[Utada Hikaru] The New Album 「Fantôme」 on Sep 28, 2016! ʕ•̫͡•ʔ the 54th thread - Ayumi Hamasaki Sekai
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Old 5th September 2016, 05:23 PM
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Maemi Maemi is offline
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The New Album 「Fantôme」 on Sep 28, 2016! ʕ•̫͡•ʔ the 54th thread

Hikki is back!!!



ʕ•̫͡•ʔ The New Album 「Fantôme」 on Septembar 28, 2016!
Spoiler:


Fantôme is the sixth Japanese studio album released by Utada Hikaru. It is her first Japanese studio album since 2008's HEART STATION.

Tracklist

1. Michi (道; Road)
2. Ore no Kanojo (俺の彼女; My Girlfriend)
3. Hanataba wo Kimi ni (花束を君に; A Bouquet for You)
4. Nijikan Dake no Vacance (二時間だけのバカンス; A Vacation for Only Two Hours)
5. Ningyo (人魚; Mermaid)
6. Tomodachi (ともだち; Friend)
7. Manatsu no Tooriame (真夏の通り雨; Midsummer Rain Shower)
8. Kouya no Ookami (荒野の狼; Wild Wolf)
9. Boukyaku (忘却; Oblivion)
10. Jinsei Saikou no Hi (人生最高の日; The Best Day of My Life)
11. Sakura Nagashi (桜流し; Flowing Cherry Blossoms)

Hanataba wo Kimi ni PV: http://www.utadahikaru.jp/release/index_j.htm


ʕ•̫͡•ʔ NEWS + PICS
The most recent interview with Hikki!

Spoiler:
Quote:
Originally Posted by DeepRiver View Post
"Because I myself, and my own presence, has its beginnings in my mother": Utada Hikaru releases her much anticipated new album "Fantome"

--

Music listeners all over Japan have been waiting. It’s fair to say that this is not simply hyperbole. Finally ending her hiatus, her 6th original Japanese album and first in 8.5 years, “Fantome” will be released on September 28th. A French word meaning “ghost” or “shadow,” the album is a dedication to her mother who passed away in 2013. It’s her first step forward into a new chapter, and we talk with her and her feelings.

--

— This is you resuming activities after roughly 6 years…

When I announced my break, a lot of people were asking “Why?,” and I didn’t really know how to answer. I wouldn’t really say inertia, but once something starts moving it’s hard to stop, and when something’s stopped it’s hard to move. There was such an immediate commotion around my debut, and from there this identity of “Utada Hikaru” grew so much. The bigger it got, like a big truck it got hard to steer, and I found myself unable to choose my own direction. I thought, “This isn’t good,” so I decided to take a break.

— And now after 8.5 years, this new album. Why the title “Fantome”?

I knew that I wanted this album to be a dedication to my deceased mother, so I was thinking about this idea of Samsara (Buddhist idea of the cycle of death and rebirth) and the word “shadow.” There was a point where anything I laid my eyes on made me see my mother, and even seeing my son’s smile made me sad. But through the process of making this album, these jumbled feelings I was having became a bit more sorted. This feeling of, “Well if I’m feeling my mother’s presence as a shadow, that’s ok. Because I myself, and my own presence, has its beginnings in my mother.” And so as I was thinking about the title, I didn’t like the idea of using English like before, and the Japanese words that came to mind were just way too heavy, so this thought of “French seems to fit” came about. I began searching for French words, and I came across the word “Fantome,” which means ghost or shadow, and I thought “This is it!”

— I heard that the reaction from listeners to the songs “Hanataba wo Kimini” and “Manatsu no Tooriame” which were released digitally in April, had a big impact on the final album?

There were a lot of listeners who heard these 2 songs and realized, “I wonder if these are about her mother?” And it wasn’t sympathy, but more empathy or this sense of the importation of feelings. I had never really encountered with my own songs, where the reaction was so different from my expectation. And both in a good and bad sense, I’d never allowed that sort of reaction to influence my next material. But the reaction to these 2 songs in particular felt so positive to me, that unlike any other albums, I Iet the reactions influence the outcome. During the final half of the recording process, it felt like I received the courage to finish writing the remaining lyrics. The majority of the lyrics from the album were written in the roughly 3 months after that. Definitely the shortest recording up until now. With that being said, the theme for “Hanataba wo Kimini” and “Manatsu no Tooriame” was very delicate so it took a while, and 8.5 years is obviously a long time (lol). And, because everyone knew this was “about my mother,” I had this strong sense of responsibility to not make an album that would paint my mother’s face in mud.

— “Hanataba wo Kimini” was a song that was written specifically for NHK’s Asadora “Toto-Neechan,” correct?

