The VOCALOID Assortment, also called VocaColle, is a biannual occasion that includes Vocaloid submissions, held each spring and autumn. Entrants compete to assert prime rankings in 5 completely different classes: “TOP100,” “Rookies,” “REMIX,” “Enso Shitemita,” and “MMD&3DCG.” The primary songs within the TOP100 and the Rookies classes are included within the “Challenge SEKAI Colourful Stage! feat. Hatsune Miku” smartphone recreation. There may be additionally a Chokaigi 2023 Theme Track contest, a VocaColle & UtaColle & OdoColle collaborative challenge, and plenty of different methods to get pleasure from Vocaloid tradition.
We interviewed Yuri Kuriyama, a Vocaloid producer and a member of Van de Store, within the days main as much as this yr’s VocaColle. He talked concerning the Vocaloid songs and producers that influenced him, the way forward for the Vocaloid scene, and extra.
We requested you to select which of the numerous Vocaloid songs have made a giant impression on you and influenced your individual work. One tune you talked about was “Soften” (2007). This was the tune that led to the formation of supercell, a bunch of creators led by Vocaloid producer ryo.
Yuri Kuriyama: A variety of the primary Vocaloid songs had actually quick vocals or had vocal melodies that hit notes human singers couldn’t attain. In different phrases, there have been elements of them that leveraged the distinctive capabilities of the software program. “Soften” was completely different. It was a considerably laid again tune. It’s an exquisite tune that might be nice even when sung by a human singer, and I believe it actually exhibits what makes ryo such a proficient producer. Hatsune Miku’s pitch within the tune can also be great. Within the early days of the scene, there have been numerous songs the place the pitch was just a little bit off, and that at all times felt awkward to me. There’s none of that in “Soften.” It feels very pure. Amongst supercell’s songs, I significantly like “Juuzoku Ningen” and “Kimi no Shiranai Monogatari.” ryo was one of many first artists to interrupt out from the Vocaloid scene to the foremost music scene.
“final Evening good Evening” (2008) is a tune from livetune, kz’s solo unit. “Matryoshka” (2010) is one in every of Hachi’s most well-known songs. Hachi later started releasing songs as Kenshi Yonezu, turning into one in every of Japan’s prime artists.
Kuriyama: With “final Evening good Evening,” kz utilized Auto-Tune to Hatsune Miku. Once I met him in particular person and requested him why he used Auto-Tune, he advised me “as a result of the pitch was bothering me,” which made numerous sense. This tune is what made me like Hatsune Miku’s voice, and what obtained me actually into the Vocaloid scene. It influenced me quite a bit, to the purpose that I believe it could be truthful to say that if this tune hadn’t existed, I wouldn’t have listened to Vocaloid music.
Hachi’s “Matoryoshka” is, for me, the platonic excellent of the form of Vocaloid tune I like. It makes use of the “MaruSa chord development” (a chord development often utilized in J-pop songs like Shiina Ringo’s “Marunouchi Sadistic”), nevertheless it’s doing one thing actually new with it.
I believe the drum line of “THE WORLD END UMBRELLA” is absolutely attention-grabbing.
You’d want 4 arms to truly play it dwell (laughs). The association is one which’s solely potential as a result of it was made on a pc. I like how the feelings of the tune come throughout so straight. “Wonderland to Histujinouta” is one other instance of how a lot of an influence Hachi has had on the Vocaloid scene.
There’s additionally “Nihonbashi Koukashita R Keikaku” (2012) by Shizen no Teki-P (Jin) and “Kimi no Taion” by Kuwagata-P.
Kuriyama: Jin’s Kagerou Challenge was simply wonderful. (The Kagerou Challenge is a mixed-media challenge with novels, comics, and anime all based mostly on Jin’s music.) Plus, not one of the songs sound alike. The chord progressions are completely different, the sounds are completely different, and so they’re all nice songs. “Nihonbashi Koukashita R Keikaku” was an exquisite fusion of a tune and an anime music video. The music movies for the Vocaloid songs that got here out earlier than that had been usually single static illustrations or very handmade-feeling animations, and I imply that in a great way. Once I noticed the “Nihonbashi Koukashita R Keikaku” music video, I believed “Wow, that’s skilled!” (laughs)
“Kimi no Taion” featured each piano and guitar. I believe it additionally used the MaruSa chord development, nevertheless it put the piano half out in entrance, and that confirmed me a brand new method. I believe that it affected my very own preparations.
You additionally listed Sasanomaly and sasakure.UK as artists from the Vocaloid producer scene that you simply appreciated.
Kuriyama: Sasanomaly was once a Vocaloid producer going by the identify Neko Boro. His songs are nice, however so is his sound manufacturing and mixing. Mixing includes a number of levels, and whenever you do it you’re serious about other ways the music shall be heard — from earphones, headphones, audio system, and so on. Sasanomaly sounds good irrespective of the way you’re listening. I like numerous his songs, however final summer season I had “recreation of life feat. Boku no Lyric no Boyomi” on repeat. He was additionally in a band referred to as Dios, and I’ve been impressed by the breadth of his musical actions.
I additionally love sasakure.UK! All people in our band (Van de Store) actually likes UK Rampage (the band headed by sasakure.UK). He’s each a Vocaloid producer and a band member, and his approach in each is nice. I’ve at all times needed do the sorts of issues Sasakure.UK is doing, and I had so many questions for him once I really met him. (laughs)
You additionally mentioned that syudou, Yoh Kamiyama, nulut, and Harumaki Gohan resonate with you.
Kuriyama: They’re lively Vocaloid producers, lively as soloists utilizing the identical identify, creating new models with completely different names, and the like. They’ve all obtained their very own completely different approaches, however what all of them share in widespread is that they write and sing their very own songs.
