このサイトを検索

BRUSH UP MEDIAがお勧めする最新音楽イベントをピックアップ! 今回ご紹介するのは巨大な岩壁を背に開催するインディペンデント音楽フェスティバル「岩壁音楽祭」!! その「岩壁音楽祭」がコロナ禍に対峙するためのニューノーマルな音楽イベント “DRIVE IN AMBIENT” が現在始動中です! “DRIVE IN AMBIENT”とはソーシャルディスタンスを確保すべく、参加者全員が車で参加するドライブイン形式を取った野外イベント。 オーディエンスは開け放った荷台で瞑想しながらアンビエント・ミュージックに没入することができます。 去る6/6(土)には山形県・唐松観音にて完全招待制のクローズドな初回イベントを実施されました。 初回は仙台を拠点に活動するアーティスト・Nami Satoの1時間にわたるライブセットが披露されました。 初回のアフタームービーが現在公開中となっています! 気になる次回の“DRIVE IN AMBIENT” は7月後半ごろの開催を予定しております。 開催地・出演者・詳細は追って岩壁音楽祭のSNS等から随時発表! 今後も継続して開催される“DRIVE IN AMBIENT” 続報を待ちましょう！ 岩壁音楽祭2020 【日時】2020年10月31日(土) - 11月1日(日) 【場所】瓜割石庭公園（山形県東置賜郡高畠町安久津） 【出演者】 DAY1（10/31） KID FRESINO、Seiho [DJ set]、Mars89、imdkm、maco marets他 DAY2（11/1） 小袋成彬 [DJ set]、tomad、stei 他 Twitter: https://twitter.com/GampekiMusicFes Instagram: https://www.instagram.com/gampekimusicfes/ HP: https://www.gampeki.com/

毎週火曜日22:00〜23:00 "BRUSH UP! Official"から Youtube live・Twitter 同時生放送！🌈✨ トーク&ライブネット音楽番組😎🎤🎸 『STUDIO LIVE(スタジオライブ)』 毎週ゲストをお迎えして、トークを繰り広げた後 素敵なライブを披露して頂きますー！ 3月24日のゲストアーティストは、 どんなことにもチャレンジしていくマルチアーティスト 若林美樹 (わかばやし みき)さん！ 奈良県出身、橿原市観光PR大使。 作詞・作曲・歌唱・絵画制作のアーティスト活動を専門に、そのほかラジオパーソナリティ・テレビ番組出演なども行う。 ラグビー応援ソングやウェディングソング、バラードなども数多く手掛け、日常の光景と共に思い返される音楽を目指す。 あたたかな想いを抱きながら、人と人の繋がりを大切に全国へ活動展開中! Instagram🌈https://instagram.com/mikiwakuishinbo?igshid=1pq8lzapch2hd Twitter🐣🌎https://twitter.com/MikiWakabayashi Youtube👀🔴 https://www.youtube.com/channel/UCkQnKPBG0okqD2BwtFBbC0Q 【🎸😎ライブ情報😎🎸】

今回は名古屋を中心に活動している「phonon」の無料ワンマンが3月11日、大阪福島2nd LINEにて行われた。「ゼロと白」50万回再生記念と銘打つだけあり、今までも勢力的に活動を続けてきた彼ら。30万回再生ではアコースティック音源の配布も行っており、今回の50万回再生では無料ワンマンという運びである。無料ワンマンの1発目が大阪、2発目は東京と躍進を続ける。 1曲目はタイトルにもある「ゼロと白」。シルエットが浮き上がるようなライトを背に登場した。2曲続けて疾走感のある楽曲を披露！序盤から一気に会場の熱は上がり歓声が上がった！ 目潰しのライトで登場するも、歓声があがる。 3曲目はカントリーでポップな楽曲「王子の狐」抑揚のはっきりした(Vo.)イマイズミヒカルの歌声が響き渡る。サビではあちこちで手が上がり口ずさむ声が聞こえた。 MCでは今回のワンマンへの思いについて熱く語った。常に挑戦する姿勢を崩さない反面には苦労もあったようだが今回のライブに開始前からたくさんの人でフロアは埋ったこと、駆けつけた人への感謝を述べた。「ゼロと白」30万回再生記念の際も、アコースティック音源の配布を行うなどファンへの感謝を形に残してきた彼ら。4曲目で新曲の「幽霊の日」を披露した。 新曲から軽快に楽曲が続く。6曲目「ひいろ」は暖色のライトに照らされイントロからのキャッチーなメロディ、日常を描くような歌詞に会場は聞き入った。7曲目「唄うたいのニコラ」ではコールアンドレスポンス、観客との距離感はなくなっていた。MCをはさみ「錆に花」、「夕闇日記」とバラード曲が続き、観客は深々と聞き入り感動に浸る。ラストは「スイングバイ」という疾走感のある楽曲で熱を一気に上げてステージを後にした。そこからアンコールが2回行われた。本当の最後の曲は「ゼロと白」。2回目のアンコールは想定外だったようで、図らずも最初に披露しイベントタイトルの「ゼロと白」でこの日の幕を閉じた.。(以下画像) <セットリスト> 1.ゼロと白 2.Lir 3.王子の狐 4.幽霊の日(新曲) 5.箱庭望遠鏡 6.ひいろ 7.唄うたいのニコラ 8.錆に花 9.夕闇日記 10.スイングバイ en.メランコリア en2.ゼロと白 ENJOY MUSIC !! CHECK THE CD !! DOWNLOAD !! GET THE TICKET !!

