genres to find out about them. The Jujutsu Kaisen ending theme, “more than words,” is included on our new album, and we’re glad that the people who discovered us through this song will listen to our other stuff as well.
Kasai: Since we’ve had more opportunities to appear in the media, we’ve been able to meet artists of various genres. There’s a lot we can take in from the outside world, and we’re now more aware of reaching “outward.” This is reflected in our stage performances, I think.
Shiotsuka: We deliberately aimed to do pop for our previous album, but this time we tried to do whatever we wanted. I didn’t want to yield anything until I reached a quality that I thought was good.
Fukuda: I also felt like I was going back to my roots. Like, be cynical, don’t play my instrument in a habitual way, and freely do edgy stuff.
Sounds like you’re in a healthy place where you’re able to make an album with that mentality during a period when your reach is growing. Incidentally, this interview series began in part because of the gender imbalance we noticed on the Billboard Japan charts. Ms. Shiotsuka and Ms. Kasai, do you think being a woman has had any impact on your daily lives and musical activities?
Shiotsuka: While this doesn’t pertain to any of our recent shows, I think there’s a tendency where it’s pretty obvious that projects featuring female bands or artists are supported mostly by male fans, especially in small-capacity “live houses” (nightclubs). Of course there shouldn’t be any limitations based on gender in liking a certain band’s music, but I do find myself questioning the guys’ intent, like, “Do they really appreciate the music?”
Kasai: I really get what Moeka is saying. We want people to genuinely enjoy our music, but start wondering what fans of the opposite sex are looking for and become more concerned than necessary about how we look in their eyes.
Shiotsuka: Also, this isn’t really about music, but I feel that the world is inundated with images of women being consumed in a sexual way. Even posters warning people to be careful of traffic accidents depict characters in police uniforms with their breasts emphasized and it makes me wonder why.
Being a woman in a band, I don’t like having the concept of “female modesty” imposed on me from the outside. I used to wear dresses onstage before, but this year I decided to go with pants and it feels like a good fit with what I want to express in this band. It sits right with me.
Kasai: Also, the staff at concerts and other events are mostly male. It may be unavoidable in part because there’s a lot of heavy lifting involved, but there are very few women when we go around the country on tour.
Shiotsuka: That’s so true. And the boxed lunches (for catering) tend to be calorie bombs. [Laughs] When we have to eat fried food for days on end, we’re like, “God I want to eat vegetables.”
Other people in this interview series have also mentioned that point about how women are in the minority on the staff side of the (Japanese) music industry. One problem is that there are so few women in the upper ranks of organizations and that influences the entire industry.
On a different note, Mr. Shiotsuka, I read something you said in a past interview about the things you “thought about to keep doing music for a long time.” At that time, you mostly spoke about songwriting and wanting to “make music that you can keep on loving.” I’d like to ask you if there’s anything you wish were different so that female artists can keep doing music for a long time.
Shiotsuka: If a woman wants to continue doing music, it’s hard to avoid the impact of major changes in her life, for example if she chooses to become a mom. I’m 27 years old now and such choices are starting to feel real for me. Like if I were considering having kids, but have a full schedule laid out for next year, I’d definitely think about how my pregnancy could cancel the tour. But I know other female musicians who bring their kids to work and also that everyone will support me, so maybe it’s not really something to be so concerned about.
Kasai: Fukuda would probably take care of our kids if we asked him to keep an eye on them while we record.
Fukuda: [Laughs]
Shiotsuka: He probably would! [Laughs] Regardless of gender, I want to value being a human being before being a musician. It’s fine when work and life are in alignment, but I often put my personal life on the back burner when the balance goes off. I want to remember to prioritize my life.
–This interview by Rio Hirai first appeared on Billboard Japan
YOASOBI’s “Idol” returns to No. 1 on the Billboard Japan Hot 100, dated Jan. 17, extending its all-time record for weeks atop this chart to 22.
The Oshi no Ko opener is back at No. 1 after 19 weeks — the last time the long-running hit took the top spot was on the chart dated Sept. 6 — and while overall points for the track are down by 13% from the week before, it comes in at No. 1 for streaming, No. 2 for karaoke, No. 4 for downloads and video views, and No. 33 for radio airplay.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
[embedded content]
Ado’s “Show,” the song tied for second-most weeks at No. 1 (13 weeks) with Official HIGE DANdism’s “Subtitle,” holds at No. 2 this week. Points for “Show” are down by 18%, but the USJ event theme continues to perform well, hitting No. 2 for streaming and video, No. 3 for downloads, and No. 5 for karaoke.