Because it’s such a national program, more than usual I wanted to make the lyrical entry point as wide as possible. Like the (Japanese groups) OFF COURSE and TULIP, and also Elton John’s “Tiny Dancer,” I imagined something light and open, and that’s what I was aiming for. Something that a lot of different listeners could apply to a lot of different situations.

— On the other hand, “Manatsu no Tooriame” has very strong, literary lyrics. I was really taken aback by the beauty of the Japanese language.

For this song, before I even got started, I had made the decision to write the lyrics only in Japanese. I wanted to pursue the significance of singing in Japanese, and the idea of singing a true Japanese “song.” It didn’t seem like a song that had room for English, and it also felt that for me at this moment, using English would just be an easy “escape.” I didn’t want to feel the buzz of the Roman, but rather the natural stain of the Japanese language. I wanted something that could feel beautiful, now and ever.

— The album as a whole, other than a few words in English and French, are completely written in Japanese.

From the very early stages of production, I very consciously wanted to go to battle with this album as “Japanese language Pop music.” The English phrases in my lyrics up until were really used when I didn’t want to directly sing about something, or I just wanted to add some color. But this time, I only wanted to line up the most crucial Japanese words, and only sing lyrics that I felt were beautiful.

— The album jacket, shot by French photographer Julien Mignot, is also very beautiful and artistic.

Thank you so much. I had actually known him before. When I had met him he was just a fledgling photographer, but when I recently went to his website, I saw he was so popular and his photos had gotten so good (lol). With all of my album jackets up until now, one of my directors would suggest photographers, but this was the first time that I personally said, “I think this person is great, what do you think?” I personally contacted him, and all of the scheduling and location scouting was decided by the two of us, and we shot it in Paris. It was the first time where I didn’t feel this sense of work or roles, but just as a normal girl, meeting someone and having them take my photos. It felt very natural, very human, and very freeing. That also ended up tying into my confidence with this album.

— The album opens with the danceable track “Michi.” After going through your mother’s death, your marriage, the birth of your son, the oath like lyrics to the song feel like a frank condensation of all of your current feelings.

Yes. Like, “I’m alright! Let’s go!” (lol). Through the process of writing the lyrics to this song, I felt like I was able to grasp the true subject of this album. I felt relieved being able to say what I wanted to say.

— It’s been 8.5 years, and compared to your previous albums, your voice and lyrics sound even stronger, gentler, and I get the sense that you’ve really grown up.

Besides “Michi,” I made the arrangements of the tracks very minimal, to make sure that my voice and words could be clearly heard. It was to the point of saying, “If you can’t hear the words then there’s no point,” and so my singing too is a bit more gentle and polite.

— I’d agree. The 2nd track, “Ore no Kanojo” is much more adult than anything you’ve done.

This is a song that I’d been messing around with since before my hiatus began. At the demo stage, half of the lyrics were kind of a joke, but I decided I wanted to keep the “Ore no Kanojo” line (lol). I think because I debuted at such a young age, before my hiatus, the thought of directly talking about sex felt taboo. When I would ever hint at something erotic, I avoided expressing it in a direct way. But this time, it kinda felt like going from PG13 to R (lol). I think I imposed on myself a type of censorship, so this time I just really freely picked words. Even simple words like “Dakiau (to embrace)” I felt free to use, and coming to terms with “death” and “life,” I finally felt able to utilize this idea of “sex,” which is such an integral part of “life.”

— On this track, similar to the album title, you use French.

Without any previous experience or any clear calculation, the French words just kinda came to me and I was a little shocked. I think I maybe wanted something very cool and also just very sensual sounding. Moreso than English, French requires a very evocative vocalization method. And also, right when I finished writing the lyrics to this song, I started thinking through the album title.

— Well let me ask some questions about some other tracks. “Ningyo” is very unusual for your songs in that it has a very rustic, acoustic sound.

After my mother had passed away, at a point where I felt like “I don’t know if I can make music anymore,” I picked up a guitar and this song kinda just happened. This was another song that I really felt this urge to write a “beautiful Japanese language song,” hence I struggled a lot with the lyrics. I hemmed and hawed for about a year, and at a point where I just didn’t think I’d be able to reach my goal and was about to give up, all of a sudden these words started pouring out of me. I think due to this sense of accomplishment, this is the song I’m most proud of. Actually, in the original paper-cut MV for “Hanataba wo Kimini,” there’s a scene where this woman who’s been living in this village as a human, suddenly goes to the sea and jumps in and returns to her original form as a mermaid, and when I saw the original storyboards, I felt as if the artist was comforting me, warmly supporting me, and more than anything, just truly understood and accepted “Hanataba wo Kimini,” and I just couldn’t stop crying. And that’s where this mermaid motif took over.