BRUSH UP FESTIVAL出演アーティストをご紹介! 今回はsankaraです。 ラッパーのToss とヴォーカルRyoによるグループ。 ともに幼少時代は海外で過ごし、本場のHIP-HOPやR&Bを聴いて育ったふたり。高校時代に出会い、音楽で意気投合し、のちにsankaraを結成します。 洋邦問わず様々な音楽、カルチャーを取り入れた豊かな彼らの音楽性に注目してください♪ シンプルでクールなトラックですがリリックが伝えるのは同じように感じてしまう毎日を洗い流して新しい自分、新しい１日を迎え入れようということの大切さを感じさせてくれます。 変則的なリズムと独特のグルーブが心地よい曲です。 「一息つきたい時はいったん足を止めればいい」というテーマが示すようにゆったりとしたプライベートな時間のBGMにちょうど良いですね。曲の展開のかっこよさも必聴です♪ 最新作「SOP POP」から女優の内田理央さんが出演するMVは公開中! 春が来て、新生活を迎える人たちにエールを送る楽曲になっています。 sankaraのMVはより作品を理解できる字幕もあり、音と映像の両方を楽しんで欲しいです。 また、スポーツウェアブランドとのコラボレーションやTossさんのソロ活動など活動の幅が広がっているなか彼らの新たな展開は見逃せません! これからもsankaraのボーダレスな活躍を期待します! Official Site:https://sankara-itf.com

2017年3月26日、心斎橋FANJにて　ゼノ× 「少女Ａの考察、」×the brownies 三組共同企画「帰依せず」が行われた。今回のライブイベントに出演する面々はそれぞれに尖った一面を持ち、オルタナティブな感触を受けた。天候は雨にもかかわらず序盤から、フロアは半分以上埋まっている状態で今回のイベントはスタートした。 トップバッターは「The Medicine」。 叫ぶような(Vo.)谷口雅也の声がライブの開始間もなく会場に響く。ストロボライトで彼らの躍動感あるパフォーマンスが生える。彼らは2015年から活動するまさに「オルタナティブ」ロックバンドである。現在は去年リリースの1st ep 「Trip」を会場にて販売、MVも公開中である。 続いて「草の中にいる。」の登場である。変拍子で多彩に繰り広げられる楽曲が多い印象であった。 独特のメロディー感、耳につくコード進行、躍動感のあるパフォーマンスが観客を呆然と魅了した！早くも観客の体はリズムに揺れた。去年12月にDrのメンバーチェンジがあるも、勢力的に活動を続けている。 中盤戦、3番手は「「少女Aの考察、」」。彼らも独特の空気感と、尖ったパフォーマンスを持ったバンドである。 2月18日、同じく心斎橋FANJにて行われた「克己心～平野鷹朋百五十分～」の際にも告知していた本イベント。語るようなオープニングにフロアは耳を傾ける。メリハリのあるドラムの変拍子に楽器隊がのり、フロアは心地よい空間となる。パフォーマンスも激しく鋭く観客を魅了した！ トリ前の「ゼノ」の登場時にはすでにフロアは満員となった！ 切れ味のあるギターリフ、歌謡チックな要素も盛り込んだクセのあるメロディーラインが観客を引き込む。さらに彼らの躍動感あるパフォーマンスは、見る人を釘付けにした。 (Ba.)マツイミナが今ライブでゼノ最後のステージとなるが、新たにサポートドラム 平野鷹朋を迎えての新体制となり、今後の活動にも期待が高まる。 この日のトリ「the brownies」。十分に温まったフロアは彼らの楽曲に体を揺らし、透明感のある(Vo.)飯野大介の声に耳を傾けた。一見ポップな楽曲の印象をうけるも、メロディやフレーズは個性的な動きを見せる。本イベントの前日には1stシングル”君に花束を”より「造花の蜜に溶けて」のMVが公開されており、彼らの作る楽曲の世界観をさらに垣間見ることができる。これからの活躍にも目が離せない。 ENJOY MUSIC !! CHECK THE CD !! DOWNLOAD !! GET THE TICKET !!

