EIGHT-JAM 米津玄師 特集 2024年9月1日
EIGHT-JAM 米津玄師 特集 2024年9月1日
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
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TVTranscript
00:00What is the 8th jam of the night?
00:09I'm Yonezu Kenshi.
00:11Finally, Yonezu Kenshi is here.
00:14He doesn't usually appear on TV, but what is he going to talk about?
00:23I'm kind of a layman.
00:25I learned music by myself.
00:28I think it's something like NetOnStreet on Nico Nico Douga.
00:36And what does Miyazaki Hayaoe think?
00:41I thought I was going to die.
00:44I felt like I was going to die.
00:49I felt like my life was going to end.
00:54What is the 8th jam of the night?
01:01Tonight, Yonezu Kenshi is going to answer a question from one of our members.
01:09Speaking of Yonezu Kenshi...
01:13What is the 8th jam of the night?
01:15Since the beginning of his activities in 2012...
01:35He has sent many great songs to the world.
01:41What kind of person is he?
01:44How does he make great hits?
01:47Let's find out.
01:51Nice to meet you.
01:52I'm Yonezu Kenshi.
01:56Let's get started.
01:58I've never seen you before.
02:00Nice to meet you.
02:02By the way, have you ever seen the 8th jam?
02:07I've seen it a few times.
02:12I saw a comment on Tsumeta-san's special episode.
02:18I didn't see that episode.
02:21I don't know how it went.
02:24You didn't get to see it?
02:27No, I didn't.
02:29I was a little scared.
02:32Today, we have Enon Kawatani, Bando, Sudo, Yaffle, Tsumeta-san, Kouichi Tsutaya, Mabanewa-san, Jiendo Aina, and Boundy in the studio.
02:49We've got a lot of questions for Yonezu Kenshi.
02:55We'll listen to them as long as we have time.
03:00Let's get started.
03:06I've never seen him talk.
03:08I've only seen him sing.
03:13Today, we're going to listen to all of his songs.
03:16I'm sure you'll be able to listen to all of his songs.
03:21This is amazing.
03:24It's like a special episode.
03:26I'm sure you'll be able to listen to all of his songs.
03:29How long have you been a fan of his?
03:33I've been a fan of his for about 10 years.
03:36I feel like I'm the only one who doesn't know anything about music.
03:41That's important.
03:44The guests have a deep relationship with Yonezu.
03:49Enon Kawatani, a friend of Yonezu.
03:58Yaffle, who arranges songs with Yonezu every day.
04:03Yuta Bando, a composer and modern musician.
04:10He graduated from Tokyo University of the Arts with a master's degree in composing.
04:16He is known as a young genius with an avant-garde style as a composer of modern music.
04:22He won the Akutagawa Composition Award in 2015.
04:27In addition, he has worked on anime and movie music.
04:33Yonezu has been working with Yonezu since 2019.
04:51He has written many songs such as Kaito, which Yonezu provided to Arashi.
04:56He knows Yonezu's works very well.
05:00By the way, Bando and Yaffle are friends and often go out to drink.
05:05Did you meet Yonezu?
05:07When Yonezu released the song, I asked Yonezu to invite someone who could make an orchestra.
05:19He introduced me to Yonezu.
05:22That's how I met Yonezu.
05:25I'm not a J-pop fan. I'm a modern musician.
05:29I'm not a music producer like Yaffle.
05:34At first, I wondered why it was me.
05:38But we are in the same generation.
05:40I think we have a similar taste in music.
05:43And the other one is the bassist of Saito Kosuke and Bando 10-20, Yonezu.
05:52Actually, Yonezu...
05:55Can I introduce the members?
06:00The bassist is...
06:05He has been Yonezu's support bassist for more than 10 years.
06:09He is not only a recording, but also a live member.
06:12He is one of Yonezu's team.
06:15He is also a great bassist who supports many other musicians.
06:21In 2013, I released a song called Mad Head Love in the second single.
06:26He invited me to record the song for the first time.
06:29I've never performed live before.
06:33I've been a member of the band since the first live.
06:37I have been a member of the band since the first live.
06:40I've been a member of the band since the first live.
06:45I have been a friend of Yonezu's guitar since I was in junior high school.
06:49We played together in junior high school.