— On “Kayou no Ookami” my ears were really taken by the sighing sounds.

During the final stage of production, when I had run out of ideas, just through sheer momentum this was quickly created (lol). When I was having tea with a friend, we were discussing how we both liked Hermann Hesse, and from there I remembered his novel “Steppenwolf,” and that’s where it tied into the lyrics. I undertook it after the main vocals had been all recorded, and the entire album recording session was ended with these sighs (lol). With “Hanataba wo Kimini” as well, I felt something was missing so I added in the sighs. Actually, using these “breaths” as expression is a mini theme of the album.

— The album comes to a close with “Sakura Nagashi”

There really wasn’t anywhere but the end that this song could be placed. Up until now, I’d take a tracklist proposal from the album production team and we’d all work through it together, but this time I did it on my own. So in that sense as well, with this album, in a lot of ways, as a project leader I had to really take control. Due to my mother’s death and also coming into my own as a mother, I had to suddenly become a proper adult. Knowing that no one else could show me what road to follow, and experiencing this frantic need to keep moving forward, allowed me to grasp a sense of confidence that I’ve never had.

— The lyrics, whether direct or indirect, use the motif of your “mother.” And yet, even though these songs are so personal, the quality of these songs is so high that everyone is able to share in that music. I just have so much admiration for that.

But don’t you think this theme of a “mother” is actually one of the most “pop” motifs? I’d say that for most people, your mother or some kind of presence similar to that, becomes the basis for your own nucleus, and your world sort of forms around that. I’d say that is very very “pop.”

— Yeah when you put it that way it makes sense.

I actually think that’s why the reception to “Hanataba wo Kimini” was so strong. And I think that’s why right now, more than anytime before, I have a strong sense of trust with the listeners.

— Then finally, for you, what sort of album did “Fantome” turn out to be?

It’s an album that I was able to “accept,” and have “accepted.” I wouldn’t call it self-therapy, but listening back to “Michi,” I’ve begun to think “I’m not sad. I’m gonna be alright.” It also might be the first time that I’ve felt this sense of, “listen to this!” so strongly (lol). It’s an album that I really want people to hear. If some kind of feeling can reach the listener, and be accepted, I’d be happy. I plan on continuing to make music after this, but I really don’t think I’ll be able to make an album like this again.

Original interview in Japanese: http://trendnews.yahoo.co.jp/archives/450841/

Spoiler:

The new album's packaging and scans!
Spoiler:
Quote:
Originally Posted by ExodusUK View Post
It looks purple to me. Its probably just a retailer specific wrapper on the top.
Quote:
Originally Posted by ExodusUK View Post
You can go buy it now
Quote:
Originally Posted by ExodusUK View Post
The OBI is orange, I think that's just a retailer specific wrapper/obi on top.
Quote:
Originally Posted by DeepRiver View Post
















Credits : Quincy Sun


Hikki's promotion of her new album!
Spoiler:
Quote:
Originally Posted by DeepRiver View Post
Credits: U.Blog / Twitter


















































she's everywhere ...



【TV】
・NHK「SONGSスペシャル」(放送日:9月22日(木) 22:00~予定)


CX「Love music 特別編 宇多田ヒカル ~ライナーノーツ~」(放送日:9月30日(金) 23:30~予定)

NTV「NEWS ZERO」(放送日:10月初旬予定)





With the news of her son's birth, Utada announced that she was in the midst of recording a new album. On January 20, 2016, her website confirmed a new song for the NHK Asadora Toto Nee-chan, titled "Hanataba wo Kimi ni", going on air on April 4th. Another song was confirmed by her staff on March 4, called Manatsu no Tooriame, to be the theme of NTV's NEWS ZERO, starting from the same day as the drama. Both songs are being released as digital singles in April 15, along their music videos.

Utada's team then announced the celebration of her comeback through a webpage entitled the "NEW-TURN Project" which features a cherry blossom tree that blooms whenever someone buys her music and "#おかえりHIKKI" is used via twitter. Proceeds from the project will fund the planting of cherry blossom trees in areas affected by the 2011 Tohoku earthquake.

It was announced on August 22nd, 2013 that Utada Hikaru's mother, enka singer Fuji Keiko (real name Abe Junko) had apparently committed suicide, she was 62. She was found on the ground facing upward in front of an apartment in Shinjuku Ward, Tokyo. She was transported to the hospital, where she soon passed away. The identity of the body was confirmed by her ex-husband.