On the Brush Up Studio Live by mahocast, we interviewed to paranoid void about how they got together, how they create songs, and so on. In that video, we must have cut and summarized the interview for simplifying. But in this page, we have lot of space and we can put full-version of the interview. We hope you enjoy and if you like this kind of stuff, please subscribe our new YouTube channel "BRUSH NINE" BRUSH NINE https://www.youtube.com/channel/UCsgsnxRGiYQwC9f8ByXGs-g Q: How would you describe Paranoid Void’s music? A: Paranoid Void is mainly instrumental focused and, well sometimes we sing as well but not always, and we use a lot of strange rhythms or polyrhythms. To start with, from a genre perspective, we’re often referred to as math rock or post-rock. I mean, it’s not like we were aiming for that or anything, it just so happens that we’ve ended up being seen as such. Q: Are you particular about being a three-piece band? A: We don’t honestly have any real fixation with being a three-piece, it’s just that with what the three of us are doing right now, we don’t think we’d be able to fit anyone else in. So I guess in that sense we don’t think we’ll change from being a three-piece. Q: What kinds of music have you listened to most or has been most important for you? YU-KI? A: Oh, me? For me, when I was in middle school I guess listened to a lot of acid black jazz and western R&B. Later on in university or even more recently, I’ve really enjoyed older black music styles like funk. Math rock or similar sorts of genres aren’t anything I listened to at all, so it’s really only something I’ve become familiar with since joining this band. I think everyone’s in the same boat in that sense. And for you, MEGURI? For me as well… Yeah, like, I quite liked UK rock and the like, so as far as instrumental music or math rock music goes, it’s really only something I’ve gotten to know since this band started leaning that way itself What kind of music did you listen to? I guess… I listened to like, 90’s melodic punk, so this kind of music is seriously new to me too. Q: How did you form the band to start with? A: To begin with, myself and MIPOW (drums) were in different bands that had played together, and as those bands ended we thought we’d go into a studio and jam together. We just played together instrumentally then, and as we were jamming we thought that we’d really like a bassist in the mix too. So then MIPOW introduced me to YU-KI, who was an acquaintance of hers, and we met up in front of the OPA department store in Kawaramachi, and yeah it kind of just went from there. Going back to what we were talking about before about being a three-piece, MEGURI thought it would be best to look for another female member, so I asked if that was the case and joined shortly after. Ah, well, I wonder if that was really the case? Maybe not? Another female member may have been the way to go, like I just thought that would probably be the easiest way to make this happen. Q: What’s the reason for not feeling like anyone else can join? A: Ah, I guess like, I’m not really into the idea of people joining after the fact, like I really like foreign TV dramas and watch a lot of them, and whenever a new character is introduced later in the series and become a leading or important role, I really just, like, I don’t know… I feel uneasy. I guess that’s the reason? If I had to pinpoint a reason, anyway. That’s also part of it, but it’s also that the idea of introducing a new person to the groove the three of us have gotten used to isn’t really something I can imagine. Q: Is that something that everyone agrees on? A: Is that something that everyone agrees on? Yeah, probably like, there’s lots of time outside of the band, of music, of all of that, with other things to worry about. Q: What’s your goal for this year? A: This year, fundamentally, to make cool music or put on a cool live show, that kind of goal has run its course, but we’d like to go on an international tour. After that… that’s pretty much the main goal, really. Yeah. Q: So you guys are set on touring overseas? A: Yeah, an international tour is the current focus. Like, yeah. I wonder why that’s become such a focus point? I mean, it’s more like, I don’t see the point in focusing just on working within Japan. Ah, yeah that might be it. Not so much that we want to go overseas, but more that there’s no point in staying just in Japan. That’s probably it. Q: Please talk about the differences between live shows overseas and shows in Japan! A: It’s not like one is better or worse than the other, but overseas fans are really, how can I say it… like, they were more outwardly honest in their reactions to the music. Yeah, it’s not about whether the music will sell or not or a reaction based on the genre, they just listen based on whether they like the song that’s playing or not, so that’s easy to deal with. Q: Where have you performed so far? A: We’ve been to Malaysia, and just recently we went to Canada. Q: Is there any difference between Japanese music and Western music? A: Western music is just like, non-Japanese music, right? Wait, what do you mean? Yeah, that’s right. In terms of sound? Ah, in a sonic sense! Ah, I get you. Hmm, I wonder? Like, Japanese people certainly have their own kind of beat or groove. Ah, yeah I think they do. Also, because the languages are so different, for the lyrics to fit properly, like, the groove of the song is set to suit the intonation of the words, so from that I think the way the groove feels ends up different across different languages. Q: Can you tell us a bit about your experiences at the “Next Music from Tokyo” event you were a part of in Canada last year? A: Last year’s “Next Music from Tokyo” event in Canada was just full of experiences and memories, so I can’t really just pick one thing in particular, but I guess to talk about the live show itself? If we’re talking about the show, uh, we played at this really well-established venue in Toronto called Lee’s Palace, and the sound tech there is a real proud-of-his-work type of guy, and before rehearsal… so I use both a JC and a Marshall amp, and he was saying like, “a good guitarist would only need one”, you know kind of sarcastically, kind of mean spirited, like, yeah, sort of mean, or maybe not so much mean as like, he’s a real stickler and hard to please. He’s a master at his craft, he’s probably been doing it for decades, so yeah, there was that sort of atmosphere, but after the show as we were packing up and swapping over, he was like “that was wonderful!” and gave us a hug, and told us “good show”, that was, yeah, the part that made me most happy. Q: Can you speak English? A: Nope! I can’t speak