06:53I've been a bassist of Saito Kosuke and Bando for 10 years.
06:58Last year, Jun Miyakawa joined the band for the first time.
07:03I think I know him well.
07:07How do you see the current situation?
07:09It's totally different from 10 years ago.
07:13When I first met him, I thought he was different from other people.
07:17I thought he was a genius.
07:21Did you feel that?
07:23I felt that from the first time I met him.
07:27I thought he would be popular in the world.
07:31I thought he would be popular in the world.
07:39Yonezu released his new album, Lost Corner, about 4 years ago.
07:46It's a big hit with a large volume of all 20 songs, including the big hit song.
07:52First of all, here are some of the famous songs recorded.
08:15I like this song.
08:23I like this song.
08:45I like this song.
08:49I like this song.
09:02In addition, this album includes not only the hit songs, but also the new songs of the old songs.
09:10It's amazing that he put so many new songs in the album.
09:17It must have been very difficult.
09:20Yes, when I was working on the album, I had a hard time.
09:26First of all, we asked him about the new album.
09:31The new album is a total of 20 songs.
09:35The new songs are 9 songs.
09:39I thought there were a lot of new songs.
09:43Why did you decide to include these new songs?
09:48The new songs I released were 11 songs.
09:53If I keep doing this, if I keep releasing the same number of songs every year, I'll end up with two or three new songs.
10:00Of course, that's fine.
10:03When I was a kid, I released my favorite musicians' albums.
10:07There were a lot of songs I hadn't heard yet.
10:09It was really fun and exciting to get it all at once.
10:17At first, I wanted to release at least half of the new songs.
10:24So I had no choice but to increase the number of songs like a fool.
10:32That's why there are so many new songs.
10:37I made the songs for the album by myself.
10:41This time, it's not a comeback.
10:46When I was a kid, I used to record by myself on a multi-track recorder.
10:54I've been thinking about what to do by myself.
10:58It's not a so-called tie-up song where I do everything by myself.
11:09Wherever I go, it's all up to me.
11:14I've only been able to do that kind of experience lately with albums.
11:20So I'm going to enjoy it as much as I can with this album.
11:27And there's a song in this album that has a particularly strong sense of band.
11:38The theme of the movie directed by Hayao Miyazaki is Earthquake.
11:48It's been a huge influence on Studio Ghibli's work since I was a kid.
11:55It's based on the image of Miyazaki.
12:00Director Miyazaki listened to Paprika, which gave him an offer to write a song.
12:08Life is amazing.
12:12The band who co-wrote this song...
12:16The production of Earthquake was very difficult.
12:19I spent four days in the studio with Yonezu-kun.
12:25After a lot of trial and error, I finally recorded it on the piano at my parents' house.
12:34Yonezu's team came to my parents' house.
12:39It was right after New Year's Day, so it felt like a gathering of relatives.
12:45It was very strange.
12:56Music
13:11It's Earthquake, which is included in the new album.
13:14When I had a meeting with Mr. Bando this time,
13:19the production was very difficult.
13:22I heard that you spent about 4 days in the training camp.
13:26Yes, I did.
13:28Really?
13:30Well...
13:32It was really hard to make that song.
13:38I first heard about it 4 years ago.
13:444 years?
13:46During that time, I kept thinking about what I should do.
13:54I didn't know what to do.
14:00I didn't know what was right.
14:04You were a fan of Ghibli.
14:06He received the offer 4 years before the movie was released.
14:10Yonezu received 5 copies of the script at first.
14:14He read it over and over again.
14:18He repeated all kinds of trial and error.
14:23I was locked up in a prison.
14:27When I was in that situation,
14:31I thought something would change.
14:34I spent about 4 or 5 days in a small room
14:39thinking about what I should do.
14:42I brought the script to Bando.
14:46He played it for me on the piano.
14:52Was it in the same studio?
14:54Yes. We weren't together for a long time.
14:56He came to see me once in a while.
14:59I felt sorry that I was locked up in a prison.
15:05I heard that you recorded Bando's piano at home.
15:12Why did you do that?
15:15About a year before I started recording,
15:21I recorded a demo in a proper studio.
15:25It was a demo, so I recorded it on the piano I had prepared.
15:33I didn't decide how to set up the microphone.
