![]() Ryo Miyauchi: It’s easy to forget that Hatsune Miku isn’t limited to a voice of a synth pop record. As accompaniment, impeccable, but there’s not much song. Ten years on, there’s still a lot to discover with Miku.Īlfred Soto: Pure momentum and proud of it: vocals as processed as canned pork and beans competing with busy piano runs and a fierce (in context) guitar solo. It’s one of the more clever uses of a software often just serving as a substitute for an actual human voice, Yonezu treating Miku as an instrument that can be morphed into unexpected shapes. ![]() Miku’s voice programming gets pushed towards the computerized extreme, melding well with the uneasy stomp Yonezu conjures up in the music. It’s literally about life post apocalypse (happy birthday Miku, death is imminent), the guitar adding a jagged edge that makes the cheers breaking through feel all the more sarcastic. He’s become a fast-rising singer/songwriter under his own name, but “Suna no Wakusei” finds him revisiting his origins to write the aqua-haired software avatar one of the stranger birthday songs one could ask for. Some of Kenshi Yonezu’s earliest musical work was under the name Hachi, creating songs centered around Miku’s voice in all its electronic glory. Yet as the digi singer’s tenth birthday arrives, a new generation of artists whose first real foray into music creation are coming of age in Japan. Michel: A decade since arriving on store shelves, the Hatsune Miku installment of Vocaloid software has proven massively influential on the Japanese music scene, while also generating some interesting twists abroad (not to mention a surreal late-night TV appearance). We cover Hatsune for the first time in five years… Donnie Trumpet & the Social Experiment. ![]() Email (song suggestions/writer enquiries). ![]()
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January 2023
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