English, but I can get by on the atmosphere and can still get along with people. Q: What was the difference you felt in the music culture at that time? A: In Canada? Hmm, that’s tricky… Ah, well Canada is a really multicultural country. That’s probably why, like, there’s different music and because lots of different races of people live there, and there’s much more diversity there than in Japan, and because people are much more accepting towards a wide range of different things, that sense of stress isn’t there. Q: Were there differences in the Malaysian show? A: Simply put, we’re a better band now than when we played in Malaysia, so that’s more of a problem on our side. Like, in talking about what was most different between Canada and Malaysia, it’s more that we’ve become a totally different band. Q: Please tell us about your new song! A: Talk about the new song? The new song is… good. It’s good. Q: When’s the release? A: The release will be distributed on May 29th. Ah, yeah that’s right, yeah it’s a digital distribution release. And there are two songs included. Q: What is your songwriting process like? A：When writing a song, we first decide on the concept.So, for that concept, we'll base it on a story you can imagine, or a picture, or even just our own daily thoughts.Same as any band that uses lyrics, we first decide what we want to say with the song, then from there, we come up with the chords and phrases and grooves that go along with that concept. As for what kinds of sounds we should use, that's like a surface-level smaller detail... It's still important, but not quite that important Yeah, it's still important It's important to first decide on the outline of the concept. We don't really make songs just through jamming. After we've got the concept, for example we'll take chord progressions we want to try and test them in the studio, and there may be an interesting rhythm change that comes up by chance, so we'll try to apply that to the concept, then we'll decide whether we should go with that or not as we change the sample. Then, finally we wrap the song up while taking a hard look at whether the song is properly expressing that core concept or not Q：What kind of song is "redo"? A：MEGURI came up with the founding idea for this song. For the concept of “redo”, “redo” as a word means to “start over”, but until now in life, daily patterns and repetitions, whether that doesn’t even last a full day or whether it covers an even wider span, “Ah, I’ve felt this way before”, or like “I’ve made someone think a certain way through this same idea before”, I felt that there’s a kind of cycle to those familiar thoughts. It’s the same for everyone, I think. I used to think that this meant to “repeat”, but at some point, I thought it actually wasn’t about “repetition” as such but rather about re-treading old ground to redo parts that didn’t go so well the first time, so, for this concept, it started with me deciding to write a song about not “repeating” but rather “redoing” and continuing on that way, So, when I started writing this song, I think I probably said it to the other two from the start, but with the same phrase, I, or I guess everyone, we keep playing the same phrase, but rather than just looping it and playing it with that kind of feeling, let’s perform so it feels like each time we play it we’re starting again from scratch. So with that idea, because we’re continuing by constantly starting over, it’s not about repetition, so after making corrections and changes bit by bit and starting over, it’s like in a different place from the point at present. I wonder if this gets the point across? So with that idea, YU-KI and I use the same phrase sequences, but in MIPOW’s case, without including any real fancy fills, in repeating the beat, like the song’s made with that kind of idea in mind, but because it’s not actually repeating, she just slightly changes her phrases and the beat as the song goes on. Going back to the concept, in the end this song, from the beginning of the concept, through to making the song, to the first note and right through to the end, I felt like we were able to be make it consistent within that concept, so I’m extremely satisfied with it. Yeah like, regarding the more superficial points, for example, if we used a phrase in the first bar, then used the same phrase in the second bar, for both myself and MEGURI, the phrase itself may be the same, but the two of us that play the first bar and the two of us that result from playing the second bar have a slightly different image. Yeah, yeah We’re repeating the same thing, but the image is of being in the same place in a slightly different timeline, like a parallel universe. So, not to talk about myself so much, but in the end what I’m playing in the outro is the same as how I start the song, but because the present point that we’ve arrived at is different, I’m changing the feeling of the chords. Yeah it’s different, probably. It’s different It’s probably different. So, MIPOW as well, in doing that part, well to some degree in doing every part, we kept that, like, trick to the song in mind while we made it. That’s “redo” in a nutshell. Q：What about "Blind Blue"? A：So I came up with the original idea for this song, but for the title, when we finished writing it, the impression of the song just felt like the colour blue. It just had this impression of really broad and forever blue scenery. That’s probably because both members shared it. In the way we’ve just blindly attached this idea of a pure blue to it. So, for the concept we came up with when we started writing this song, like, you sleep at night, right? Right. When you sleep, you all go to bed on the premise that you’ll wake up the next morning, yeah? Like, that’s honestly really unsettling to me, like I feel like I should be thinking as if I may not wake up tomorrow morning. Everyone always says that we never know when we’ll die, but I wonder how many people are realistically living with that in mind, kind of thing. That includes me, too Like that in of itself, in the end to go to sleep like that on the assumption that tomorrow will come, the idea that you might die ends up being postponed until tomorrow too. So, the idea that tomorrow may not come gets put off until that same tomorrow. Eventually there was a time when that feeling of continuing a lazy day-to-day made me really uncomfortable, I wanted to have a song as an output for my angst towards all that. But in the end, to die, there’s no way to know when you will until you do, yeah? It’s not possible to realistically imagine such a thing, so conversely I thought I’d make the theme of the song one of living just a little bit