In May 24, 2014, she married the Italian bartender Francesco Calliano, and in July 3rd, 2015, she announced the birth of her first son in her personal blog.
Source: generasia

ʕ•̫͡•ʔ ABOUT HIKKI
Spoiler:
Utada Hikaru (宇多田ヒカル) is a Japanese pop singer-songwriter under the Emi Music Japan label. Utada is one of Japan's most successful artists of all time. Her debut album First Love is the #1 best selling album in Asian music history with over 7.65 million copies sold in Japan alone. In total she has sold over 38,000,000 million records in Japan, and 3 of her albums are in the Top 10 best-selling albums of all time in Japan (#1, #4, #8), making her one of the most successful and popular singers in J-pop history. Utada is bilingual as she was raised in both New York and Tokyo. She is also known in the west under her English language project name 'Utada', most famous for singing the Kingdom Hearts theme song, "Hikari / Simple And Clean" and the Kingdom Hearts II theme song, "Passion / Sanctuary". Initially, Utada's music had a heavy R&B style to it, but later her music progressed to a more pop / experimental tone. Her distinct R&B sound brought her much attention with her first release in Japan, "Automatic / time will tell". Utada was married to director Kiriya Kazuaki, who directed the movie CASSHERN, but in March 2007 the couple split.

On August 9, 2010, Utada announced plans to go on indefinite hiatus following the release of "Utada Hikaru SINGLE COLLECTION VOL.2", her second compilation album. On November 24, 2010, "Utada Hikaru SINGLE COLLECTION VOL.2" was released. It debuted atop the Oricon charts once again. It has also been anounced that Utada has severed ties with Island Def Jam, who releases her English language works. She has secured a global contract with EMI Music. Upon returning from her hiatus, all her future releases will be under the name Utada Hikaru regardless of the country of release.

Utada Hikaru has been deemed the Most Influential Japanese Artist of the past decade (2000-2010) by Japan Times.

Source: generasia.com

ʕ•̫͡•ʔ DISCOGRAPHY
Spoiler:
Albums

[1999.03.10] First Love (#1 10,056,000 copies sold)
[2001.03.28] Distance (#1 4,472,343 copies sold)
[2002.06.19] DEEP RIVER (#1 3,605,000 copies sold)
[2006.06.14] ULTRA BLUE (#1 909,113 copies sold)
[2008.03.09] HEART STATION (#1 1,011,373 copies sold)

Best Albums

[2004.03.31] Utada Hikaru SINGLE COLLECTION VOL.1 (#1 2,586,347 copies sold)
[2010.11.24] Utada Hikaru SINGLE COLLECTION VOL.2 (#1 442,589 copies sold)
[2014.12.09] Utada Hikaru SINGLE COLLECTION VOL.1+2 HD (USB) (limited to 5,000 copies)

Tribute Albums

[2014.12.09] Utada Hikaru no Uta (宇多田ヒカルのうた; Songs of Utada Hikaru) (49,942 copies sold)


Singles

[1998.12.09] Automatic / time will tell
[1999.02.17] Movin' on without you
[1999.04.28] First Love
[1999.11.10] Addicted To You
[2000.04.19] Wait & See ~Risk~ (Wait & See ~リスク~)
[2000.06.30] For You / Time Limit (For You / タイム・リミット)
[2001.02.16] Can You Keep A Secret?
[2001.07.25] FINAL DISTANCE
[2001.11.28] traveling
[2002.03.20] Hikari (光; Light)
[2002.05.09] SAKURA Drops / Letters (SAKURAドロップス / Letters)
[2003.01.29] COLORS
[2004.04.21] Dareka no Negai ga Kanau Koro (誰かの願いが叶うころ; When Someone's Wish Comes True)
[2005.09.28] Be My Last
[2005.12.14] Passion
[2006.02.22] Keep Tryin'
[2006.11.22] Boku wa Kuma (ぼくはくま; I'm a Bear)
[2007.02.28] Flavor Of Life
[2007.08.29] Beautiful World / Kiss & Cry
[2008.02.20] HEART STATION / Stay Gold
[2008.05.21] Prisoner Of Love

Digital Singles

[2006.05.31] This Is Love
[2007.05.31] Kiss & Cry
[2007.06.27] Fly Me To The Moon (In Other Words) -2007 MIX-
[2008.03.27] Fight the Blues
[2008.10.31] Eternally -Drama Mix-
[2009.06.27] Beautiful World -PLANiTb Acoustica Mix-
[2010.10.09] Hymne à l'amour ~Ai no Anthem~ (Hymne à l'amour ~愛のアンセム~) (Édith Piaf cover)
[2010.11.03] Goodbye Happiness
[2012.11.16] 桜流し (Sakura Nagashi)
[2016.04.15] Hanataba wo Kimi ni (花束を君に, A Bouquet For You)
[2016.04.15] Manatsu no Tooriame (真夏の通り雨, Midsummer Rain Shower)


