Rising J-pop music producer yonkey made his solo debut in July 2019 with a single called “Downer Love (feat. AAAMYYY).” The artist, born in 1997, was discovered through an audition by Asobisystem, the leading Japanese entertainment company that promotes the country’s distinctive “kawaii” culture and is the home of such artists as J-pop superstar Kyary Pamyu Pamyu, her longtime music producer Yasutaka Nakata, the girl group ATARASHII GAKKO!, model/rapper Manon and more.
He followed up his debut track with a single featuring Ace Hashimoto — former Odd Future member Brandun DeShay — called “Haunter.” He has been steadily expanding his range of musical activities since, like remixing Yuji Ohno’s iconic theme song for the Lupin the Third Jam project this year, and producing ATARASHII GAKKO!’s debut single “NAINAINAI” released through the American label 88rising.
The producer’s innovative tracks and songwriting chops produce universal pop songs from his basic musical style rooted in electronic music and hip-hop. His latest offering is the theme of Sunrise and Asobisystem’s new original animated series Artiswitch called “Tobu, Saihate,” featuring 21-year-old J-pop singer-songwriter Kana Adachi. In a new interview with Billboard Japan, yonkey sat down with writer Tomoyuki Mori to chat about the new single, his musical influences and more.
You’ve been branching out a lot recently.
I get asked more often now to produce or remix tracks in a variety of genres. I do research on those respective genres each time, and feel like that process is becoming my strength. I used to do a lot of electronic music-type tracks before, but with ATARASHII GAKKO!’s “NAINAINAI,” for example, I used classic hip-hop methods and assembled the beats through sampling.
So your style is expanding thanks to the variety of job offers you receive?
Right. I studied the history of hip-hop too. I watched documentaries on N.W.A and Eminem’s 8 Mile, to name a few. I also learned how breakbeats were born and did research on the synthesizers that were used in the tracks back then. Like the way 808s [Roland TR-808 drum machines] are featured in today’s trap scene. I’ve collected software that models the actual synths and drum machines from those times and use it in my own tracks. It’s like I can now make meaningful choices and combinations while being aware of the context and history of those sounds, instead of just based on how cool they sound.
Your latest track, “Tobu, Saihate” featuring Kana Adachi, was written for Artiswitch, the “fashion, art, and music”-themed original animated series set in Harajuku. My impression of the song was that it’s a pretty solid pop number.
Thank you. That’s precisely the kind of song I wanted to make. I usually often make my tracks first on a computer, but with “Tobu, Saihate” I played the piano at home and recorded it on my iPhone’s voice memo app, and took the chords and melodies that I liked to build the base for the song. A really good song is good even without the track and extra sounds. Like The Beatles’ “Let It Be,” I wanted my song to stand on its own with just the vocals and piano.
When did you learn to play the piano?
I took classical piano lessons until I was 3 or 4, but only started studying musical theory when I was around 19. I learned musical grammar and how compositions are constructed at the school I attended. I’d just been chasing the notes until then and didn’t even understand the concept of chords, but that was when I learned things like chord-scale compatibility. When I’m actually making songs, though, I put theory aside and try to be aware of what has the most emotional impact.
What can you tell us about the lyrics for “Tobu, Saihate”?
I read the script for the animated series to grasp the image before writing [the lyrics]. I laid down the number of words I’d use first and considered the lyrical connection between the “A melo” [verse] and “B melo” [bridge]. I wanted to make it so that the time and place, where the protagonist of the song was and what they were doing were all crystal-clear, so I focused on the way I used particles too. It was like assembling a puzzle.
I’ve been thinking a lot about lyric writing lately. I’m reading [the late prolific Japanese lyricist] Yu Aku’s book Sakushi Nyumon (“Introduction to Writing Lyrics”), and he also used to lay down how many words he would use and then assemble his phrases around it. I listen to his famous songs thinking how his words sound great and also have profound meaning. They’re really works of art.
Your track with the trippy electro taste coexisting with the sounds of real instruments is effective as well.
I secured the lyrics and melody first, then considered what sounds would go with them. Artiswitch is set in Harajuku, but it contains elements of fantasy. I think I was able to select sounds in my own way, with electronic music at the base and adding music box sounds and such. The drums are different from my other works. I usually choose crisper sounds, but with “Tobu, Saihate,” I sampled real drums. That was also a choice I made with the animated series’ concept in mind.
The song features the rising J-pop singer-songwriter Kana Adachi on vocals. How did the collaboration go?
I’d been listening to her music before and thought her voice would match this song, so I asked her if she’d be interested. It was my first time meeting her, but she was super friendly. The mood in the studio was serious because some people involved had come to watch, but the atmosphere became sociable thanks to her. Her voice went beyond my imagination. It was fabulous.
Of course you directed the recording, right?
Yes, I had the honor. [Laughs] I directed how I wanted Kana to sing each section of the track, and not only did she understand perfectly, but she also gave much more than what I requested. Of course, I’d done my research and asked to collaborate with her because I felt she had potential, but there were times during the recording when she went way beyond what I had in mind, and I’d be like, “Whoa, I didn’t expect that!” That’s what makes producing fun and rewarding.
Artiswitch is like a showcase of some cutting-edge J-pop artists, including Hakubi, Hakushi Hasegawa, Moe Shop, Toriena and Yukichikasaku/men. How does it feel to be a part of this lineup?
Hakushi Hasegawa and Moe Shop and I are around the same age, so I’m glad to be able to work alongside them on the same project. Each episode uses a new song by a different artist, and the animation matches the style of each track. I’ve never seen such an animated series before and it feels really new.
Many new artists with new values and styles have been popping up in Japan in recent years. Do you have any desire to launch a new scene with this generation of artists?
I really do, actually. We all want to make better music, and we DM each other on social media to comment about each other’s tracks. I think it’s great that we show respect to each other instead of retreating into ourselves. Genre doesn’t really matter, and everyone’s like, “If it’s good music, then that’s what’s important.” I personally don’t care about genres, either, and know lots of people who are like, “I do rap now, but that’s not the only thing I’m interested in.” There’s that expression, “[the music] crosses over genres,” but I don’t think there are clear lines to “cross over” in the first place, know what I mean? [Laughs] I think the fact that streaming has become ubiquitous and we all have everything at out fingertips is a major factor.
The fact that you collaborated with a mainstream pop artist like Kana Adachi goes to show how you don’t fixate on genre categorization. Did you ever listen to mainstream J-pop?
I love J-pop! GReeeeN’s “Kiseki” was really popular when I was in elementary school, and it was being played during lunch break almost every day. Everyone in our class knew it. When I went back and listened to it after properly studying music, it sounded even better. The arrangement reflects the style of the times, but the melody and lyrics are truly fabulous and it still blows me away. To me it’s one of those songs that last generations, and I want to write songs like that, too.
Lastly, tell us about some future projects. I hear you’re currently working on [yonkey’s band] Klang Ruler’s new project.
I am. It goes without saying, but writing songs for a solo project and in a band are completely different things. I’d been writing songs by myself since last year, but recently I’ve been jamming with the band members and it feels so refreshing. Phrases that I wouldn’t think of keep coming up, and the pace is quick, too. I feel confident we’re making something good, so that’s gratifying. The band will have something to announce within the year, so our fans can look forward to that.
Solo-wise, I’m currently remixing tracks by Shin Sakiura and 80KIDS. This balance of solo and band projects is probably the best way to go for me.