more. The idea of living itself, I define living as the timeline advancing. So in the case of this song, this song wasn’t completed in the stage of it being written, the timeline that is from the start of this song until its end, for the three of us to work through that timeline, when we perform this song together is when this song is finally completed. So I got them to share in that image, and so the finer details were adjusted by all three of us. Yeah, that’s why like, it has a real dynamism and liveliness to it. I wanted to put out a song that was, like, tough and filled with vitality. Yeah, there were already a lot of more delicate and subtle songs, so I wanted to make, well I guess I did make, a song that was a bit tougher where I could just concentrate on performing. Q：Why did you decide to focus on a digital distribution release this time? A：Okay so for this, having our music itself match the current era, or really fit in with the ‘now,’ that’s not something we have any intention of doing. But while that may be the case, it’s not like we only want to cater to people who already know about us, and so like, we’ve been thinking that we want the way we approach these things to be more appropriate to the times. That’s why like, and distributing through Mahocast is the same, we had this desire to do it in a way that matched the times, well, we also have a strong desire to connect with people overseas, so that’s why we focused on digital distribution this time. Q：But you’re making CDs as well, right? A：Yeah, we’re making them. Yep. With digital distribution as our main focus, precisely because it’s digital distribution, and precisely because we live in the era that we do, I think there’s a real value in actually possessing the real, physical thing. Also, the people that actually possess the real physical copy, they’re the sorts of people who really care for what we do. There was always a idea for physical distribution, but more than that, the scope of what we can actually see with our own eyes, or being able to say “hey, here you go” in person at the venue… That’s something we really want to value, so this time, without putting the CD into circulation, it’s more like, ‘oh, here’s the record’. Yeah, this is it… This is, yeah, this is like, as an actual thing, it’s not necessary in your life, but it’s something you want. Like for example, some cute tableware, or a vase or something like that. So for example, just like that, CDs, sure the contents are also important, but the act of you yourself buying it has a certain importance I want people to discover, or rather like, in this age of just buying the media or the content, I want people to put value into the act of buying the actual object. We made everything all by ourselves. Cutting. Yeah, it was really tough! Painting At Saizeriya. Q：What’s the motif for the CD jacket? A：The motif is a mountain and the sun, but we made it at the same time as we made these two songs. When we make the jacket image, we set things like the color to some extent, but when we make the songs the three of us often share things like the “image color” of the songs. Like “what kind of color is this song?” kind of thing. And the three of us usually agree on that. So from there originally both songs had a blue “image color”. However the two songs have a different blue feel to them, like how deep or soft, light or dark the songs are feel slightly different, so for the blues we see in our minds and the way we see them to be closer to one another, we combined blue with different colors and patterns, then we made a lot of samples of color combinations and arrangements, then we made adjustments while the three of us discuss which of the blues is closest to what we imagined, and ended up on this blue and orange motif. So the motif itself, it’s a mountain and the sun, but really the important part is the way those two colors gradate. Usually I make the first prototype and get them to make adjustments, but with this unrealistic, conceptual, dreamlike kind of landscape, which came with this idea of mixing horizons, and regarding that like, well, it’s wide, and there’s a horizon, but you’re not sure where the sky ends and the horizon begins, so for that idea, the mountain and sun motif that we used this time was a perfect fit. Well, even with that, while making all kinds of samples and looking at lots of different patterns, the three of us talked it over and then settled on this one. Q：What’s the meaning behind the title for your single, “01”? A：It means that there is no meaning. We didn’t want to put a great deal of meaning into the album title here and pull your perspective that way, like we want you to listen to the songs, that’s why like, because we don’t want to unnecessarily highlight the meaning here, we wanted to go with a title that can be viewed with a very flat perspective, so we went with “01”. Q：Please talk about the particulars of your equipment! A：Alright then, let’s start with MIPOW. Right, so for “redo”, the image color we had in mind for it was blue as we said earlier, a soft blue, so, well, I created the sound of the snare while keeping that in mind and aiming for that kind of vibe. I pulled out the wood shell snare I was given back in my school days, changed the head in the studio, tried muting it with various things and finished it that way. Tried changing the tuning in each section and that sort of thing, Tried unmuting the drums, The sound of the snare is, like, something you always pay special attention to. Yeah, like if people hear it and tell me it’s good it’s like “yesss!” Yeah, feels like that. Q：So what does a ‘blue snare’ sound like? A：The image color was a soft, kind blue, so I made the sound while I imagined that, I guess. How can I say it, like, the clarity or the way it echoes can express a sense of color, like you can imagine it a certain way.It might be different from person to person, but for me, or rather within the band members that’s how it is. I think I got really into the sound this time. Okay, what about YU-KI? Me? For me, I didn’t really change the details for each song this time around, but just fundamentally I really like the sound of the bass that I use. Yeah, I know Care to introduce us? If I may introduce you all, there is a factory in Ebisu called “Psychederhythm”, in this tiny room the craftsman is really, like, they’re a maker that’s very fussy about the details, so with this bass, like, the way the sound reverberates, the body sounds amazing… my bass is really special. I totally agree. I love it Don’t laugh! Yeah, so, when I’m creating a sound, I don’t want to squeeze the bass’s original range or add any strange boosts as much as I possibly