[embedded content]
Last week’s No. 1 song, Number_i’s “GOAT,” continues to rule downloads and video, coming in at No. 3 on the Japan Hot 100 this week.
[embedded content]
tuki.’s “Bansanka” rises 6-4, breaking the 15-year-old singer-songwriter’s personal record for highest position on the Japan Hot 100. Spotify Japan included the rising artist on its RADAR: Early Noise 2024 list (released Jan. 11), featuring J-artists expected to make great strides this year. This could be one of the reasons why “Bansanka” soared to No. 3 for streaming with 8,893,914 weekly streams, up by about 22%, and No. 8 for downloads with 4,674 units, up 7.7%. The track is also up by about 13% for video (No. 5, 1,655,118 views), and moves 11-7 for karaoke, also the highest position so far for the young artist.
[embedded content]
Yorushika’s “Sunny” (Japanese title: “Haru”) jumps 31-8 this week to break into the top 10. The track is being featured as the opener for the anime series Frieren Season 2 and dropped on the day of the season premiere Jan. 5. The track hits No. 2 for downloads with 9,164 units, No. 25 for streaming with 3,660,640 streams, and No. 3 for radio.
[embedded content]
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 8 to 14, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
The concept of “narrative” in the English language is becoming adapted as a commonly used word in Japan. Unlike the similarly loaned “story” that refers to the content or outline of a tale, the narrator is central to a narrative. Just as in our own lives, there is no fixed plot and nobody knows how it will unfold. In the world of popular music, narratives organically connected to a person’s background or situation are often used as a connection between artist and listener. Artists talk candidly about their own lives and form a kind of community with listeners who accept those narratives,
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Wez Atlas is an artist with an extremely rich narrative. His lyrics are candid and personal, written as if they’ve been taken straight out of his diary or journal. Thoughts and landscapes expressed in the first person, rather than an objective third-person perspective, are undoubtedly part of his own narrative. Listening to the quiet flow of his verses filled with intense emotion set to restrained tracks makes us feel like we’re playing a first-person, open-world video game.
Born in 1998 in Oita, Japan, Wez Atlas is a Tokyo-based hip-hop artist with roots in Japan and the U.S. He moved to Colorado as a child and attended public school there, and eventually got into hip-hop music and rapping through artists such as Eminem, Kendrick Lamar, and his biggest influence, J. Cole. He began writing his own lyrics after returning to Japan in high school, and his career as an artist can be traced back to those days he spent jotting down typically adolescent struggles and worries on paper.
With roots in Japan and the U.S. and having internalized those different cultures, Wez’s verses aren’t just superficially bilingual in English and Japanese but are based on a rich musical foundation. Shortly after the release of his first EP, “Saturday,” keen hip-hop listeners began noticing his music.
In 2020, Spotify JAPAN featured a song co-written by Wez and michel ko called “Time” on its official playlist. In June 2021, the young rapper followed up with a collaboration with Grammy-nominated producer starRo called “Zuum!” and graced the cover of the streaming giant’s Next Up playlist.
Wez Atlas then released his first mini-album, Chicken Soup For One in July that year. The artist had just entered his twenties when working on this album, and his lyrics, written during a period when he had no clear vision for the future, genuinely reflect the worries and anxieties he felt at the time. Among the tracks is “T.I.M.M.,” a song that seems to reveal his pain, but other tracks articulate his attempt to turn negativity into positivity. In “Fun + Games,” he expresses the importance of solidarity with the friends who support him, and in “Overthink,” the Japanese lyrics “Maybe I don’t have to read the room” voice his determination to follow his intuition. His flows aren’t intense, but they’re filled with grim determination.
And in March last year, he released his second mini-album, This Too Shall Pass. As the title suggests, this project following his deeply personal debut set is a work that expresses a more detached state of mind. The first track, “Life’s A Game,” is like a shrug of the shoulders, song of positivity stemming from resignation that reflects what Wez was honestly feeling at the time. The song “It Is What It Is” expresses his will to “never stop looking for the light despite adversity.” The TikTok lyric/performance video of this number articulating his positive vision for the future went viral with over 12.4 million views.
His collaborations with VivaOla, Kota Matsukawa, starRo, nonomi, uin, and other producers who support his creativity have also gained further depth. The production is extremely listener-friendly, focusing on Wez’s own comfort and chemistry without fixating on trends — not that they’re being ignored by any means. Wez’s music has widespread appeal because it fits a broad range of situations, from bedroom to driving. The magnetism of his music has been proven by the enthusiastic reactions to his performances at SXSW 2023 in the U.S. and at Kobe Mellow Cruise 2023, one of the largest hip-hop culture festivals in Japan’s Kansai region.