DVD / VHS / Blu-ray

[1999.12.16] UTADA HIKARU SINGLE CLIP COLLECTION VOL.1 UH1
[2000.06.30] Wait & See ~Risk~ (Wait & See ~リスク~)
[2000.12.09] BOHEMIAN SUMMER 2000
[2001.09.27] UTADA HIKARU SINGLE CLIP COLLECTION VOL.2 UH2
[2001.11.28] Utada Hikaru Unplugged
[2002.01.30] traveling
[2002.09.30] UTADA HIKARU SINGLE CLIP COLLECTION+ VOL.3 UH3+
[2003.03.12] COLORS
[2003.08.29] UH Live Streaming 20 Dai wa Ikeike! (UH LIVE STREAMING 20代はイケイケ!)
[2004.07.28] Utada Hikaru in Budokan 2004 Hikaru no 5 (Utada Hikaru in Budokan 2004 ヒカルの5)
[2004.07.28] Dareka no Negai ga Kanau Koro (誰かの願いが叶うころ)
[2004.10.06] Easy Breezy (Utada)
[2006.09.27] UTADA HIKARU SINGLE CLIP COLLECTION VOL.4 UH4
[2006.12.20] UTADA UNITED 2006
[2011.04.20] WILD LIFE
[2012.12.26] Sakura Nagashi (桜流し; Flowing Cherry Blossoms)

Vinyls

[1999.02.17] Automatic / time will tell
[1999.06.30] First Love
[2000.05.10] Fly Me To The Moon
[2001.07.25] Distance
[2002.xx.xx] SAKURA Drops (Sonic Sprout Mix)
[2002.09.30] DEEP RIVER

ʕ•̫͡•ʔ US DISCOGRAPHY (as Utada)
Spoiler:
Albums

[2004.09.08] EXODUS (#1 in Japan - 1,074,393 copies sold; #160 on the US Billboard Hot 200 Albums Chart - 55,000 copies sold)
[2009.03.14] This Is The One (#3 in Japan - 242,657 copies sold; #69 on Billboard Top 200 albums ranking, #2 in the iTunes Pop Albums and #18 in the iTunes General Albums)

Compilation Albums

[2010.11.24] Utada The Best (#12 - 20,278 copies sold)

Singles

[2004.08.03] Easy Breezy
[2004.09.14] Devil Inside
[2005.06.21] Exodus '04
[2005.10.17] You Make Me Want To Be A Man
[2009.02.10] Come Back To Me
[2009.12.21] Dirty Desire

Vinyls

[2004.09.13] Devil Inside
[2005.05.17] Exodus '04
[2005.09.05] You Make Me Want To Be A Man (Promo)
[2005.09.17] You Make Me Want To Be A Man

Download Exclusives

[2004.08.03] Easy Breezy
[2004.08.03] Devil Inside (The Richard Vission Radio Edit / The Scum Frog Radio Edit mixes)
[2009.02.10] Come Back To Me
[2009.07.22] Sanctuary (Opening)
[2009.07.22] Sanctuary (Ending)
[2009.12.21] Dirty Desire

Video Releases

[2013.12.09] In The Flesh 2010 (iTunes only release)


the Previous Thread
the Official Site
Special 15th anniversary site
Official Twitter
Generasia
Official Instagram
Official YouTube
U-Turn Project

Last edited by Maemi; 1st October 2016 at 10:25 AM. Reason: adding new info!
  #2  
Old 5th September 2016, 05:24 PM
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Quote:
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The first billboards ...







Credits : U Blog / chako / tomad / twitter ...
Promotion
  #3  
Old 5th September 2016, 05:25 PM
Maemi's Avatar
Maemi Maemi is offline
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The most recent interview with Hikki!

Quote:
Originally Posted by DeepRiver View Post
"Because I myself, and my own presence, has its beginnings in my mother": Utada Hikaru releases her much anticipated new album "Fantome"

--

Music listeners all over Japan have been waiting. It’s fair to say that this is not simply hyperbole. Finally ending her hiatus, her 6th original Japanese album and first in 8.5 years, “Fantome” will be released on September 28th. A French word meaning “ghost” or “shadow,” the album is a dedication to her mother who passed away in 2013. It’s her first step forward into a new chapter, and we talk with her and her feelings.

--

— This is you resuming activities after roughly 6 years…

When I announced my break, a lot of people were asking “Why?,” and I didn’t really know how to answer. I wouldn’t really say inertia, but once something starts moving it’s hard to stop, and when something’s stopped it’s hard to move. There was such an immediate commotion around my debut, and from there this identity of “Utada Hikaru” grew so much. The bigger it got, like a big truck it got hard to steer, and I found myself unable to choose my own direction. I thought, “This isn’t good,” so I decided to take a break.

