Matenrou opera ayame biography of michael jackson
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I wanted to create a website where I could write my thoughts in my own words.
Your interests in other things besides music is quite diverse, since you’re also a guest-professor at the university Kyoto where you still give lectures about Music & Technology to the students there. The inclusion of the cello intro on the title track matches surprisingly well with 苑 (Sono)’s vocals, especially because it’s an element and not featured throughout the entire song.
Tell me a bit about those, like what is the idea behind each channel, and what do you think of the other members’ channels? For what I do next, I either choose from the comments or I pick one of my favorite songs.
苑 (Sono) and 響 (Hibiki) have done collaborations with other artists on their channels already, but would you like to do this again?
During this difficult pandemic I think that a band that can move, even if it is lightly, will be able to survive.
彩雨 (Ayame): It’s fun to be independent and think about things yourself to run the band.
燿 (Yo): As the internet is becoming more widespread every year I think it’s starting to become more important for me to communicate myself, so I will do my best from now on.
響 (Hibiki): I think it was a good thing that my footwork became lighter for each activity because we went independent.
Since I’m doing something that isn’t directly related to the band’s activity I am doing it freely in terms of content.
燿 (Yo): Right now I’m only doing what my fans enjoy and what I’d like to do myself on my channel. I decided to do this project at my own pace due to the gap in the schedule of 摩天楼オペラ (Matenrou Opera).
Have any of these songs influenced you during the writing and composing stage, or are they completely unrelated?
苑 (Sono): I’m familiar with “愛の讃歌 (Ai no sanka)”, yes. I want you to see the new 摩天楼オペラ (Matenrou Opera).
燿 (Yo): Of course I want to go!
響 (Hibiki): I want to!
Here in Europe it seems like ANOMIE is still the most popular album, but Human Dignity now is a close second.
Teaching and learning may just be the same thing.
Next to all of that and 摩天楼オペラ (Matenrou Opera) you also create your own music.
With the announcement of the anniversary live show (which was held a little later than usual, they normally try to remain closer to early May, when the band was initially formed) also came an announcement for a new release, which wasn’t really a surprise to the ones following the band since they usually have a live limited release prepared for their anniversary.
I play keyboards. Can you please tell everyone who you are and what you do in the band?
苑 (Sono): I’m 苑 (Sono), the vocalist. I really want to play it this year too.
Final question, I promise! Whether it’s music or costumes, ヴィジュアル系 (Visual Kei) has an unique world view. But this time it wasn’t exclusive to the live show, they made it available on their own webshop.
What I like about it hasn’t changed since I started.
燿 (Yo): I think that our way of showing and expressing our music is ヴィジュアル系 (Visual Kei), and that hasn’t changed either.
You’ve also managed to go independent last year. What was this like for you? Because without them this interview wouldn’t have been possible.
And the reason why this interview is published on January 29?
Also, do you have any activity for it in the works for this year, since this is very much a “my pace”-type of project?
苑 (Sono): I always wanted to do music that was live band music mixed with POPS and JAZZ. The “オペラ (Opera)” part is a beautiful sound that has been around for a long time, like with classical music.
The freedom of our creativity has not changed, but our freedom of movement has increased. This means that the “Kedamax” products aren’t only available at his own webshop, but also at the MINT NeKO shop in Harajuku, Tokyo.
And last but not least, I want to say something personal too:
This easily is the longest interview I have done to date, but it was also one of the hardest ones.