[HT Entertainment Co., Ltd.] Victoria Nan x Hiroshi Kawamura “Monoban Seinen Monologue (22:00)” Chinese x Japanese music conversation *HT Entertainment Co., Ltd.*
Press release: August 16, 2024
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Victoria Nan x Hiroshi Kawamura “Monologue of a Banned Youth (22:00)” Chinese x Japanese music conversation
*”There may be people in Japan who are facing the same dilemma as me.”* Global debut single “JUST SLACK” will be released from HTE Records in March 2024.
Victoria, a female singer-songwriter from China who has just released “OFF Nan (鸭腩儿). Her next single “Monkin Seinen no Monologue (22:00)” will be released on August 16th, and here is an official interview between her and musician Hiroshi Kawamura, who was in charge of arranging this work. do.
As we talked about their respective music stories and the
behind-the-scenes stories behind the production of “Konkin Seinen no Monologue (22:00),” we discovered commonalities between the cultures of China and Japan, including the music scenes (Victoria)
Nan is a fan of Kento Kaku from “From Today I Am!!”) and the feelings of the young people who live there. It’s a very meaningful content that was possible to hear because of this combination of conversations, so I recommend it to all music freaks, regardless of genre.
*“Mon” in “Monkin Seinen Monologue (22:00)” is officially a Chinese kanji.
-Victoria Nan’s music story ~China’s music environment~-
–Could you tell us about how Hiroshi Kawamura decided to cross the border between China and Japan and arrange Victoria Nan’s music?
Hiroshi Kawamura: I’ve been involved with an artist called NakamuraEmi as a producer, arranger, and guitarist. Now, HTE
Records in Victoria
Nan’s manager has been listening to me since I was a student, and he remembered me when he was looking for an arranger for Victoria’s new song. That’s why I contacted you as a first contact.
–I see, it was a suggestion from your manager.
Hiroshi Kawamura: From there, Victoria’s previous work “JUST SLACK” When I listened to “OFF”, I was really impressed by his voice. He has overtones that I really like. I often work with vocalists who have a fairly clear tone, and I hadn’t really worked with singers like Victoria in my work, so I thought, “This sounds really interesting.” I accepted the offer.
–What impression did you get when you heard Mr. Kawamura’s
arrangement of “Konkin Seinen no Monologue (22:00)”?
Victoria
Nan: When I first heard the final sound source arranged by Mr. Kawamura, I had a completely different impression from the demo sound source. I’m extremely happy about that. I feel that they have created a very good song.
–Before we delve into the story of your new song, I would like to ask you, Victoria, what kind of music did you listen to growing up, and what made you want to share your music with the world?
Victoria
Nan: I’m a member of the so-called Generation Z, and listening to music on subscriptions was the norm since I was little, so I grew up listening to a variety of genres of music. So, rather than growing up influenced by a specific genre, I’ve been influenced by a wide range of different genres of music. MONKEY
I have been listening to Japanese music such as MAJIK since I was a child. During this time, I was covering songs by various people at events during my student days and on the internet, but what made me want to create my own music was to sing the things I felt in my life and my emotions as they were. This is because I wanted to express myself through this medium. That is the origin of my music production. In addition, I often create music that is influenced by literature and movies.
Hiroshi Kawamura: So you started making music in a similar environment to other Japanese artists of Victoria’s generation. Even though the country is different, the way music is disseminated remains the same.
Victoria
Nan: Yes. I’ve never felt any particular inconvenience in
disseminating music. Nowadays, many people overseas are using Chinese SNS and distribution sites to broadcast their own information, and as a result, it is easy for all kinds of information, including music, to flow back and forth from China to overseas, and from overseas to China. It’s happening, isn’t it? I also think that more than online connections, there are more opportunities to experience the music of overseas artists live. Especially in recent years since the end of the coronavirus pandemic, many overseas artists have started performing in China, so I’ve also been able to go see some Japanese artists live. For me, it was many times more impressive than the music I was listening to on subscriptions and SNS.
-Is Victoria Nan a fan of Kento Kaku from “From Today I Am!!”?-
–By the way, what kind of Japanese artists have you seen live?
