That’s where my songwriting starts, so I guess in a way it’s inevitable that my music would have a feeling of modernity. When I’m inspired about the misfortune I’m confronted with in our modern age, I start writing it all down. Tsumiki: I can’t write about things I don’t believe. How much do you think about ‘modernity,’ like you mentioned earlier? I think through all of my music runs an intent to create something that rescues people from that deceit. For example, when you’re having a hard time at work, there are times when you have to put on a brave face. In that sense, in some ways my music is like taking on mounting feelings of deceit or guilt. I often write my songs and lyrics with the hope that they’ll reach a lot of other people, as well. I myself tend to be really introspective, and I want to write music that compensates for that part of my own personality. Tsumiki: When I write music, I try to always be there for the underdog. Artificial flowers are also mentioned in your song “tautology doubtful.” The “fake” in the title of the first song you ever uploaded, “tokyo diver fake show,”, is also in the same vein as “Phony.” For example, “Phony” starts out with “There are no flowers in this world more beautiful than artificial flowers,” lyrics that really make a strong impression. I feel like the themes of deceit and falsehood were part of your music even before “Phony” came out. Looking back, I think that I started using a composition approach where the vocals would draw the listener in themselves, to make the vocals stand out more. There’s a lot more data than there is with Hatsune Miku. With KAFU, though, breathing is put in automatically. You have to express things like breathing and falling tones by using notes. Also, until then, most of the songs I made were made using Hatsune Miku, but the only information that Hatsune Miku works with is melody and voice. Tsumiki: I thought that approach would be more universal.
Looking back, why do you think you were trying to change your music that way?
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