can, so the brand of amp that I use, called Phil Jones, has a pretty wide range. I’m using a brand where the sound comes out really cleanly and honestly, so in that sense any touches are immediately heard, so there’s a certain difficulty to it, so for that part effects and EQ round the sound out really nicely. So I guess like, I took a live instrument kind of sound and took care to make it come out as clearly as possible, and in regards to the songs I use a variety of playing styles this time. “redo” is all tapping. This kind of thing. For “Blind Blue” I play with both fingers and through slapping, so for the tone, I made it so I can return to the sound I need to just through the way I touch the bass. I like effects, in any case. So I really want to arrange and use effects. That element is there right from the start, so in terms of creating the sound, the sound that I want to put out is not an honest one, from the start it’s set to be one that’s in line with the concept, so I just look at reproducing that. So I don’t really feel, like, “this is the kind of sound I want to make” or anything, it’s more about matching the song. Also, I don’t know if this will really make sense, but I feel like I’m in charge of bringing time and space into a song. So, to put it simply, if we look at reverb or that kind of space-making type of effect, and I use that to suddenly create some depth, in that moment the space will suddenly widen, likewise if I suddenly cut the reverb, the space will suddenly tighten, like I think about things like that in regards to my instrument. So, well, phrases are the same too, when looking at the important things, like playing. Or something like that, anyway. Q：Why did you decide to use Mahocast? A：We had an event the other day that we set up ourselves and we had mahocast stream the entire thing, so we went with mahocast this time too. But like, it was a new experiment; we hadn't done anything like that before so it was really interesting. What do you think? Well, so far, to have them come to that place for us was a pretty big deal, like, I guess with filming? Like putting out full-fledged live video and stuff, to be in the flow and shut out all information other than music, I think we, and probably others in the band community are like that. But in asking them to come this time, there are for sure people that couldn't make it to the show due to distance, like, in different countries. We had this chance for those people to see us, and they’re also looking over the archives and translating this program into English for us They're adding English subtitles We’re hearing people say how great that was, and if we can keep that kind of thing going and eventually be able to broadcast everything in real-time across the world… And it’s a bit more, like, in the present world where we actually have this kind of media, in this day and age, it’s better if the music and the shape it takes is more appropriate to the times. Yeah. Well, we still want people to come to our shows. Yeah, absolutely. Like, I think this will actually become more of a reason to come see us live. That kind of thinking is part of it too. Well yeah, the live show is most important for us. Yeah, we do a lot of live arrangements, like, “what’s the original song?” is something we’re asked a lot by fans, but I guess like, we really want those people who only know the main recording to come see us, but I think that even just going to a live house is more of a hurdle for some people than you’d expect, in both a physical and emotional sense. So hopefully this can become a gateway to that for those people. Q：What kind of goods are you putting out through “squra by paravoi”? A：“squra” is the three of us as “paravoi”, We say “paravoi” for short. Yeah yeah, “paravoi” means “paranoid void”. As for making songs, the name of the three of us performing is “paranoid void”, but for selling merch and in making other accessories and the like, It’s like representing that part with a name. Yeah, like when we make songs, as we’ve mentioned before, the three of us share in the image color and iconography of it to some extent, and as a byproduct of that, there are cases where the song doesn’t line up exactly with how it was imagined. Like, regarding the content. or like for this time, this sort of thing. This sort of thing being from the jacket, well I guess the jacket image, also like this is kind of a failed attempt… You don’t need to say that! It’s really tough because we do everything by hand with a silk screen, but we can make good stuff that way. We can make things exactly as we’ve imagined. Kind of thing, yeah. Q：Are you particular about doing things by hand? A：Rather than saying we put a real emphasis on doing things by hand, it’s more that I think people should express what they’re thinking as truly as possible, whether that’s in music or this kind of by-product item or whatever, I guess it’s more about just creating rather than it being ‘handmade’. For example, even if someone else comes in and creates something for us, or we commission someone to do so, If the output ends up being in line with how we envisioned it in our minds, I don’t think there’s a problem. However, for it to turn out the exact color or form that we imagined, for now it’s probably faster for us to just make everything ourselves. Q：What kind of things would you like to do in the “squra by paravoi” project? A：Well, with this project, it’s not like we’re aiming to get famous with it or anything like that. “squra by paravoi” is like the saucer that catches the creative work that overflows from what we do as a band. So, it’s not so much about what we want to do with it. It’s more about what we want to do with the band and how can this accompany that. The part where the image doesn’t fit the song is absolutely, for what we see, like, we ourselves share in and perform through certain images and scenery, but there’s no way the person listening to us is going to imagine the exact same scenery, however in the case that there’s also something visual, that something complimentary can come from that is the sort of position we’re coming from. Q：Which song is the accessory from before related to? A：This is for “Utakata no Sora, Eien no Machi (Ephemeral Sky, Eternal City)”. It comes in five colors. Yeah, we’ve only brought one with us today though. Depending on the time zone, the color will change… That song was made with the theme of how even if the scenery of the city doesn’t really change, the landscape and the color of the sky is changing every moment, so in line with that theme, for this inorganic substance, there’s the cold, inorganic city and the sky that’s always changing colors.