15:38There was a lot of noise when I stepped on the pedal.
15:48I really liked that.
15:52When I was about to record the song,
15:56I tried to set up the microphone and the piano.
16:03But it wasn't good enough.
16:07It was too clean.
16:11That's how I felt.
16:15So I tried various pianos.
16:19I put cloth on the strings.
16:23I tried to change the sound with the thickness of the cloth.
16:28That's amazing.
16:31I thought it would be good to take off the cloth.
16:34It was a lot of fun.
16:37As a result of doing various things,
16:40Bando told me that he had a piano at home.
16:44I've been playing the piano since I was a kid.
16:48I didn't treat it preciously.
16:52I thought I might break it.
16:56So I decided to go and record it.
17:00It was the best choice.
17:03That's amazing.
17:05The sound of the chair creaking was so good.
17:12It was a good atmosphere.
17:17The sound of the chair creaking was so good.
17:21The sound of the chair creaking was so good.
17:46The sound of the chair creaking was so good.
17:49The sound of the chair creaking was so good.
17:52The sound of the chair creaking was so good.
17:55What about Hayao Miyazaki, whom Yonezu has loved for many years?
18:01This may be the end of my life.
18:05What should I do?
18:07Let's drink for now.
18:10What about Hayao Miyazaki, who has loved Ghibli films since childhood
18:15and has influenced his own creative activities and mentality?
18:22When Bando was a junior high school student,
18:26Yonezu told Director Miyazaki that he had to ask him to give it to him.
18:33When Bando was a junior high school student,
18:38Yonezu told Director Miyazaki that he had to ask him to give it to him.
18:43I thought I was going to die.
18:46I thought I was going to die.
18:51I thought this was the end of my life.
18:57It was very difficult to make a song for Ghibli.
19:02I heard that Yonezu was going to make a song for Ghibli.
19:06I heard that Yonezu was going to make a song for Ghibli.
19:09Yonezu said that there was a lot of pressure on him.
19:13Yonezu said that there was a lot of pressure on him.
19:17I remember that he was like an arsinometer since he was a child.
19:23But I was like, I can't do it, I can't do it, I can't make a song, I can't make a song.
19:28But it seemed too hard, so I said, let's go into the studio once.
19:33If we don't do that, we won't be able to decide, so let's go in for now.
19:37You pulled it out?
19:38I pulled it out, and the deadline was here, so no matter what I did, it was up to here.
19:43I was like, it doesn't matter if it's just one phrase, so let's make it into a form.
19:46You didn't get a single phrase?
19:47Yeah, I couldn't do anything.
19:49Maybe I could have done it, but I didn't listen to it.
19:53So I said, let's go in for now.
19:55We started in the evening of the summer and finished around 5 or 6 in the morning.
20:02We did it for about four days in a row.
20:08We managed to make it into a form at the end of August.
20:13Just barely?
20:14Just barely.
20:15I had to get Hayao to listen to it.
20:20I didn't feel alive.
20:22You were looking forward to the result.
20:24I was excited.
20:26When I released it, he really liked it.
20:30He told me about it, and I was like, oh, that's great.
20:37You're a great contributor to Kage.
20:39In that sense, Bando-san.
20:41I was like, is it okay for me to do it?
20:44For Yonezu, what does Bando mean to him,
20:48who has worked with him on many works in recent years?
20:53I want to hear it.
20:55I really feel like he's a music titan.
20:59He's a person who has been studying music academically.
21:08Compared to that, I'm more of a layman.
21:12I learned music by myself.
21:15I think it's like going on the internet
21:18with Nico Nico Douga.
21:22Before his activities as Yonezu,
21:24he mainly worked on the internet as Vocalo P.
21:30In that sense, he's a person who has lived
21:35only by feeling and feeling.
21:38It's very stimulating that the quality is completely different.
21:45Even when we make music together,
21:49the reflexes and angles of each request
21:56make me feel something unusual.
22:01I think this is something I can do.
22:05I really respect him.
22:08Bando-san, you said you didn't know why you were being called.
22:14I did.
22:16He's a strange person, isn't he?
22:22He's a very decent person.
22:25He always gives me a hand.
22:27He's a very decent person.
22:30He has a very unique personality,
22:33and that's reflected in his music.