Victoria
Nan: I also saw shing02’s live performance, and I also visited Kenichiro Nishihara’s live performance. All in all, it was a wonderful musical experience. Also, I watched this on a streaming site, but I was also impressed by Kaze Fujii and Kenshi Yonezu’s live
performances. Although it’s not about music, the drama “Kyoukara Ore wa!!” which was a big hit in Japan was also very popular in China! I was also a big fan watching it. That’s how I learned about Kento Kaku, who was the lead actor, and that he was doing music…I’m actually rooting for him behind the scenes (lol).
–So you’re a fan (lol).
Hiroshi Kawamura: I heard some really good things. I was especially happy to hear that people were more impressed with the music they listened to live than through subscriptions. I’m currently on NakamuraEmi’s live tour, and young people say to me, “I was surprised when I first came to a live show because of the subscription!” I am truly fascinated by the power of live music.
I think people in their 30s and 40s know the appeal of live shows, but Victoria, who was born and raised in the subscription era, is also aware of this as she continues to share her own music. It kind of saves me. It gives me great hope that there is still a lot of room for the younger generation to enjoy music. I thought it was really cool to see Japanese artists go to China, Victoria to experience it firsthand, and to interact with them through live performances.
Victoria
Nan: I love live shows more than listening to music on subscription or distribution sites. Live performances include lighting, sound effects, and production, making for a happier and more free musical experience. From a musician’s perspective, you can express yourself freely. There are many challenges that can only be achieved live, including arrangements that are difficult to achieve with sound sources and communication with the audience. That’s why live performances are special to me, both as a listener and as a musician.
-Challenge from age 30 ─ Hiroshi Kawamura’s music story –
–Since Mr. Kawamura became a disciple of jazz guitarist Yosuke Onuma, he has produced works by Emi Nakamura and Yoshihiro Tsujimoto, and has participated in the works and live performances of many other famous people. How did you establish your current style as a musician?
Hiroshi Kawamura: Originally, my mother was a piano teacher, and my father also played the guitar, so I grew up in an environment where music was always being played. Partly because of that influence, I graduated from university’s music department with the intention of becoming a music teacher, but at the same time, I had been playing the guitar ever since I was a teenager, so I became very interested in becoming a professional musician. . So, after graduating, I worked as a teacher of music and studies, and on the side, I also performed live shows until I was around 30 years old, but in the middle of that time, I attended a live performance by Yosuke Onuma, who would become my mentor. I was shocked. I felt that it was time for me to take on the challenge of becoming a professional, so I quit my job and became Mr. Onuma’s apprentice.
–That’s how you became an apprentice.
Hiroshi Kawamura: I was kind of like a chaperone, going on live tours with him and having him teach me how to play the guitar. At the same time, I had to find a job for myself, so the opportunities to work with so-called singers gradually increased, and I started performing live with singers and guitars, or singers and guitars and other instruments. Inside, it’s common to arrange music for live
performances. Then, one day I realized that the work I was doing now was the same as the work of an arranger, and that’s when I became interested in that kind of work.
Under these circumstances, I was the first to produce Emi Nakamura, who I mentioned at the beginning, and I started to do the arranging as well as choosing the members, deciding on the recording location, and collecting the budget. .
–It seems like you’ve been working on a variety of music-related jobs like strings of beads.
Hiroshi Kawamura: As things like that piled up, Victoria’s manager heard about it, and I ended up meeting Victoria as well.
Victoria
Nan: I’m glad we met. Mr. Kawamura started seriously aiming to become a professional musician at the age of 30. That’s amazing. I was surprised because she looked so young!
-22:00 monologue by a 22-year-old – A new song that understands the feelings of young people in China-
–What kind of thoughts and messages did Kawamura and Victoria put into the new song “Konkin Seinen no Monologue (22:00)”, which was created after they met?
Victoria
Nan: This time’s “Konkin Seinen no Monologue (22:00)” is a song that directly expresses the feelings of a 22-year-old. Why did I create the song “22:00” when I was 22? , My birthday falls on Chinese New Year, and since it’s a holiday, I was playing outside with my friends until late at night. Then, my family scolded me and told me to come home a little earlier. In short, “22:00″ was my curfew at the time.
–I see.