3月29日、大阪MUSEにて「MUSE Smoothie #10」ライブイベントが行われた。関西屈指のダンス&ボーカルグループが集まった。序盤からフロアは埋まり黄色い歓声が飛び交う場面が多々見られた。今回は本イベントのトリを勤めた「CLOWN'S CROWN」を特集する！ オープニングSEが流れると共に登場した「CLOWN'S CROWN」。本日のイベントの大トリとあってフロアの熱も十分に登場した! １発目に披露したのは「IMPACT」。軽快なリズムでCLOWN'S CROWNのファンであれば各所、歌詞が口からこぼれるような選曲でスタート！ロビンの伸びの良いハミングが響く。テンションは上々！ その後アップテンポな楽曲が続く。「CIRCUS CIRCUS」では特徴的な振り付けと、曲中の煽りでさらに会場の熱が高まる。自由なパフォーマンスとMCがいつも観客に驚きと笑いを与える彼ら。メンバーの「いじり」はもちろん、本日はイベント名「MUSE Smoothie」とかけて軽快なトークで会場を沸かせた！ 彼らのステージも中盤に差し掛かり、「Echo」「はじまりのプレイス」とバラードな楽曲を立てつつけに披露した。観客は静かに聞き入った。最後の楽曲前に少しMCを挟み、テンポのいいトークでまた会場は笑いに包まれる！ そしてラストの楽曲「BANG BANG ZAI」。振り付けもわかりやすく、自然と体が揺れるような楽曲である。サビではファンも一緒に両手をあげ最高潮の盛り上がりであった！ 〈セットリスト〉 1.IMPACT 2.MY WAY 3.CIRCUS CIRCUS 4.You Cause Me 5.Echo 6.はじまりプレイス 7.僕のとなりで 8.BANG BANG ZAI ダンスや歌唱力はもちろん、SNSやイベントの企画などエンターテイメント性に優れた個性を多く持っている彼らだが、間も無く結成４周年となる！ もちろん記念イベントも決まっており、2017年４月12日「CC活動4周年記念☆無料☆ONEMANLIVE‼︎‼︎‼︎」が心斎橋FanJ twiceにて行われる。銘打たれている通り入場料無料（※1d¥600有り）となっており必見の内容に違いない！ ぜひチェックして見てほしい！(以下フライヤーをチェック！) 〈ライブお問い合わせ〉 G-Force Entertainment 06-7165-9946（平日11:00～19:00） contact@g-force-entertainment.com ENJOY MUSIC !! CHECK THE CD !! DOWNLOAD !! GET THE TICKET !!

いよいよ1週間を切ったBRUSH UP FESTIVAL in KANSAI 2019 出演アーティストをご紹介していきます。 今回はご紹介するのはTaeyoung Boy(テヤンボーイ)! Taeyoung Boyは1994年生まれ東京出身のラッパー。 ヒップホップクルーMSN（メセン）のメンバーとしても活動し、SoundCloudにアップした「pool」が話題を集めました。 ジャパニーズヒップポップを牽引する期待のアーティストです。 また、数々のファションデザイナーを輩出してきた名門文化服装学院出身ということで彼のファッション、ライフスタイルにも注目です! 落ち着いたトラックと甘く囁くような歌とラップ。彼の好きなブラックミュージックの影響が感じられるナンバー。 世界的に流行中のトラップのリズムにメランコリックなサウンド英語と日本語のライムが行き交う巧みなラップがクールな印象を与えます。 MVの映像の質感と一緒に堪能してほしい一曲です。 11月3日はぜひ大阪城野外音楽堂にお越しください。 BRUSH UP FESTIVAL in KANSAI 2019 チケットはこちらから spotifyプレイリストをフォローして出演者の予習をしよう!

1月19日心斎橋Pangeaで河内REDSのワンマンライブが行われました! 満員御礼、ソールドアウトとなったこのライブ! １曲目の「ドゴダゴ」からストレートなロックンロールをかき鳴らし、会場は大盛り上がり! 序盤から勢いのあるパワフルなパフォーマンスで魅了します。 リフレインを多用した親しみやすく一緒に叫びたくなるメロディとギターリフの数々。 エッジの効いたギター、ベース、パワフルなビートでリズムの中心を担うドラムのオーソドックスなロックのアンサンブルで会場を盛り上げます! 途中、Vo.タダミ扮する氷室さんの登場もありつつ、 「正月パーティーナイト」「終電バイビー」Gt.サクラマサチカがボーカルを担当する「もう猫なんて飼わない」など10曲を披露し、第一部が終了。 合間にはお楽しみ会と評し、開場前に渡されたくじ引きによるプレゼント大会が開かれました。 メンバーがライブで使用した衣装やポスターなどのプレゼントが当たったお客さんは大喜び! 会場全体が笑いに包まれ、河内REDSのメンバーそれぞれの個性、愛される親しみやすさが垣間見える瞬間でした。 第二部は彼らのアンセム「男はみんなちょっとだけホモ」のそれぞれの担当楽器のシャッフルでスタート！ バンドとして多彩な面を見せます。 さらにこの日事前にtwitterのアンケートで投票を受け付けていたリクエストでは長年封印していたあの曲も披露！ 昔から知るファンも最近知ったファンからも大きな歓声が上がりました！ そして、ラストの「しがらみタウン富田林」は儚くも切ないミディアムロックナンバー。 