22:36I like that kind of person.
22:39You mentioned Bando-san's personality.
22:42We don't think he's a strange person.
22:45We don't know him at all.
22:48When I drank with Bando-san,
22:54he gave me a lot of compliments.
22:57He introduced me to Bando-san.
23:00I remember that very well.
23:03I don't think Bando-san is a strange person.
23:08Bando-san is amazing.
23:11Bando-san is not a strange person.
23:14I don't want people to call me Bando-san.
23:18That's what I think!
23:23If you say that, we'll change our way of doing things.
23:27We'll change our way of doing things.
23:29We've been doing this for a long time.
23:31That's terrible.
23:34That's enough for today.
23:36We'll be able to mature.
23:39I don't want to cry.
23:42This is a song that shows how amazing Yonezu is.
23:48When I first heard it, I couldn't close my mouth.
23:522019 Release, Yonezu Umino
24:11It's a reverse vocal.
24:18When I was camping on my day off,
24:21I happened to hear this song for the first time in the wild.
24:25I couldn't close my mouth and say,
24:27this is an amazing song.
24:30The warmth of the live instrument by the orchestra
24:33and the unique floating feeling of being born with the fusion of digital choir.
24:39The chord progression is consistent all the time,
24:42but it's really amazing to be able to make it so dramatic
24:46Digital choir, which STONE paid attention to,
24:49is a technique that reproduces a single song like a sacred fire.
24:53For example,
24:58If you turn this vocal into a digital choir,
25:06Actually, this was born in the mid-2010s overseas.
25:10It was the latest technology at the time to create a multidimensional chorus.
25:15It was said that the ghost of the sea was the first to spread it in Japan.
25:20The antenna is amazing.
25:40I've never heard of Yonezu's songs,
25:43but I feel nostalgic.
25:46I learned that it was because of this new technique.
25:50Digital choir is a vocal synthesizer.
25:54It's a machine, so it's a little cold.
25:57It's a kind of artificially created vocal synthesizer.
26:01It's a kind of artificial synthesizer.
26:04It's a kind of artificial synthesizer.
26:07It's a kind of artificial synthesizer.
26:10It's a kind of artificial synthesizer.
26:13It's a combination of the so-called universal warmth of the orchestra.
26:18It's a combination of the so-called universal warmth of the orchestra.
26:21I was wondering how I could make such a song.
26:26So how does Yonezu compose his songs?
26:30What kind of instrument does he use?
26:34It depends on the song.
26:37I usually compose songs by playing the guitar.
26:45I've been playing the piano recently.
26:50I've been making songs by playing the guitar.
26:55I've been making songs by playing the guitar.
26:58I don't think about what to do with the song.
27:02I start thinking about the song from the intro or the piano phrase.
27:09That's how I made the song Lady.
27:33When I first heard about the sea ghost, I heard it while I was camping.
27:39When I first heard about the sea ghost, I heard it while I was camping.
27:44I was talking about the sea ghost.
27:48It's a digital choir, and it's a sense of balance.
27:53It's a digital choir, and it's a sense of balance.
27:56I was really curious about how this was made.
27:59When I first made the demo, it was a lot simpler than what I had at the time.
28:08I had a digital choir, a bass, a rhythm and a piano.
28:17It was a very minimal arrangement.
28:23But when I thought I wanted more,
28:28I thought I'd find someone to ask.
28:33So I asked Bando.
28:37And when he came back, he was so great.
28:42I knew right away that he was a great musician.
28:50I thought that if I made music with him,
28:54I would be able to reach a place that I hadn't seen before.
29:02That's how I came up with this song.
29:07I think Yonezu-kun is a digital musician.
29:11I thought I'd put together Bando's classical style
29:16with the minimalism of the digital choir.
29:23And when it was done, I was like,
29:25Wow, I did it!
29:27I was so excited.
29:31Like I said earlier,
29:34it's new, but it has a nostalgic smell.
29:38That's what I wanted to do.
29:41On the other hand,
29:43it seems that the production process of the song
29:46was different from that of Bando.
29:50At first, we had a detailed discussion
29:53about what kind of song we wanted to make.
29:59But I was really tired.
30:02There were so many deadlines,
30:04I didn't want to think about anything.
