To commemorate Uwanosora’s awesome third album, Yogiri, finally being made available on Spotify last month, here is an interview about it. You owe it to yourself to give it a listen. Enjoy!

Interview & text: Uchi Takahide of WebVANDA (Japanese text: part one & part two)
English translation: Henkka
Uwanosora on the web: Website, Instagram, Kadoya Hirohide Twitter, Iemoto Megumi Twitter

Note: You can buy Yogiri from CDJapan.

With the release of their second album Hidamari in 2017 (and a subsequent analog pressing the following year) still fresh in our minds, Uwanosora are releasing their eagerly anticipated third album Yogiri on June 26th.

This being their second release after becoming a duo in August 2017, Kadoya Hirohide (guitar, songwriting, production) and Iemoto Megumi (vocals) have, since the city pop beginnings of their 2014 debut, incorporated elements of various other genres into their music as they continue to develop their sound. One might even say they have become “music for the discerning music fan.”

In this interview, we asked the two members about the creation process of this album.

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Portrait in Rock’n’Roll, the debut album by Uwanosora “side project” Uwanosora ’67, was released on June 10th, 2015. This interview with its members Hirohide Kadoya and Megumi Iemoto was published on their website some days later. The album is unfortunately not as of writing available for digital purchase, but this shop appears to stock the album and will ship overseas (and here’s their English-language shopping guide). Please enjoy the interview.

Original interview & text: Takahide Uchi (parts one & two)
English translation: Henkka
Uwanosora ’67 on the web: website, Twitter: Kadoya & Iemoto

— To start off, I’d like to ask you about your initial motives in regards to Uwanosora ’67 and your first release, Portrait in Rock’n’Roll. Why did you decide to release this album with just you and Iemoto, and why not under the name of Uwanosora?

Hirohide Kadoya: The initial motive was simple: we wanted to release an album with a 60s approach. The fact that it ended up being just me and Iemoto was because me and Oketa had such different ideas about what we wanted to do with that concept. Sure, we could’ve just compromised and met halfway, but when we listened to what each of us had, there was just such a difference in the material that we found them incompatible with each other. That’s not to say that made things between us weird or anything — the both of us agreed that we wanted to try both those approaches and so we thought it’d be a fun idea if we’d both write our individual sets of songs for Iemoto to sing. And that’s how this came about. My batch of songs was completed first, so they’re also the ones getting released first. Uwanosora the group has always been us three, so it was our intention from the beginning to release this album under a different name. Well, all we did was add some numbers at the end though. (strained laugh)

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Uwanosora is a great, new Japanese band who released their self-titled debut album last year. The following is to my knowledge the only published interview they’ve done so far and it’s an interesting, very in-depth read. Two members of Uwanosora are releasing a new album next month under the name of Uwanosora ’67 which you would also do well to check out.

I definitely recommend giving a listen to this band especially if you’re a fan of, say, Lamp.

Original interview, text: FUKUROKO-JI (parts one, two, three & four)
English translation: Henkka
Uwanosora on the web: website, iTunes, Twitter: Kadoya, Oketa & Iemoto

Note: You can buy Uwanosora from iTunes or CDJapan (physical CD, PayPal accepted).

(L-to-R) Hirohide Kadoya (guitar, songwriting), Megumi Iemoto (vocals) & Tomomichi Oketa (guitar, songwriting)

As a resident of Kansai, the first time I heard the term “city pop” was around the time I moved from my hometown of Nara to start university in Osaka. I think the reason I didn’t really get what the term meant was because, for me, “city” had always meant “Tokyo.” Sure, I’d always lived right next to Osaka, but to me Osaka was a place that never had the image of an urban, polished city — I’d always just thought of it as this area that had been forcibly made to flourish. But these feelings of mine towards Osaka were also what made me so interested in the “city,” and once I’d gotten to know the streets of Osaka a little bit, I started imagining just what Tokyo must be like in comparison. This was also when I first became interested in the musical genre of city pop, but deep down inside, I was cynically thinking to myself how “this city pop stuff is surely something only people living in the suburbs of Tokyo are able to truly understand.“

This blog, FUKUROKO-JI, is a place where I’ll be interviewing people I’m personally interested in. My honorable first guests and fellow Kansaians, Uwanosora, are a three-piece band consisting of Hirohide Kadoya (guitar, songwriting), Megumi Iemoto (vocals) and Tomomichi Oketa (guitar, songwriting). Formed in November of 2012, they produced an eight-song demo tape (unreleased) after just two months of being a band, and this July they released their first full-length album, Uwanosora, through Happiness Records.

I first heard of this band through the Nara record store Django, whose owner, Mr. Matsuta, I spotted praising Uwanosora on Twitter. I immediately bought it, and upon listening to it I was overwhelmed by the level of songwriting and arrangements that were way beyond the level of your average debut indie album. I desperately wanted to ask them about their approaches to songwriting and about the songs included on the album, and so with nothing to lose, I approached them about doing an interview. And, admittedly, at the back of my mind I did have an ulterior motive of wanting to know more about these people who — despite not living in Tokyo — had managed to release an album full of city pop.

Interview & text: FUKUROKO-JI

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