— And now after 8.5 years, this new album. Why the title “Fantome”?

I knew that I wanted this album to be a dedication to my deceased mother, so I was thinking about this idea of Samsara (Buddhist idea of the cycle of death and rebirth) and the word “shadow.” There was a point where anything I laid my eyes on made me see my mother, and even seeing my son’s smile made me sad. But through the process of making this album, these jumbled feelings I was having became a bit more sorted. This feeling of, “Well if I’m feeling my mother’s presence as a shadow, that’s ok. Because I myself, and my own presence, has its beginnings in my mother.” And so as I was thinking about the title, I didn’t like the idea of using English like before, and the Japanese words that came to mind were just way too heavy, so this thought of “French seems to fit” came about. I began searching for French words, and I came across the word “Fantome,” which means ghost or shadow, and I thought “This is it!”

— I heard that the reaction from listeners to the songs “Hanataba wo Kimini” and “Manatsu no Tooriame” which were released digitally in April, had a big impact on the final album?

There were a lot of listeners who heard these 2 songs and realized, “I wonder if these are about her mother?” And it wasn’t sympathy, but more empathy or this sense of the importation of feelings. I had never really encountered with my own songs, where the reaction was so different from my expectation. And both in a good and bad sense, I’d never allowed that sort of reaction to influence my next material. But the reaction to these 2 songs in particular felt so positive to me, that unlike any other albums, I Iet the reactions influence the outcome. During the final half of the recording process, it felt like I received the courage to finish writing the remaining lyrics. The majority of the lyrics from the album were written in the roughly 3 months after that. Definitely the shortest recording up until now. With that being said, the theme for “Hanataba wo Kimini” and “Manatsu no Tooriame” was very delicate so it took a while, and 8.5 years is obviously a long time (lol). And, because everyone knew this was “about my mother,” I had this strong sense of responsibility to not make an album that would paint my mother’s face in mud.

— “Hanataba wo Kimini” was a song that was written specifically for NHK’s Asadora “Toto-Neechan,” correct?

Because it’s such a national program, more than usual I wanted to make the lyrical entry point as wide as possible. Like the (Japanese groups) OFF COURSE and TULIP, and also Elton John’s “Tiny Dancer,” I imagined something light and open, and that’s what I was aiming for. Something that a lot of different listeners could apply to a lot of different situations.

— On the other hand, “Manatsu no Tooriame” has very strong, literary lyrics. I was really taken aback by the beauty of the Japanese language.

For this song, before I even got started, I had made the decision to write the lyrics only in Japanese. I wanted to pursue the significance of singing in Japanese, and the idea of singing a true Japanese “song.” It didn’t seem like a song that had room for English, and it also felt that for me at this moment, using English would just be an easy “escape.” I didn’t want to feel the buzz of the Roman, but rather the natural stain of the Japanese language. I wanted something that could feel beautiful, now and ever.

— The album as a whole, other than a few words in English and French, are completely written in Japanese.

From the very early stages of production, I very consciously wanted to go to battle with this album as “Japanese language Pop music.” The English phrases in my lyrics up until were really used when I didn’t want to directly sing about something, or I just wanted to add some color. But this time, I only wanted to line up the most crucial Japanese words, and only sing lyrics that I felt were beautiful.

— The album jacket, shot by French photographer Julien Mignot, is also very beautiful and artistic.

Thank you so much. I had actually known him before. When I had met him he was just a fledgling photographer, but when I recently went to his website, I saw he was so popular and his photos had gotten so good (lol). With all of my album jackets up until now, one of my directors would suggest photographers, but this was the first time that I personally said, “I think this person is great, what do you think?” I personally contacted him, and all of the scheduling and location scouting was decided by the two of us, and we shot it in Paris. It was the first time where I didn’t feel this sense of work or roles, but just as a normal girl, meeting someone and having them take my photos. It felt very natural, very human, and very freeing. That also ended up tying into my confidence with this album.

— The album opens with the danceable track “Michi.” After going through your mother’s death, your marriage, the birth of your son, the oath like lyrics to the song feel like a frank condensation of all of your current feelings.

Yes. Like, “I’m alright! Let’s go!” (lol). Through the process of writing the lyrics to this song, I felt like I was able to grasp the true subject of this album. I felt relieved being able to say what I wanted to say.

— It’s been 8.5 years, and compared to your previous albums, your voice and lyrics sound even stronger, gentler, and I get the sense that you’ve really grown up.

Besides “Michi,” I made the arrangements of the tracks very minimal, to make sure that my voice and words could be clearly heard. It was to the point of saying, “If you can’t hear the words then there’s no point,” and so my singing too is a bit more gentle and polite.