30:06What kind of tension did you get?
30:08At that time, you were really into it.
30:10After the zoom, I was like,
30:12I'm tired of this.
30:14I was able to do something with this tired feeling.
30:18That's the kind of mindset you had.
30:20That's the kind of mindset I had.
30:23I thought it would be nice to have this kind of feeling.
30:26When I sent it,
30:28it came back in a different version without any comments.
30:31You changed the arrangement.
30:33It's like a scratch.
30:35When I did that, I was able to do it.
30:38It's amazing.
30:40I thought it was an impulsive song.
30:43I was really tired.
30:45There were so many deadlines.
30:48I think it was a song that
30:51digested this emotion.
30:53I think it was that kind of feeling.
31:04Every day, every day, every day, every day,
31:08I wonder if I can still love
31:13something that doesn't change every day.
31:17You know that feeling, right?
31:19I know.
31:20It's because I'm tired.
31:22It's because I'm tired.
31:24It's like this.
31:26You're all close, so you think like that.
31:28We're touching the song without looking at it.
31:32It's like a genius here.
31:34I'm always depressed.
31:37I'm always depressed.
31:38I can't do it.
31:39What should I do?
31:40Let's just drink for now.
31:42Let's just drink for now.
31:44That's the same as us.
31:46That's the same as us.
31:48It's stressful.
31:49It's amazing.
31:51I want to fix it to the point where I can't help it.
31:56I felt that I couldn't stop the brush
32:00until the last minute.
32:02I felt that I couldn't stop the brush
32:04until the last minute.
32:05Yonezu's way of doing things is always
32:07to the last minute.
32:08He's doing it to the last minute,
32:10but that's what happens when he drinks.
32:12That's right.
32:13That's right.
32:14That's right.
32:15Even at a drinking party,
32:17I think there might be a hint to the song.
32:20I think there might be a hint to the song.
32:21Sensibly.
32:22I have a habit of trying to pick up a lot of things.
32:25How many media does he have?
32:27I have a habit of trying to pick up a lot of things.
32:29I listened to a song with my earphones
32:32on while drinking on the balcony by my friend's house.
32:35I listened to a song while drinking on the balcony by my friend's house.
32:38When I listened to it,
32:39my friend told me that it wasn't good.
32:41You didn't like it?
32:42Yes, he said,
32:43I am not pretty at all.
32:44I was frustrated,
32:45so I said,
32:46I made a good song.
32:47I took it with me,
32:48and I played it.
32:50Then he said,
32:51that's great,
32:52but you should put chorus.
32:53But it's a demo, so I just said I didn't put in the chorus.
32:58I get it.
33:00I get it, but there's no chorus. It's just a demo.
33:03But I think it's definitely better to put in the chorus.
33:05If you don't put it in, you'll get into a fight.
33:11That happens a lot.
33:14They're close.
33:15They're all different.
33:18This is a song that shows the greatness of Yonezu, chosen by a professional.
33:23The moment I heard the A melody, I was convinced it was a big hit.
33:28This song was also a social legend in 2018.
33:53When I first heard Lemon, I knew that this song would be a big hit the moment I heard the A melody.
34:07When making a song, you can make a song with a strong chorus to some extent.
34:14And I think you can make an A melody that has an impact like a chorus if you work hard.
34:21But there are really few people who can write an A melody that's like an A melody.
34:51And Yaffle pays attention to the sound that remains in his ears during the song.
35:05I'm sure I'm curious.
35:16What's that?
35:21The sound that remains in your ears is a sound that even people who are not familiar with music will remember.
35:30It's a technique called vocal chop that cuts vocal material used in EDM and builds a new melody.
35:41It's a technique that comes from a genre that has nothing to do with J-pop's ballad.
35:48And the technique that remains in your ears more effectively by putting it in the moment you break it.
35:55I'm curious.
35:57That's the fun of Yonezu.
36:00The more I wish from the bottom of my heart, you are still my light.
36:10I don't think it's necessary.
36:13It's a sound that can be established even if you can't do it.
36:17I think it's a very symbolic song because it was used in a place where it wasn't the original.
36:27That's great.
36:28What about you, Yonezu?
36:31Before the release of Lemon, I thought I could do it if I had a song.
36:36When I was drinking, I thought I could make a great song.