Wez dropped a new song called “RUN” on Dec. 22, an upbeat number that can be considered a new experiment for the rapper. The track starts with a sharply distorted guitar riff, followed by the verse, “Hajimaru aratana Race (A new race begins)/Vamos! Andale! Onore no sadame (my destiny),” then drum’n’bass-like rhythms and hard rock-inspired bass kick in. The music produced by nonomi and Kota Matsukawa might be described as neo-mixture or an evolution of grunge rock. Either way, there’s no doubt the style is unlike anything we’ve heard from Wez before.
His vocal style in this song also feels new, speaking frankly to listeners as if to inspire them. While he gained popularity through the restrained flow of his earlier releases, Wez diverts from his conventional style in “RUN” and swings toward a more direct expression. The fact that he leans towards mostly Japanese in this number means it has potential to reach domestic listeners who normally prefer rock and J-pop. Another notable aspect of his releases is that he doesn’t stay in one genre or style and continues to casually expand the boundaries of his musicality.
“RUN” brilliantly shatters Wez Atlas’ previous soundscapes and messages, hailing his breakthrough into a new phase of his career. This song will surely add further depth to his narrative, and the words he weaves together will spread far and wide, overlapping with the lives of each listener. There’s no doubt Wez will be one to watch in 2024.
—This article by Tomoyuki Mori first appeared on Billboard Japan
Conductor Yukari Saito spoke with Billboard Japan for its Women in Music interview series celebrating female players in the country’s entertainment industry. The WIM initiative in Japan began in 2022 to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan last year as a “Billboard Japan Presents” collection by writer Rio Hirai, who continues to speak with women to highlight their stories.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Saito moved to Dresden in 2013 and gained experience in Europe conducting the Lille National Orchestra and the Vienna Tonkunstler Orchestra. She returned to Japan in 2021 and this year, is set to conduct the Tokyo Philharmonic Billboard Classics Orchestra at Billboard Japan’s Women In Music Vol. 2 concert on Feb. 8 featuring singer-songwriters Reo Ieiri and Miliyah Kato. The 40-year-old maestro looked back on her career dedicated to the world of classical music and shared some experiences that changed in her life after spending time in Dresden.
First, could you share your thoughts on the upcoming WIM concert in February?
I’m interested in various genres of music, so I’m really looking forward to performing with two different types of musicians like Ms. Reo Ieiri and Ms. Miliyah Kato.
You usually work in the world of classical music. What opportunities do you see in the collaboration between pop and orchestral music?
First, I feel grateful to be tapped to participate in this precious opportunity. We’re still in the process of working out the details, but I have a feeling I’ll be able to find a new style within myself that’s different from my usual work. The way I feel about this concert is the same as how I usually feel about creating classical music together with everyone, but depending on the rhythm and mood of the piece, there will be changes in my conducting style and the sound expressed by the orchestra, so I’m excited about that. I look forward to seeing what positive effects the synergy produces.
This concert is part of Billboard Japan’s Women in Music project. What do you think about this kind of event focusing on women’s empowerment?
It’s something that’s been relatively uncommon (in Japan), isn’t it? Some people might come because the project interests them, so it makes me glad to think we’ll be able to bring our music to a wider and more varied audience.
I understand you originally wanted to be a pianist. How did you come to be a conductor?
At some point while studying at music school to become a pianist, I began to feel that it might be hard for me to become a professional. I became interested in conducting around then and met various teachers who told me, “You might be suited for it.” I then met Mr. Seiji Ozawa, who nominated me as a conducting trainee. That’s how I got started.
Why do you think you were suited for the job?
Maybe I always had a good sense of rhythm. I conducted in a choral competition when I was in junior high school. At the time, I only did it because I didn’t want to sing, [laughs] but the teachers praised me and told me I did a great job.
Does being a woman have any influence on doing your job?
I haven’t experienced too many moments where I thought, “This happened because I’m a woman.” When I wanted to become a pianist growing up, I’m sure there were times I thought, “I wish I could be like that” when seeing female concert pianists wearing beautiful dresses. I also remember thinking how awesome the pianist Martha Argerich was.
As a conductor, I believe I’m capable of flexible expression with meticulous attention to detail, even if I can’t compete with men in terms of physical size and strength. So I’d say I’m aware of the differences but don’t let it bother me. There are plenty of female players in classical music and it’s a merit-based industry, so I don’t think women are rejected as a member just because of their gender.