— I’d agree. The 2nd track, “Ore no Kanojo” is much more adult than anything you’ve done.

This is a song that I’d been messing around with since before my hiatus began. At the demo stage, half of the lyrics were kind of a joke, but I decided I wanted to keep the “Ore no Kanojo” line (lol). I think because I debuted at such a young age, before my hiatus, the thought of directly talking about sex felt taboo. When I would ever hint at something erotic, I avoided expressing it in a direct way. But this time, it kinda felt like going from PG13 to R (lol). I think I imposed on myself a type of censorship, so this time I just really freely picked words. Even simple words like “Dakiau (to embrace)” I felt free to use, and coming to terms with “death” and “life,” I finally felt able to utilize this idea of “sex,” which is such an integral part of “life.”

— On this track, similar to the album title, you use French.

Without any previous experience or any clear calculation, the French words just kinda came to me and I was a little shocked. I think I maybe wanted something very cool and also just very sensual sounding. Moreso than English, French requires a very evocative vocalization method. And also, right when I finished writing the lyrics to this song, I started thinking through the album title.

— Well let me ask some questions about some other tracks. “Ningyo” is very unusual for your songs in that it has a very rustic, acoustic sound.

After my mother had passed away, at a point where I felt like “I don’t know if I can make music anymore,” I picked up a guitar and this song kinda just happened. This was another song that I really felt this urge to write a “beautiful Japanese language song,” hence I struggled a lot with the lyrics. I hemmed and hawed for about a year, and at a point where I just didn’t think I’d be able to reach my goal and was about to give up, all of a sudden these words started pouring out of me. I think due to this sense of accomplishment, this is the song I’m most proud of. Actually, in the original paper-cut MV for “Hanataba wo Kimini,” there’s a scene where this woman who’s been living in this village as a human, suddenly goes to the sea and jumps in and returns to her original form as a mermaid, and when I saw the original storyboards, I felt as if the artist was comforting me, warmly supporting me, and more than anything, just truly understood and accepted “Hanataba wo Kimini,” and I just couldn’t stop crying. And that’s where this mermaid motif took over.

— On “Kayou no Ookami” my ears were really taken by the sighing sounds.

During the final stage of production, when I had run out of ideas, just through sheer momentum this was quickly created (lol). When I was having tea with a friend, we were discussing how we both liked Hermann Hesse, and from there I remembered his novel “Steppenwolf,” and that’s where it tied into the lyrics. I undertook it after the main vocals had been all recorded, and the entire album recording session was ended with these sighs (lol). With “Hanataba wo Kimini” as well, I felt something was missing so I added in the sighs. Actually, using these “breaths” as expression is a mini theme of the album.

— The album comes to a close with “Sakura Nagashi”

There really wasn’t anywhere but the end that this song could be placed. Up until now, I’d take a tracklist proposal from the album production team and we’d all work through it together, but this time I did it on my own. So in that sense as well, with this album, in a lot of ways, as a project leader I had to really take control. Due to my mother’s death and also coming into my own as a mother, I had to suddenly become a proper adult. Knowing that no one else could show me what road to follow, and experiencing this frantic need to keep moving forward, allowed me to grasp a sense of confidence that I’ve never had.

— The lyrics, whether direct or indirect, use the motif of your “mother.” And yet, even though these songs are so personal, the quality of these songs is so high that everyone is able to share in that music. I just have so much admiration for that.

But don’t you think this theme of a “mother” is actually one of the most “pop” motifs? I’d say that for most people, your mother or some kind of presence similar to that, becomes the basis for your own nucleus, and your world sort of forms around that. I’d say that is very very “pop.”

— Yeah when you put it that way it makes sense.

I actually think that’s why the reception to “Hanataba wo Kimini” was so strong. And I think that’s why right now, more than anytime before, I have a strong sense of trust with the listeners.

— Then finally, for you, what sort of album did “Fantome” turn out to be?

It’s an album that I was able to “accept,” and have “accepted.” I wouldn’t call it self-therapy, but listening back to “Michi,” I’ve begun to think “I’m not sad. I’m gonna be alright.” It also might be the first time that I’ve felt this sense of, “listen to this!” so strongly (lol). It’s an album that I really want people to hear. If some kind of feeling can reach the listener, and be accepted, I’d be happy. I plan on continuing to make music after this, but I really don’t think I’ll be able to make an album like this again.