36:41I was very confident in that area.
36:45I thought this would be a great song.
36:49When I heard the A melody, I thought I could do it.
36:53Even if I didn't listen to the chorus, I thought it would be a great song.
36:58Of course, the chorus is strong, but the sadness of that day is also strong.
37:03People who imitate things often imitate Yume na Araba.
37:08It's a very symbolic A melody.
37:11It's the same with Yumin.
37:13It's a very A melody that remains in my head.
37:16I want to sing the chorus because there is an A melody.
37:19When I heard it in Lemon, I thought it was the second Yumin.
37:26I thought I could definitely do it.
37:28Yonezu's true strength has been proven.
37:32The first single after Lemon's big hit.
37:41This is also a good song.
37:58The strength of Yonezu Kenshi is that he does not make Lemon 2, but releases a song with a completely different taste.
38:15The strength of Yonezu Kenshi is that he can digest a track that can be danced to that extent with a variety of voice samples and simple rhythm.
38:24There are many lines such as choosing the words of the lyrics, not wanting to do it, and singing with a fist.
38:33It's a song full of the fun of Yonezu Sound that other people can't imitate.
38:54Yonezu Kenshi's song is a song that can be danced to.
39:06If Lemon is a big hit, the next song will be a ballad, not Lemon 2.
39:16I think I have to make a song that I can dance to.
39:25I thought it would be great if I could make a song that I could dance to.
39:38You have a vision.
39:40You have a vision.
39:43So I asked him a lot about Lemon and Flamingo.
39:49First of all, from Yaffle.
39:51Why did you put in a vocal chop? Did it suddenly come to your mind?
39:56This is a very interesting question.
39:59Well, I don't know why.
40:02It's a very difficult question.
40:08I like things that are not functional.
40:13I like things that are very meaningless.
40:16I like things that don't exist.
40:19When I listen to my own music, there are some parts that I can't say are functional.
40:27So I think it's better to divide the music into parts that make sense.
40:36I think it's better to divide the music into parts that make sense.
40:44It's a very logical story, so it may not be a proper explanation.
40:50I like things that are not functional.
40:52I like things that are not functional.
40:55I like things that are not functional.
40:58I like things that make me want to put them somewhere.
41:04When I make a song, I feel that a lot.
41:10And from Lemon's big hit,
41:15I asked him why he released Flamingo, which has a completely different taste.
41:22I asked him why he released Flamingo, which has a completely different taste.
41:28He said it was amazing.
41:32Why did you release a song like Flamingo?
41:37As far as I'm concerned, not just Lemon,
41:42I don't want people to think I'm that kind of person.
41:47I don't want people to think I'm that kind of person.
41:53I've always been like that.
41:58I think I can balance the music as I like.
42:04I think I can balance the music as I like.
42:11I think I can balance the music as I like.
42:16I don't think I can make Lemon 2.
42:21Rather than looking at it like that,
42:24I think it's easier to do what I want to do and what I think is fun.
42:33I think it's easier to do what I want to do and what I think is fun.
42:37You released a completely different thing.
42:40I've been active for a while,
42:42and I've been able to get a sense of who I am.
42:48and I've been able to get a sense of who I am.
42:56I've been able to feel a little uncomfortable.
43:09I've been able to feel a little uncomfortable.
43:16I feel like I'm repeating the idea that I'm leaving it as much as I can.
43:23I feel like I'm repeating the idea that I'm leaving it as much as I can.
43:35I think we've been able to get away from what we had in mind, and we've been able to go back to what we had in mind.
43:46I've been saying this in the studio for a long time.
43:50The next thing is the new thing.
43:53If you add up the number of songs, you end up doing a lot of things.
43:59I feel like I'm having fun while I'm lost.
44:03I have a question for Tsumeto.
44:05I think Daiki is going to do it again.
44:12I don't know. He's not a weird person.
44:15This week on Tebasa TVer.
44:18When it was over, Daiki's fingers were covered in blood.
44:21Next week is the second half of Yonezu's music life.
44:26It was an ideal band, but I started to realize that I wasn't good at dancing.
44:31I'm not good at working together.
44:34I have a question for Tsumeto.
44:37I think Daiki is going to do it again.
44:40I remember saying the same thing.