Because the world of classical music values tradition, I’d imagined there might still be some elements of sexism left. It’s nice to know it’s merit-based. So you’ve never encountered any gender imbalances?
Well, I’ve had experiences where I went to greet an elderly male concertmaster and he seemed surprised that I was going to conduct, but at the time I thought maybe it was because I was acting intimidated and not because I was a young woman. I think I might have accepted such moments as a net positive because the gap between that first encounter and my actual high level performance on stage would result in a good impression.
You know what though, this isn’t about sexism, but unfortunately some racism might still be around. There are no Asians at all in some orchestras, or if there are, only Japanese are included for some reason.
I see. So you didn’t encounter sexism but you did witness some leftover Western-centric values. Outside of the classical music world, do you see any differences in values between Germany and Japan?
In Germany, I often encountered protests. The sight of LGBTQ people asserting their rights, for example, is striking in its earnestness. I didn’t come across such scenes in Japan very often before I left for Germany, which made me think that such problems were hidden. Things seem to have changed now, though. Also, a lot of women (in Germany) clearly express their opinions. In Japan, many people are somewhat modest or reserved, but the culture in Germany doesn’t consider that to be a good thing.
Did you change after spending time in such an environment?
I think I did. The first thing that took me by surprise when I went to Germany was when I was told during a lesson, “Don’t you have your own will?” When we were asked, “What do you think?” the people around me would express their opinions, but I was at a loss at first.
How did you manage to change from not being used to expressing your opinion?
By being honest with myself, I guess. If I think too much about what will happen if I say something, I won’t be able to say anything, so I try not to think about it too much. What’s also important, along with naturally expressing what I feel, is delving deep within myself to figure out why I feel that way. I think this makes my words more convincing.
Is being convincing a necessary skill for your work as a conductor of orchestras?
I think so. In my case, I taught myself how to think in order to overcome that initial setback of not knowing what my own will was. I’m glad I’ve gained experience by repeatedly making such gaffes.
When do you find your work as a conductor most rewarding?
It is rewarding, but I work pretty hard to get there.
What’s the hardest part of your job?
It goes without saying that I have to use my brain and convince everyone in the orchestra. It’s a lot of work, but there comes a moment when things just click. The players and I make eye contact and we’re like, “This is the sound, right?” and the sound comes out exactly as we intended. It’s hard to put into words, but I guess it’s like having a dialogue with sound. When that happens, I’m like, “Yes! We did it!” and pump my fist in my mind.
—This interview by Rio Hirai first appeared on Billboard Japan
On Jan. 13 and 14, 2024, , the creative label that is pioneering Internet culture, will be holding Kamitsubaki Yoyogi Wars 2024. This event, the label’s biggest ever, will be held in Tokyo’s Japan National Stadium, Yoyogi 1st Gymnasium, which has a capacity of roughly 12,000. V.W.P, the virtual artist group made up of KAF, RIM, Harusaruhi, Isekaijoucho and KOKO, will be playing on the first day. On the second day, virtual singer KAF, just 20 years old, will be putting on a solo show titled Kaika.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The event will be a special feature in the ongoing SINKA LIVE series of live shows put on by virtual artists on the Kamitsubaki label. With the first day of the event approaching, Billboard Japan talked to the performers about their ambitions for the show.
KAF, how have you been preparing for the event?
KAF: I can’t go into a lot of detail yet, but I can present myself in different ways in my performances, so I’ve been talking a lot to my team about what approach to take to make the show the most fun for the audience. I’m also practicing singing a lot!
KOKO, what are you looking forward to the most about playing at the Yoyogi 1st Gymnasium?
KOKO: Needless to say, I’m excited about playing in a venue as big as the Yoyogi 1st Gymnasium, and I’m looking forward to seeing what it looks like from the stage. In the virtual world, I have a lot of opportunities to connect to fans through the screen and the net. This time, though, people will be taking time out of their schedules to come to see V.W.P in person, gathering together in one place, so I’m looking forward to seeing everyone face-to-face at the venue.
Could you talk a little about the “Versus” artist collaboration stage performance?
KOKO: My opponent in the “Versus” stage will be CIEL. Normally, we stream together in the Kamitsubaki Diplomacy Division. So usually, she feels like a colleague, not an opponent. We’re both former brass band members, and when it comes to music, we both have our own strong preferences and musical expertise. I’ve got no idea what kind of positive chemistry it’s going to produce when we perform together. Maybe it’ll turn into a tense musical battle? I guess people will just have to come and see.
