HearJapan recently had the opportunity to sit down with OMODAKA and conducted a length interview with Soichi Terada, the main composer of OMODAKA.

HearJapan: Thanks for meeting with us right after your show. I’d like to hear your thoughts about tonight’s performance.

OMODAKA: There was a good turn out and they all seemed very excited. When I was down by the audience a lot of them were checking out my instruments, even touching them. That made me really happy.

HearJapan: I noticed. I was a little jealous that I couldn’t go down and do the same.



OMODAKA: I don’t perform too many live shows, but when I do I usually perform in this Shinto shrine-maiden’s outfit, and when I walk down into the audience, there is always one person who tugs and pulls at my dress.



HearJapan: Really? This was the first time I attended a FER live performance, I got the impression that you were really playing to the fans.

OMODAKA: Not exactly. Perhaps, it’s because tonight’s audience was so lively, I got caught up in the moment. [laughs]

HearJapan: At any rate it was an amazing show.



HearJapan: Tonight’s show incorporated the usage of the Nintendo DS-Lite, PSP and Game Boy Color. I take it you installed some music production software?

OMODAKA: Yes. There’s a lot of free software on the Internet, we wanted a more 8-bit feel rather than a modern sound, so we searched around found some good software that could emulate the 8-bit sound.



HearJapan: You mentioned that you often perform in a Shinto shrine-maiden’s outfit. Why so?

OMODAKA: I can’t really explain it too well myself. [laughs]

HearJapan: When did you start donning that attire?

OMODAKA: Around spring time last year I was DJing at a friend’s event and I thought to myself, “I’m DJing by using a PC. From the audience’s standpoint it has to be pretty boring to watch, especially not knowing what’s going on ”, so at that point, I decided to wear this get-up to DJ. I don’t really know why, I just know that I had a deep desire to wear it. [laughs]

 HearJapan: A desire to transform appearances, perhaps?

OMODAKA: Ummm, I’m not too sure. At first, I only dressed this way when I DJed, but soon I started incorporating computers and game consoles, and desired to dress this way for those performances as well.

HearJapan: I see. So in addition to the costume, you added a mask and a wig. Isn’t it difficult to see out of that mask?

OMODAKA: Actually, it’s not that bad. Maybe I just got used to it by now.

HearJapan: I suppose so. Since you wear a disguise for your performances, has it become sort of your policy to not show your true identity?

OMODAKA: Not really. I wear all the masks, wigs and costumes because I like to be weird. [laughs]

HearJapan: I see. It suits you well.



HearJapan: Do you choose a different set list for each performance?

OMODAKA: This time’s set list was pretty much identical to last performance’s set list, due to the two shows being so close together in time. Pretty much the only difference was the first song, where I wanted to get a real “New Years” vibe going.

HearJapan: I see.

OMODAKA: Last weeks show’s first song was “Last Christmas”. I was playing at an event for Vorc Records that released a compilation called Holy 8bit Night + (click on the link and listen to track 4) with that track on it, so I really wanted to play that song. Also, this time, I added “DigDug”.

HearJapan: Oh yeah, the really old school arcade game. That takes me back.



HearJapan: You played a lot of Omodaka track this time around.

OMODAKA: Yes. Just recently I thought, “wouldn’t it be great if I put on a mask and acted like I was singing like Akiko Kanazawa?”

HearJapan: I was thinking of how great I would have been if she could have showed up, since she is such a influential figure in Japanese music. It’s too bad she couldn’t make it.

OMODAKA: Indeed. If she were able to make it, that would’ve definitely been the highlight.

HearJapan: Tell me about how you met Akiko Kanazawa.

OMODAKA: It was quite a while ago. Back around 1991, I was involved in the “Akiko Kanazawa House Mix CD” project, and that was the first time I had heard Akiko Kanazawa’s voice and was just blown away. For about a year, we did a number of performances promoting the project, but that was about it for then. About 8 or 9 years later, Kanazawa-san got in touch with me with regards to finding some people to set up a home page for her on the Internet. So, I found her someone to create a Homepage for her, and we started interacting again. At that time, I pitched an idea for a collaboration project and she decided to go along with it.

HearJapan: That’s very interesting. Every time I listen to Kanazawa-san, I get overtaken by how powerful her voice is.

OMODAKA: Yeah. There is so much power behind her voice, it’s as is she has an amplifier within her body.

HearJapan: Indeed. Regarding “Omodaka”, it fuses minyo (Japanese folk songs), enka and techno. How did you come up with that idea?

OMODAKA: I, personally, don’t regard it as that amazing of an idea, but one thing did strike me as being sort of mysterious. I noticed on TV there’s a show, “Count Down TV”, a kind of Hits Chart program, where they introduce 10 to 20 second clips of pop and rock videos, one after another, and every now and then an enka song would pop up. Enka is a totally different genre compared to pop or rock, yet it’s getting exposure on the same show, and what amazed me was there was no mixing or fusion of these styles. That was my impetus for fusing the three genres.

HearJapan: That makes sense.

OMODAKA: These different genres are being shown on the same program, so why isn’t there anyone embarking on a hybrid project. Although, Haruomi Hosono did dabble it in a little a while back.

HearJapan: The producers and audiences for both enka and pop are worlds apart. It’s pretty rare to hear anything that blends the two genres.

OMODAKA: That’s for sure. Personally, I’m not a huge fan of either enka or minyo, but Kanezawa-san is so versatile, like a rapper, no matter what the sound is, she can lay her vocals or song down on anything with ease.

HearJapan: What was that like?