Original interview in Japanese: http://trendnews.yahoo.co.jp/archives/450841/
  #4  
Old 5th September 2016, 06:25 PM
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Utada Hikaru Announces Her Promotional Activities for “Fantôme”

Her first television appearance since ending her hiatus will take place on September 22 on a special episode of SONGS. This will be her first appearance on TV since the documentary “Utada Hikaru ~Ima no Watashi~” aired on NHK in January 2011. On SONGS, Utada will perform “Michi”, “Hanataba wo Kimi ni”, and “Tomodachi.” In addition to the perfomances, she’ll be interviewed by Itoi Shigesato. Inoue Yosui will also appear on the show, which will be narrated by Takahata Mitsuki.

More: http://aramajapan.com/news/utada-hik...fantome/63489/
  #5  
Old 5th September 2016, 07:47 PM
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thanks for the info
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Old 5th September 2016, 07:49 PM
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I am really hoping that someone translates her NHK appearance.
I'm optimistic because it's Utada's big return so it will get a lot of attention.
Can't wait.
  #7  
Old 6th September 2016, 08:15 AM
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The episode in which "Manatsu no Tooriame" first aired has the highest ratings for NEWS ZERO this year!
  #8  
Old 7th September 2016, 12:55 AM
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I wonder which song will be the one that gets a new video? I'm guessing "Tomodachi" since she will be performing it live. I'm so excited!
  #9  
Old 7th September 2016, 05:03 AM
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I think it will be michi, because he is dancable ...
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Old 8th September 2016, 10:56 PM
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ペンチ拾った Today's find: a pair of pliers
  #11  
Old 8th September 2016, 11:09 PM
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I love her
  #12  
Old 9th September 2016, 12:46 PM
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Her Father tweeted ...

two to start with and considering the third one now. teruzane RT @lovemyselfgo how many new pv will we see?

HEAVEN !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
  #13  
Old 9th September 2016, 03:31 PM
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Quote:
Originally Posted by Maemi View Post
ペンチ拾った Today's find: a pair of pliers
Her instagram is the best hahah
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Ayu concerts I've been to:

ARENA TOUR 2015 A Cirque de Minuit ~Mayonaka no Circus~ @ Saitama Super Arena 2015.04.11/12
ARENA TOUR 2018 ~POWER of MUSIC 20th Anniversary~ @ Saitama Super Arena 2018.04.07
Tokyo Rainbow Pride @ Yoyogi Park 2018.05.06
a-nation' 2018 @ Ajinomoto Stadium 2018.08.26
LIVE TOUR -TROUBLE- 2018-2019 A @ Nakano Sunplaza 2019.02.06
ayumi hamasaki 21st anniversary -POWER of A^3- @ Saitama Super Arena 2019.04.07
  #14  
Old 9th September 2016, 04:29 PM
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She will be on Music Station next Week! This Music Station 30th Anniversary Special will be her first TV appearance post-hiatus, airing on Monday Sept 19th!
  #15  
Old 9th September 2016, 06:19 PM
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thanks so much for the info
  #16  
Old 10th September 2016, 03:14 AM
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She will be on Music Station next Week! This Music Station 30th Anniversary Special will be her first TV appearance post-hiatus, airing on Monday Sept 19th!
Are you serious?? I can't believe she'll appear on MSta!! Wow
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...
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  #17  
Old 10th September 2016, 05:14 AM
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OMGGGGGGGGG HIKKI AND AYU!!!!!

amzing interview btw. Im really pumped
  #18  
Old 10th September 2016, 09:48 AM
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Wow. Hikki and Ayu.

It's suddenly 2001. xD
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Finally, I can stop dreaming....

  #19  
Old 10th September 2016, 12:03 PM
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Utada Hikaru: Social Media’s Queen of Finding Things

With the rise of social media happening during her hiatus from the entertainment industry, legendary recording artist Utada Hikaru has used her social media accounts to give a glimpse into her mysterious life away from the spotlight.

Unlike most celebrities, Utada uses her social media accounts in a very down-to-earth sort of way, not using it to show off or really promote herself.

More: http://aramajapan.com/aramaexclusive...-things/63614/
  #20  
Old 10th September 2016, 07:45 PM
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Wow I'm late but I never thought I'd see another album.
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concerts
Judas Priest Reunited Tour 2004
Dir en grey Tour 08: The Rose Trims Again
Fall Out Boy Believers Never Die Tour Part Deux 2009
System of a Down Reunion Tour 2010
Dir en grey & Apocalyptica Co-headlining Tour 2010
Dir en grey Tour 2011 Age Quod Agis
Dir en grey Tour 2013 GHOUL
Lady Gaga ArtRave: The Artpop Ball 2014
Dir en grey TOUR15 NEVER FREE FROM THE AWAKENING
Babymetal World Tour 2016
CL HELLO BITCHES TOUR 2016
BTS: THE WINGS TOUR 2017
G-Dragon Act III: M.O.T.T.E World Tour 2017
Lady Gaga Joanne World Tour 2017

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