RIM, how are you feeling as the show approaches?
RIM: For now, what I need to do is to get Haru (Harusaruhi) to unwind. Recently, I’ve been practicing the choreography for “Resonance” so I won’t make any mistakes (laughs). Everybody’s all hyped for the event, and we’re already giving it our all, starting with the rehearsals!! I’m also looking forward to my part as a guest performer.
Isekaijoucho, what do you think about the SINKA LIVE show series?
Isekaijoucho: Everything about SINKA LIVE is innovative. It’s a whole new type of live show. Everything, from the virtual space to the connected stories, is majestic and beautiful, but at the heart of all of it is our own music. To share our songs, we need to have a place to serves as our starting point, along with a certain spirit. SINKA LIVE shows allow us to dive deep inside ourselves. We’re setting out to discover our true selves, which are the same in both the virtual and real worlds. What will we find through this exploration? How deep will we go? I think each of us has found our own answers to these questions. At V.W.P 2nd ONE-MAN LIVE “Phenomena II – Witch Expansion”, we’re going to be giving it our all, singing true-to-life songs with all our heart, as only the five of us can.
Harusaruhi, could you share a little about the unique qualities of the members that make up V.W.P?
Harusaruhi: KAF’s voice is wonderful, clearly delivering her message straight to listeners. It stands out for its almost spoken feel, a really natural mode of expression. RIM has a stylish, relaxed, soft singing voice. I find it really catchy, and it makes mid-tempo songs truly shine. Isekaijoucho isn’t just a singer, but also a creator, and I find her originality to be enthralling. I also love her unique voice. KOKO has a wide singing range. She can sing songs from any genre. She also puts on wonderful live shows, making a lasting impression on anyone who watches her perform.
How has V.W.P evolved since it was initially formed?
RIM: All of us members have grown even closer, and the way we combine our voices has evolved!!! At some point we lost our initial awkwardness. We still have our five distinctive voices, but now they mesh smoothly in our songs. Each of us brings our own unique strengths and we combine them into a unified whole. The process was so steady I didn’t even notice it at the time, but looking back, we’ve evolved a lot.
KAF, your previous main composer, Iori Kanzaki, was part of your process of deepening your sound. When he parted ways with the label, you also ended your Fukakai series of live shows, which you began in 2019. Your solo show, Kaika, on the second day of Kamitsubaki Yoyogi Wars 2024, could almost be seen as chapter two of Fukakai. What do you think the highlights will be?
KAF: In this new show series, I’m of course preparing performances that will go above and beyond what everyone is imagining. I think I’ll be able to put on a show that highlights both the changes I’ve made and the parts I’m keeping the same. At last year’s Nippon Budokan performance, I called on various guests to sing together with me on stage. This time, as well, there will be an exclusive, one-time collaboration that people will only be able to see at Kamitsubaki Yoyogi Wars 2024. I hope a lot of people come to see it.
Is there anything you try to do when collaborating with guest performers?
KAF: When I sing a song by an artist I like, the first thing that comes to mind is their singing style. When I think about how I want to sing the song, I find myself setting the original artist’s own style as the standard. But it’s important that I sing in my own way. The question is how best to combine the two. I’m really looking forward to trying out different approaches in the show.
KAMITSUBAKI STUDIO has changed immensely while constantly progressing. It now has quite a few creators.
KAF: When I first started my creative work, I didn’t know much about the virtual world. However, over time, I’ve gone beyond just songs. Now, there are a lot of different elements that make up the artist known as KAF. A lot of people’s efforts combine to make me what I am, but I’m the one who speaks. Since realizing that, I’ve started to think deeply about just what I am.
I feel like that question ties into the title Fukakai, which is Japanese for “inexplicable.”
KAF: The title Fukakai also contains a sense of “unknown.” There are a lot of times in my artistic activities where I find myself confronting the unknown. For example, with the upcoming show at Yoyogi 1st Gymnasium, just how big will it be? How many people will come? I know the numbers, but they don’t really give me a visceral sense of what it will actually be like. Sometimes, on stage, I don’t know exactly how the performance is going. But the fact that I don’t know means that I simply have to have faith. I can move forward, trusting my own predictions and hopes. I think this is something I’ve discovered through this series of shows. It’s really strengthened my belief in myself.
Streaming tickets can be purchased here.
—This interview by Mio Komachi first appeared on Billboard Japan
