“Masamume”, a brand specializing in supporting new generation artists from the Internet and delivering them to listeners, has been launched.
As the first step, a compilation album “Masamume”, which is a collection of songs by music creators and artists from the Internet, will be released for rental only at TSUTAYA nationwide, and a live project “Masamume Live” will also be held. It is a project where you can experience the music of music creators originating from the Internet in real life.
The first compilation album “Masamume vol.1” currently rented features eight groups of artists such as Vocaloid-P, singer, and VTuber. And at the live “Masamume vol.1” to be held, NORISTRY, Beard Aard, and BotchiBoromaru, a music-based VTuber, have been announced from among the recorded artists.
Related article: New generation artist gathering compilation album “Masamume vol.1” from the Internet TSUTAYA limited rental start
This time, Rolling Stone Japan will feature three groups of creators and artists who are particularly noteworthy from this first project. The second interview was with Takeaki Wada from among the artists participating in the album. While playing an active part as singer-songwriter Vocaloid-P, he also participated in live performances and recordings of various artists such as “Harumaki Gohan” as a guitarist. We asked him about his encounter with his own music, how he started singing from Vocaloid-P, and about the current music scene that originated on the Internet.
-First of all, I would like to ask you about the encounter between Mr. Wada and music. Can you tell us how you started playing the instrument?
Actually, there was no chance. Around the spring of my second year of junior high school, I suddenly came up with the idea of playing the guitar. At that time, around 2000, I bought an acoustic guitar for the first time, but I played 19, SOPHIA, etc. as a copy. At that time, there wasn’t a site on the internet that had chords and lyrics. I bought a magazine with lots of lyrics and chords like “Monthly Kayokyoku”, and I’ve been playing around to follow the chords of the songs I know. I played the guitar from there, and when I was in college I also played a band. I love Ringo Sheena in the early days and Susumu Nishikawa, a guitarist who supported Hitomi Yaida. When I was in a band, I was sent to a local festival, and at that time Hitomi Yaida’s stage was heard from afar to the place of sale. When I heard the guitar riff in the intro of the song “Buzzstyle”, I was shocked to hear “Wow, what’s this! You can hear it directly even though it’s so far away!”.
-What made you decide to start Vocaloid-P after you were in a band when you were in college?
I first heard Vocaloid when I wasn’t in Tokyo yet. When I listened to Supercell’s “Melt”, I was shocked to say, “I heard about Vocaloid, but I can make a song like this!” At that time, there were two things I liked, Vocaloid and Susumu Nishikawa. After that, when I came to Tokyo, Susumu Nishikawa was looking for a roadie and applied immediately. So, I was helping for a while, but Mr. Nishikawa decided to play the guitar in supercell’s “Kimi no Shiranai Monogatari”. So, I happened to be at the scene, and I had the feeling that what I liked and what I liked came together. At Hatsune Miku’s first live “Miku FES09”, supercell also performed for the first time, but Nishikawa-san was playing in the background at that time, and I was impressed to see it. That’s why I decided to do Vocaloid myself.
-It means that the longed-for guitarist Susumu Nishikawa was played in the back of supercell, and his favorite things were crossed.
I agree. I thought, “I also want to play the guitar with Vocaloid!” So, at that time, my motivation was not to write songs, but to play the guitar in the background of what I liked.
-The “Play The Villain” recorded in this “Masamume Vol.1” is sung by yourself. What made you decide to sing yourself instead of Vocaloid?
The first is that you want to live. Honestly, it’s not interesting if you play a live performance with the sound of Vocaloid, unless you do it properly with the video like “Magical Mirai”. I had people sing it, but I felt uncomfortable that a different person was singing even though I was performing live under my own name. If you think purely about music, it’s definitely better for someone who is good at singing to sing. When you’re doing Vocaloid-P, it’s the songs that you like, not Vocaloid-P. It may be different now, but at least when I started singing. For the time being, the title is an artist, and I think that I am an artist even if I don’t sing it myself. However, there was a feeling that people around me didn’t think so at all. In 2016, I released a song called “Tururira Tururira Daddadda!” And it was recognized all at once. At that time, I really felt that music wasn’t something I did on my own, but something that was on the part of the listener and the recipient. So, rather than sticking to justice within myself, I started singing thinking that I had to sing by myself in order to be recognized by the world through music. So it’s not really a positive reason. You only have the option to sing.
