Born in Okinawa, Japan, within the 12 months 2000, singer-songwriter YU-KA spent her early years in America and Switzerland. At age 15, she took up the acoustic guitar, and she or he began writing her personal songs at age 17. She started actually throwing herself into music upon successful a particular award in a film theme song-writing audition. “Hoshizukiyo,” which she launched in February 2023, took the No. 1 spot on Billboard JAPAN‘s “Obtain Songs” chart, making it her greatest hit. 

The title monitor of her newest EP, Sunshade, was produced by ONE OK ROCK’s Toru and is the theme tune of the TV collection Smiling Matryoshka. The 24-year-old musician is equally centered on each her musical actions in Japan and abroad, bringing a separate mentality to every. Billboard Japan lately had the chance to speak to her about her newest launch, an encapsulation of the place she is now. 

What’s the idea behind the Sunshade EP? 

YU-KA: After I wrote my first album, Brighter, loads of the lyrics I wrote had been actually grand in scale. The preferred tune on the album, “Hoshizukiyo,” was a hovering love tune. With the brand new album, I wished to make one thing extra private. I wished to jot down lyrics about love at a one-to-one degree — the extent of “me and also you.” The art work displays that, too. I’m not carrying some type of attractive costume, only a T-shirt. It’s made up of pure images taken in on a regular basis settings, minimize and pasted collectively like a patchwork. I wished to provide it that handmade, unadorned really feel. 

I simply adopted my coronary heart wherever it led in writing “forget-me-not,” and I feel it brings me again to my pure roots. The lyrics to “Clouds” are all in English, and I really feel like that tune ties in to my indie days. On the time, I used to be doing loads of stay reveals, attempting loads of new issues, like utilizing a looper and matching English lyrics with easy chord progressions. I feel the tune’s sound is related with that time of my life. On the flip aspect, I used to be re-examining J-pop once I wrote “Sunshade”, “Tsuraikurai,” and “Yet another time.” I like each Western music and J-pop, and I wished to jot down music that lies someplace in-between, however I additionally took on new challenges by working within the vein of J-pop. 

Do you’ve completely different goals if you’re singing in English than if you’re singing in Japanese? 

YU-KA: I rely lots on no matter phrases the melody and the music convey out of me. Particularly once I’m co-writing abroad, I have a tendency to jot down the lyrics utilizing phrases that I’m drawn to, or phrases I wish to sing due to how they sound. With English, I discover that very simple. In “Clouds,” I wished to make use of loads of phrases, like writing in a diary. You may match in additional phrases with English than with Japanese, so since I wished to pack the lyrics in, English was the best way to go. Additionally, I feel writing a tune like this connects to my very own roots and actually expresses elements of myself. The tune’s lyrics embrace “Tokyo” and “scramble crossing,” so although the tune is in English, I feel I’ve put in components which are a true-to-life depiction of my life in Japan. 

“Sunshade” has 4 traces that begin with “Ne,” (a Japanese expression that’s just like a softer model of “Hey”). I discovered that use of repetition in Japanese to be notably efficient. 

YU-KA: Prior to now, loads of my songs blended English and Japanese, however currently I’ve been feeling that simply utilizing Japanese alone sounds cool. The “Ne” a part of “Sunshade” would have been simpler to jot down if the lyrics had been in English, however I centered on writing in Japanese, and, I feel, that’s why I used to be in a position to give you these lyrics. I’m notably keen on that a part of the tune. Deciding what Japanese to make use of when working with a smaller variety of notes is an fascinating course of. It’s like writing a waka or tanka (Japanese poems). I loved determining the way to specific myself inside these limitations. I feel that, by means of this course of, I’ve grow to be in a position to specific issues that I couldn’t specific earlier than, once I was mixing Japanese and English lyrics. 

You wrote the lyrics for each “Tsuraikurai” and “Sunshade,” and Toru from ONE OK ROCK wrote the music, proper? I perceive that you just’ve written with Toru a number of occasions prior to now, too. What had been some takeaways out of your newest collaboration? 

YU-KA: After I was making my main label debut (“lullaby,” produced by Toru), I used to be simply working like loopy. I didn’t know which finish was up. However working with Toru, I all the time have a wealth of experiences. For instance, I’ll go in pondering I haven’t modified however it’s going to open my eyes to how a lot I’ve modified, or I’ll go in pondering I’ve gotten used to one thing, and I’ll discover myself butting up in opposition to a wall. 

How did the writing course of go? 

YU-KA: “Sunshade” is a tie-up tune for a TV collection. The method of writing a tie-up tune includes creating one thing that goes past your personal skills alone, so I really feel prefer it brings lots out of you. I wished to make the lyrics a bit of cryptic, however then I assumed that they wanted to convey the place I used to be, what I used to be doing, what I wished to do. So the lyrics grew to become an increasing number of concrete as I labored on the tune. That means of rewriting was additionally loads of enjoyable. 

You’ve travelled forwards and backwards between Japan and different international locations. You grew up within the US and Switzerland, and also you travelled to Sweden when making the album. What elements of Japan, and of different international locations, do you want relating to environments for creating music? 

YU-KA: After I was in Sweden, I used to be working actually quick, making one or two songs a day. It constructed up my explosive energy — my capacity to take off operating. In Japan, however, I really feel like I spend much more working with every tune, combating the way to enhance it and always making refinements. After I co-wrote with non-Japanese folks, I used to be frightened that I’d be overwhelmed and simply let myself get swept away, dropping by the wayside, however truly the other was true — the core elements of me which are constants, and the elements that make me who I’m, would stay. I write music earlier than I discuss to the folks I’ll be working with, so the melody traces and the interactions I’ve whereas we’re engaged on the music are like a self-introduction for me. The way in which that I wanted to immediately introduce myself by means of my music was an actual eye-opener and helped me develop. 

You’ve carried out on the SXSW for 2 years operating, and also you’re an energetic musician abroad. What sort of musical actions do you wish to do in Japan and in different international locations? 

YU-KA: As an artist, the best way I’m in Japan and the best way I’m abroad are like mirror photos. After I’m in Japan, the truth that I lived abroad, and the best way that have impacts my music, are like part of my persona. Abroad, the truth that I’m Japanese and hearken to J-pop units me aside. I feel that going forwards and backwards between these two environments makes my very own musical sensibilities extra clearly outlined. 

Going forwards and backwards between Japan and different international locations, I generally ask myself what it means to be true to myself, however I feel who I really am is what comes out of me once I simply act naturally. That’s why once I’m abroad, I consider myself as a Japanese artist as I make and carry out my music. I wish to attain a place that I’m uniquely suited to and to create works that actually convey what I intend, to each Japanese and abroad audiences.

—This interview by Reina Murakami first appeared on Billboard Japan