I’m certain they’ve various causes for that, however for me there have been undoubtedly sounds I might study whereas working with Vocaloid and sounds I might study from altering my method and surroundings, which made me understand that I can get pleasure from music at an excellent deeper stage.
I believe the broader your music horizons are, the higher. I wish to create Vocaloid songs that replicate what I’ve discovered, not simply following some template.
For models made up of a Vocaloid producer and a feminine singer, like YOASOBI or DUSTCELL, when you merely take a look at their construction, it’s the identical as a music producer and the Vocaloid software program, nevertheless it appears like they’re creating new sounds that you may’t hear in typical Vocaloid songs. If individuals achieve an appreciation for Vocaloid by studying of it by them, that might be great.
Who is aware of, sooner or later Yonezu could be like, “I’m again!” and launch one other Vocaloid tune. The Vocaloid scene is a extremely free, enjoyable scene proper now.
The variety of Vocaloid producers who’re making music for idols and bands is on the rise, and we’re seeing numerous style crossovers.
Kuriyama: Proper. Once I’m writing music for my band, I’m usually considering “I wish to make a Vocaloid tune,” and vice versa. It’s enjoyable bouncing backwards and forwards between the expressive types of individuals and the expressive types of software program. It’s like switching backwards and forwards between consuming potato chips and chocolate. (laughs)
Let’s speak a bit about your individual music. First, there’s “Limelight” (2017). You posted this beneath the artist identify “Hachiya Nanashi,” and it was your first tune to succeed in a million performs. It’s an electroswing tune, a style you’re significantly keen on.
Kuriyama: Electroswing was initially made by taking swing jazz samples or new songs based mostly in swing jazz after which transforming them with an electro really feel. Just lately, there’s been numerous pop with a swing really feel that’s created completely on the pc, however I’m extra within the former method. I like really performing the music, utilizing an previous mic to file it, after which deliberately degrading the sound high quality. I made “Limelight” that manner, by myself. In fact, I obtained assist from some musician colleagues, however I needed to tackle the challenges of songwriting and association by myself, working off solely my very own concepts. There are parts of glitch hop and dubstep, and I believe it got here out as an attention-grabbing tune.
Whenever you uploaded “Neurosis” (2019), you commented that it was your “old flame tune.” “Jitterbug” (2019) was a enjoyable tune, a brand new evolution in electroswing.
Kuriyama: I wrote “Neurosis” once I was affected by a damaged coronary heart. So far as genres go, it’s 200 BPM rock. I didn’t actually suppose too deeply about it, I simply did what I felt like once I made the tune. I used a Les Paul guitar, and it had a little bit of a wierd tone.
With “Jitterbug,” I made a decision to again to electroswing once more, based mostly on what I’d finished with “Limelight.” The rhythm was actually troublesome, and when the tune was included within the recreation “Challenge DIVA MEGA39’s,” there have been individuals complaining on Twitter that “Jitterbug” was too onerous. I’m not superb at rhythm video games, so I used to be considering “I understand how you’re feeling!” (laughs)
In March 2022, you uploaded “Pheles,” which had parts of each jazz and rock. The mysterious lyrics and feeling additionally actually stand out.
Kuriyama: I wrote the tune for “GABULI,” a masked battle manga challenge, and I believe I actually conveyed the sensation of GABULI’s world. I put distorted guitars entrance and heart, and gave the tune a swing really feel. It’s obtained a “rock-swing” groove, so I believe I used to be in a position to obtain one thing new with it. I don’t wish to repeat myself if in any respect potential. I wish to attempt new approaches, and if there’s one thing I used to be unable to do previously, I wish to overcome that hurdle.
You will have numerous songs with a dwell instrumental really feel to them, which should take numerous time and price a bit of cash.
Kuriyama: I could be a little bit of an outlier within the Vocaloid world. My buddies will inform me, “As an alternative of going into the studio for hours and paying all that cash to file dwell components, wouldn’t it’s higher to only log on and search for samples?” Or they’ll say, “You’re actually focusing and dealing on that half, however do you actually suppose listeners will even discover?” I find yourself considering, “Yeah, possibly,” and I generally really feel a bit dumb for focusing a lot on some particulars (laughs), however I’m assured that there are individuals on the market who will perceive what I’m doing.
What future do you see for the Vocaloid scene?
Kuriyama: I really feel like Vocaloid fads and “meta” templates change in two yr cycles. In fact, there are some great chords and types that by no means change. Over the previous few years, I’ve been feeling like there’s been numerous programmed melodies and EDM-like songs, and never a lot dwell instrumentation. However these days there’s been an increase within the variety of songs which might be attempting new issues, and I’m discovering songs that match my present tastes. I like the sensation proper now that everybody’s doing what they do as a result of they honestly wish to. They’re all bringing their ardour and placing out what they actually like. I really feel like we’re going to be seeing much more new issues popping out quickly.
In closing, might you share your individual expectations for VocaColle?
Kuriyama: I’ve at all times felt that Nico Nico Douga is the true house of Vocaloid. I’m completely happy that this occasion that sprang from Niconico Chokaigi remains to be being held. Nonetheless, it’s additionally come to really feel like a gateway to success for individuals who wish to make a dwelling by music, and getting all uptight and specializing in views and likes takes away from the enjoyable magic of the occasion. It takes the fun away. Individuals can get pleasure from it nonetheless they wish to, after all, however I’d prefer it to be extra of a carnival, extra of an uninhibited occasion.
I like carnivals myself, and when individuals who like Vocaloid come collectively as a result of they suppose one thing’s enjoyable or attention-grabbing, it actually makes the ambiance electrical.
—This interview by Tomoyuki Mori first appeared on Billboard Japan