Victoria
Nan: But I’m already a 22-year-old adult, so I’m thinking about my future life, and this is what I’m writing as a punchline for the hook, but I have limited time to spend time with my family, so I’m thinking about my future life as much as possible. I think I want to be close to my family. Even after I graduate from university, I want to spend time with my family. That’s why I don’t want you to be tied down with a curfew anymore. I understand that a curfew is a sign of love for your family, but you’re an adult now and you need to live an independent life, right? The song “Konkin Seinen no Monologue (22:00)” is a song that directly expresses these contradictory and complex feelings.
–What was the first thing Kawamura sensed when he listened to a song that contained such a “youthful monologue”? Can you tell me?
Hiroshi Kawamura: Previous work “JUST SLACK
I was imagining her artistry based on the impression of her voice in “OFF”. This song had English lyrics, so I could understand what they were trying to convey. What I felt was a culture that does not exist in Japan. Having a curfew even at the age of 22 is a rare occurrence in Japan, isn’t it? However, rather than just being opposed to it, they also understand in their head that it is because of their parents’ deep love for them.In short, it is a dilemma. I was wondering how I could express that part through sound this time. That was the challenge for me.
–As a result, what kind of arrangement did you decide to work on?
Hiroshi Kawamura: Actually, the arrangement changed about three times, but at first it was a slightly more folky arrangement with the voice as the main focus. As we continued to discuss things, we realized that we wanted to include various elements, so we ended up creating an arrangement that centered around the beat. However, in the end, I settled on a feeling that had some variation while removing the beat, and while expressing the various emotions through riff patterns and various instruments, I’m sure she’s worried about heading into the future. So, in the end, I wanted to include this in my arrangement and express my feelings that I love my family very much, but I am moving forward as an individual.
–Finally, please give a message to the listeners who would like to listen to “Konkin Seinen no Monologue (22:00)”.
Victoria
Nan: Some of the listeners around the world who listen to my songs may be facing the same dilemma as me. I want these people to continue doing what they love. I’m sure there will be some difficulties. I hope you will continue to do your best and find the difficulties to be the real thrill. But even as you work hard towards the path you want to take, don’t forget to love your family. Please make time to spend time with your family. I would like to do the same.
Hiroshi Kawamura: As Victoria was just talking about, I think there are many people who are feeling the same dilemma even though their circumstances are different, and that’s why I think there are parts of this song that people can relate to. It’s not just for young children, it’s for all generations. More specifically, this song may function as a hub that breaks down barriers of race, nationality, and gender. I think it would be very nice if that happened, and I feel like it would be a new opportunity for us to understand each other while learning about each other’s music culture, which was mentioned in this interview, and what was born from that background. So I would be happy if that happens. I was very grateful to be able to work on such a song this time. thank you. And listeners, please listen to this song a lot!
Interviewer: Tetsuo Hiraga
[Song information]
Lyric: Victoria Nan (鸭腩儿)
Composer (song): Victoria Nan (鸭腩儿)
Music Arrangement: Hiroshi Kawamura
Mixed by Hiroshi Kawamura
Mastering by Tsubasa Yamazaki (Flugel Mastering)
Cover design：ery
■Each distribution site link
https://bfan.link/Forbidden Youth Monologue 22-00
■MV will be released on the same day on 8/16 at 19:00 (Chinese time)! https://youtu.be/EiWCbNbg7Yo
[Victoria Nan Profile]
A new generation singer-songwriter from China born in the 2000s. European and American pop styles, R&B/folk/pop
She expresses a wide range of genres such as rock and rap with her gentle voice. Global debut single “JUST SLACK”
OFF” was immediately picked up on the up-and-coming playlists in Taiwan and Singapore, making him an artist with great momentum.
｟Discography｠
2020 “Korea” / “Everything is good” / “Fifteen songs”
2021 “JSSNU First Year Cypher”/”Youth/Rise”
2022 “Genuine Love” / “Parallel Line”
2023 “Waltz in Trap” / “Love is (demo)” / “Dear Lover” / “Heaven’s Sky” 2024 “JUST SLACK OFF”
Instagram: * https://www.instagram.com/victoria_nan.official/*
TikTok: * https://www.tiktok.com/@victoria_nan/*
【inquiry】
HTE Records : muto@ht-entertainment.com / 080-1098-8564
HP: https://ht-entertainment.com