サビでは観客も一体となり、大合唱で本編が終了しました。 今後さらなる成長を見せてくれる圧倒的なライブでした！ またこの日サプライズで自主レーベル「LBK」を立ち上げたことを発表。 バンドを結成し早6年、幾多のメンバーチェンジを経て迎えた今回のワンマン。 まだまだこれからが楽しみなバンドです！ そして河内REDSは今後も続々とライブが決まっています！ 皆さんも是非足を運んでみてはいかがでしょうか？ <ダイジェストムービー> ＜セットリスト＞ 1.ドゴダゴ 2.雅に愛 3.オールドニューウェーブ 4.アルプススタンドより愛を込めて 5.スタディボーイ 6.もう猫なんて飼わない 7.正月パーティナイト 8.「A」から「U」まで愛してる 9.NH系の人 10.終電バイビー 11.男はみんなちょっとだけホモ（メンバーシャッフル） 12.男はみんなちょっとだけホモ 13.ちんぽブルース 14.詔 15.あいさつメタル 16.片想いの夏 17.初めてギターを弾いたとき 18.シルバーハート 19.しがらみタウン富田林 <アンコール> 友達サンバ マホウノコトバ

昨年のBRUSH UP FESTIVALの出演アーティストをご紹介! 今回ご紹介するのはシンガーソングライターの番匠谷紗衣 さんです♪ 2017年、当時高校生にも関わらず大阪・BIGCATでのワンマンライブは大成功! このライブは当サイトでもライブレポートさせていただきました。 あれから3年の月日が経ち、2018年にはユニバーサルミュージックから「ここにある光」でメジャーデビュー。 この楽曲は人気ドラマ「科捜研の女」の主題歌として起用されました。以降も全国でライブやイベント、音楽フェスに出演。 弱冠21歳、彼女の快進撃は続きます! メジャーデビュー曲。 力強い歌声には聞き入ってしまうソウルフルなバラードです。 離れて暮らす家族や友達などを思い浮かべます。 出会いと別れの多い季節で新しい生活に対する不安はみんなが持っているもの。 新しい一歩を踏み出せる勇気を与えてくれます。 心地よいメロディーラインと歌心が沁みますね。 昨年放送されたドラマ「ランウェイ24」のエンディングテーマ。 航空会社のドラマということで空港や飛行機の機内で撮影されたMVも印象的! 大きな夢に向かう自信を与えてくれる楽曲になっています。 先日開催された世界最大規模の楽器ショー「The NAMM Show 2020」にも出演し、シンガーとしてもソングライターとしても成長している彼女。 リリースされたシングルも素晴らしい中、フルアルバムの発表が待ち遠しいです♪ OFFICIAL HP: https://www.banjoyasae.com

前回までバンドが続きましたが今回はオランダ出身のワイルド系イケメンDJのR3HAB（リハブ）! EDMのトラックメイカー・DJとして様々なシンガーたちとコラボ! 親日家でもある彼は日本文化をモチーフにした「Sakura」「Karate」「Samurai」などの楽曲もあります! 各地のフェスでの盛り上がりを見るとサマーソニックでの演出もどのようなものなのか楽しみです。 EDMの中でもバウンス系と呼ばれる縦ノリで強いビートと重低音で盛り上がること間違いなし! 一貫してどの楽曲も陽気でどこかラテンのフレーバーも感じます。 また、彼はリミックスも数多く手がています。 マドンナ、ブルーノマーズ、レディーガガ、ケイティペリー、ジェニファーロペス、ピットブル、ピンクなど錚々たるアーティスト!! 今年のサマーソニックのヘッドライナーを務めるチェインスモーカーのこの曲も フェスだけでなく、海やプール、ドライブなど様々な夏のイベントで聞いてほしいアーティストです。 これをきっかけに夏と音楽を楽しみましょう!

お疲れ様です。ウェルカムマンです。 （写真はうちの三女のひまです。赤いメガホンで遊んでたんで激写しました。） 先週の週報をやっていきたいと思います！ １：朝トレ　毎日合格！ ２：夜トレ　1日の振り返りとタスク管理　毎日できなくてだめ〜！ ３：VLOG　毎日合格！ ４：勉強　全体的にやりたいことを少し後回しにしてるので全体の50％ぐらいしかできてないのでダメ〜！ ５：トレニーニング　週４合格！ ６：ポッドキャスト　週４なのに1本しか上がってないのでダメ〜！ ７：生放送制作　週１合格！ といったところですね。 まとめると本当に情けない結果でございます。 全体的な反省点でいくと、勉強する時間を後回しにしているところですね。 これは早寝早起きを1時間調整できるともう少し広げれるので気をつけないといけないです。あとはポッドキャストの本数が少なすぎたことですね。 細かくいくと、毎週プチ絶食を1日やるんですがこれは成功！これ1日やると体重が１キロ以上グッと絶対減るんでいい。しかし次の日のリバウンドがくるのでここを調整しよう。あと、勉強の仕方をもう少し効率よくしていかないといけないので新しい手法を試し中。今週には結果を出していきたいです。 また、個人の第一次情報をセミナー的に動画を撮りためようと思ってるんですがここがなかなか進んでないので今週こそはしっかりとやりたい！ 週報以外では！ 先週は誕生日でいろんな方に祝ってもらって幸せ感じる習慣でした。 今週はお盆で少しタイム感がゆっくりするんですが気を引き締めて、こうゆうときもしっかりとセルフマネージメントやらんと太るし、知識が止まるので気を引き締めていきたいと思っております〜！ 以上週報でした。