-It’s been about 10 years since Mr. Wada has been active as a Vocaloid-P singer-songwriter. Did you feel any change in the internet creator scene during the 10 years?
Rather, it has only changed. To be more specific, it feels like talking about history, so that’s the end of this interview (laughs).
-Not limited to Internet creators, subscription services have come to be used, and the number of short songs has increased, and in the music genre, city pop and old-fashioned ones have become popular. Is that change different from the mainstream of internet creators?
Rather, it feels like something that was completely different until now is getting closer. Roughly speaking, I feel that Vocaloid is closer to the sounds that are popular in J-POP today. After all, video is important for Vocaloid, and it is basic to raise the MV on YouTube, so I think that it has an affinity with the trend of video. For example, in terms of images, I think that expressions like vaporwave, revival in the 1980s, and a little old-fashioned expressions are popular these days. I think it’s because such a video doesn’t match with the song that was popular in Vocaloid a long time ago with a huge number of sounds and a fast tempo. That’s why I feel that the atmosphere in the creative area as a whole, not just in the video, is becoming that way.
-I think that Susumu Nishikawa, who likes Mr. Wada, is sometimes described as a guitarist who is directly connected to emotions, but on the other hand, Vocaloid is a driving music, and I have an inorganic image. Do you think that is a conflict?
I’m aware that this feeling is a little different from the world, but I have never thought that Vocaloid is inorganic. I’m not very interested in singing. It’s too much to say that I’m not interested in songs in music, but I think it’s one of the elements that make up music. I think listeners in the world are listening to other sounds as an accompaniment to the song. Just because I’m Vocaloid, I don’t know the difference in voice quality or the quality of the voice. I know the bad melody, but I don’t know the good melody. So, I think the feeling when listening to music is quite different from that of other people. On the contrary, it can be said that human songs do not feel very emotional. I don’t know the difference between human and Vocaloid songs, so it doesn’t matter if the guitar is emotional or not, because it’s also a variation of the orchestra.
-Songs are just like one instrument. Is there a distinction between what you sing and what you make with Vocaloid, including “Play The Villain” recorded this time?
For the time being, there are some, but there is no clear verbalization and change. When writing a song, do you make it with Vocaloid or your own song? It’s just what you listen to and what kind of arrangement you want to make, so you may have done it sensuously. It feels good to sing a song made with Vocaloid by myself, or I think that Vocaloid seems to suit me even though I should have made it as my own song. Recently, I’m worried because the segregation has become messed up (laughs). I intended to divide it.
-With the influence of corona on society, it is constantly changing, and with the spread of smartphones in the Internet society, we are in an era where anyone can connect to the Internet, and the bad air in SNS is also a problem. It has become. Is there anything you would like to challenge as a creator in the future because of this era?
Not much. I think it’s rather dishonest to change the style accordingly. Of course, it may appear in the lyrics or be influenced by it, but I don’t think it’s likely that something will change consciously as a result.
February 27, 2021 (Sat) Rental start
* This is a rental limited edition and will not be sold.
= Recorded music =
1. Takeaki Wada / Play the Villain
2. Teary Planet / Copernicus turning
3. R Sound Design / flos
4. Lanndo feat.bis / vivid a
5. BotchiBoromaru / Liar Dog Howl
6 .NORISTRY / Sing
7. Beard Aard / Beard Aard
8. Good morning / normal
“Masamume Live vol.1”
March 22, 2021 (Monday) TSUTAYA O-Crest
Time: Open / Start / End: 17: 00/17: 30/20: 00 * Subject to change
Appearance “NORISTRY / Beard Aard and more
Ticket: 3000 yen (w / 1 drink)
Sales start from 18:00 on February 26
Ticket Pia: https://t.pia.jp/ (P code: 193-982)
Rochike: https://l-tike.com/order/?gLcode=70364 (L code: 70364)
Delivery ticket: 1500 yen
Streaming +: https://eplus.jp/masayume-st/
* Please check the details on the dedicated URL before making a purchase.
TSUTAYA News Page: https://tsutaya.tsite.jp/news/music/41574803/