OMODAKA: One minyo phrase at a time. The atmosphere was really great, it was as if we were in the middle of a recording session. Kanazawa-san has an uncanny sense for music.

HearJapan: Was Kanazawa-san ever particular or apprehensive about things because this project wasn’t enka in its original form?

OMODAKA: Rather than even thinking about such things, she just got straight down to the singing, so it was never really an issue.

HearJapan: Wow, she truly is a pro.

OMODAKA: Even in “Kokirikobushi”, on the incognito intro “Don’t You Worry ‘Bout A Thing”, Kanazawa-san all of a sudden started singing. I coordinated the entire project, but I relied heavily on Kanazawa-san’s capacity to follow this project through. Of course, I produced all the tracks and gave her simple directions on how to sing over the tracks, but Kanazawa-san is truly an amazing songstress, she can pretty much sing over anything you throw at her.

HearJapan: That is wonderful to hear. Thank you very much.



HearJapan: Concerning the production aspect, when do you usually come up with ideas to make songs?

OMODAKA: When I get the urge to make music I do it. When I wasn’t necessarily trying to, I’d make fragments, then later on I would gradually put the pieces together. This was the case with Kanazawa-san, I’d let her listen to parts, then she would just start singing along, all of a sudden. There are a lot of instances where I make music when I’m not expecting to. Usually those get a little crazy. I try to produce music in proper fashion, but sometimes the random or unexpected methods result in superior products.

HearJapan: In the past, you were involved in producing video game music, as well as remixing other artists’ work. When you work on your own music, is there a difference in emotion, as compared to when you’re working on music for a different project?

OMODAKA: When I make game music, I completely immerse myself in that universe. The same goes when I work on Omodaka.

HearJapan: Like Kyotei (boat racing)?

OMODAKA: Exactly. However, with Omodaka I feel as if I cannot restrain myself. I don’t particularly think out what exactly I need to do.

HearJapan: I got the impression that most of your work is theme-based.

OMODAKA: It’s like boat racing. I have tracks that follow that theme and many that do not. Perhaps I would’ve been better off if restricted myself a little more. For example, with game music, there was a director, so if I went slightly off track from the full gaming universe feel, I’d be told it was no good, and have to start from scratch.

HearJapan: So the song writing process is laid back?

OMODAKA: Yes it is. When I’m taking directions when making a song, I can’t really stray too far off. However, with Omodaka, if I get off track I leave it as-is. That’s the really fun part.

HearJapan: Regarding music videos, “Kokirikobushi” has got over 700,000 hits on YouTube. Was the basic idea for the video created by you?

OMODAKA: Actually that isn’t the case. I met some filmmakers back in 2000, and since then I’ve relied completely on them to direct all of the videos. This applies to “Kokirikobushi” as well. I was totally taken aback the first time they showed me the video.

HearJapan: All the feedback in the comments section of YouTube seem to be pretty positive.

OMODAKA: About this time last year I was on the recommended artist section of YouTube. Immediately after the number of views skyrocketed, it made me realize how great the influence of the recommended artist section is. At first I got tons of messages in English congratulating me, I didn’t know what to think.

HearJapan: That could be quite intimidating.

OMODAKA: Yeah, I had no idea what to think about it.

HearJapan: Do you get different directors for each video?

OMODAKA: Yes. I have directors that make several videos and some who only end up doing one. At the moment, I have 7 videos up on YouTube. “Yosawyasan”, “Kokirikobushi”, and “Kyoteizinc” are all done by different directors. The rest were directed by the same person.

HearJapan: Do you check the videos mid-process?

OMODAKA: Of course I do, but I have yet to have a director change or alter the video as a result of viewing it.

HearJapan: Out of all the Omodaka videos, do you have a favorite?

OMODAKA: I love all of them. The filmmakers I commission are real geniuses. I have complete confidence in all of them.

HearJapan: Each video certainly leaves a lasting impression.

OMODAKA: Originally, Omodaka was planned to be a project that released a video with each track. Where it stands now, I’m dressing up as a shrine-maiden and doing live gigs. [laughs] I really want to incorporate more videos in my work.

HearJapan: Is that so.

OMODAKA: If I could only combine the videos and the whole shrine-maiden motif in a decent manner.

HearJapan: So, your saying your next video will take place in a Shinto shrine? [laughs]

OMODAKA: That would be HearJapan, wouldn’t it?

HearJapan: Yes, with the notes on the Torii (See HearJapan logo). [laughs] Within all of the songs you’ve made as Omodaka, which one was the most difficult or most strenuous?

OMODAKA: There really hasn’t been any, there can be a lot of stress when making music for commercials or video games, but with Omodaka I am totally free of all restrictions, so it never really stresses me out. There may be some tracks that when I’ve finished I feel that they aren’t any good.

HearJapan: Do still want to listen to the one you don’t like?

OMODAKA: Even the bad one, after some time and a considerable arranging, can turn out to be a good song.

HearJapan: Thank you very much for your time. Lastly, would you like to give a shout out to you fans overseas, and could you elaborate a little about your upcoming schedule and such.

OMODAKA: Omodaka was originally conceived as a audio visual project, so there wasn’t a lot of consideration put into live performances; however, I will crank out some ideas so that in the near future Omodaka will be ready to embark on the live performance aspect. Fans will surely be able to see it on YouTube when it comes to fruition. Currently, Omodaka in in the middle of creating new songs. We are working hard, so that we can release them by the beginning of the new year. Up to now, it took 2 years to get a video out after the CD release, leaving a huge gap. I am trying to shorten said gap, this time round.

HearJapan: We will be looking forward to your new track.