Professor, do you know Perfume? They're a very cute Japanese techno-pop idol group. I have no particular attachment to the techno genre, but I think Perfume is a rare hit.
If the Professor could compose a song for them, it would be twice as delightful for fans. I understand there might be difficulties with their agency, but I'd be grateful if you could consider it.

I Know Perfume

I know Perfume. But I don't quite understand that style. The vocals are processed with a unique, Daft Punk-esque sound, a trendy technique for the moment...

The way Yasutaka Nakata, who produces them, creates music is quite formulaic, like singing keyboard riffs. He might have talent for creating tracks and pop melodies. Some say he's like a 'second Kyōhei Tsutsumi,' but in terms of songwriting, they're quite different.

Also, that recent queen of Recochoku, it's terrible. The tracks are awful because they're made for listening on mobile phones. The vocals are of normal quality for now, but the tracks are just dreadful. The poor sound quality is due to mobile phones.

On the other hand, there's a growing demand for high-quality sound, and a trend towards vinyl is gaining momentum in the UK and US. I see young Americans around twenty who say, 'I want to listen to this on cassette,' rather than vinyl. Downloads and vinyl are becoming commonplace. Japan? Japan is probably becoming a Galapagos.


Mr. Sakamoto, what is your relationship with traditional Japanese music (pure Japanese classical music)?
If you are interested, when did this interest begin?

Though I know it's a superb art form, I rarely have the chance to experience it.

I have connections with experts in Gagaku (ancient Japanese court music) and have listened to it occasionally since my student days.

In 2009, I composed a 'Concerto for Koto and Orchestra' commissioned by the koto player Kazue Sawai, and I strive to increase such opportunities whenever possible.

In Japan, Gagaku is likely perceived only as something to listen to during New Year's, perhaps while wearing a kimono for Hatsumode. Overseas, it's often treated as background music for Japanese restaurants, still viewed through a 'Fujiyama Geisha' lens.

Though I recognize it as a superb art form, I lack opportunities to engage with it. To judge its quality, one must listen extensively.

When I visit Europe or America, people say, 'Sakamoto's music is Japanese music,' and I used to get furious (laughs). But that's a statement based on my appearance as a Japanese person, and it shows a profound lack of knowledge.

Is it strange to call Michael Jackson's music American music?
Do we call Peter Gabriel's music British music?
Some people still don't understand, even if I explain it's the same principle.