#Composer: Tsunku

[yeetushaitus]

literally finished classicaloid like 3 days ago but ig its the 8th anni so happy 8th anniversary classicaloid!! and happy 8th anniversary of me and liszt's marrige(not delusional)

drew my favorite episode!! season 2 ep 10 is so good.... ive watched it like a million times and i couldnt tell u why its def not the craziest ep but i love it idk liszt is just everything to me and i love the message and plot of the episode also ai no kane is SO GOOD i had it on loop for hours while drawing this yesterday

tbh dont know if i like this drawing but im just gonna leave it as is ok bye

[vg-music-i-like]

Packing Pests (Perfect) // Rhythm Heaven Fever

[mitsubachiaria]

Okay but getting a new Rhythm Heaven game is legitimately a miracle. Not only did the production group that made the game kinda shut down but also the lead composer/driving personality behind the whole series, Tsunku♂, had to have his vocal cords removed for cancer treatment and as a result seemed to have largely stepped back from music. Everything was against it coming back and yet it did, because despite everything there is still good in the world.

[musikcore]

What do Classicaloid and Rhythm Heaven have in common?

For those who aren't familiar with Rhythm Heaven, Rhythm Heaven is a rhythm game published by Nintendo. There are a few things that Rhythm Heaven and ClassicaLoid have in common from their characters, composers, and singers.

Same composer!

They have the same composer, which is Tsunku. He is the producer and composer of the Rhythm Heaven franchise. In Classicaloid, he composed 3 albums (Bach, Tchaikovsky, Badarzewska), including the following songs:

Yatterannai Kibun

Ai dake ga Subete Janai

Same rapper!

A rapper named U.M.E.D.Y. in "Maryoku no Aria" can be heard in "Dreams of Our Generation" that appeared in Night Walk minigame (Rhythm Heaven Fever credits) as the backdrop rapper.

Same singer!

Same singer, Hotzmic, in "But I Still Love You" can be heard in "I'm a Lady Now". Funfact, Hotzmic is Tsunku's daughter!

Same singer!

Same singer, Ayubee (Ayumi Takada from Canary Club), appeared in "Subete wa Ai Kara" and she also sang in "Struck by the Rain".

Same baroque composer!

In Rhythm Heaven, there is a minigame called Lockstep that shows a specific character when the game zooms out and the player reached the epilogue, which is Johann Sebastian Bach.

[water-lemon-alex]

Machine TL from a recent tweet from the producer and composer of the Rhythm Heaven series, Tsunku!

“Here it comes! The long-awaited newest "Rhythm Heaven" entry has been announced for release! It's called "Rhythm Heaven: Miracle Stars"! (“Rhythm Heaven Groove” / “Rhythm Paradise Groove”!)

I've been working on the music a lot over the past few years, and it looks like it's going to be full of love! In fact, all the staff members are currently working hard on the production! I'll keep trying my best! Look forward to it!”

Thank you Tsunku, we say in unison 🙏💕

[mrdarknesswolf]

Bombastic reveal

After all these years a new rhythm heaven, I'm hopeful because Tsunku San ... he had to get his vocal cords removed, I hope he is well because ..well... He was the singer for rhythm heaven but he comes back as a composer for the game

Oh yeah and there's the bomb reveal of Tomodachi life 3

[hellbabyfromhell]

What is morning musume

im glad you asked.

i really love a video game series called rhythm heaven and have my whole life! as a teen, when i was nervous i would legitimately have lockstep loaded up on my DS ready to tap away at. i was at senior prom SOBBING bc i got stuck at a house party and the whole time i was crying i was tapping away at lockstep lol.

i wondered suddenly — what else was its creator, tsunku, up to?

turns out it was a LOT! i knew he did music for an idol group but that <- was the extent of my knowledge.

morning musume is the group (along with other groups) that tsunku made/composed all/a lot of the music for and because of this a lot of it sounds fun and rhythm heaven-y or just fucking good. ultimately i am a tsunku fan.

but i like 黄金期, golden era! da best!

their second album is wonderful. a ton of it is wonderful. its insane how much and how good this music is. i listened to “all for one and one for all” and thought oh how rhythm heaven-like! then i listened to love machine and renai revolution and manatsu no kousen i was hooked. do consider giving it a try.

they also were on a lot of variety shows but had their own, and it was extremely fun!!! and they also did like plays and movies and stuff. i’ve become really invested in archiving stuff and making it accessible— im getting stuff off a VHS from 2002 that hasnt been seen in. who knows how long. its nowhere online that i can find! i think preserving these things and sharing them is so important. its kinda become my passion recently, archival/uploading, and has pushed me to actually really try to learn japanese (making good progress!!!)

anyway. thats a little bit about morning musume. thank you.

ピースピース！

[catovyen]

I was still in my Rhythm Heaven era years ago. I remember when I listened to Tchaikovsky's Musik (SHALALA Nayandate mo Kaiketsusen) and Bach's Musik (Subete wa Ai kara), the instrument and choir sounds similar as in they have the same style.

Another thought came into my mind, "this music feels like someone could do a Rhythm Heaven remix"

Another Bach's musik also reminds me of Rhythm Heaven, which is Maryoku no Aria compared with Dreams of Our Generation (the rapper part).

Then when "But I Still Love You" came in, it heavily reminds me of "I'm a Lady Now" from Rhythm Heaven Megamix because of the singer's voice.

At that point, I thought "Okay this composer has got to be someone I know because it is all too similar"

I CHECKED SPOTIFY AND TSUNKU'S NAME IS LISTED AND WENT "OH THAT'S RHYTHM HEAVEN'S PRODUCER/COMPOSER" like hell yeah brother I know that guy

And that's how I found out lmao 💀 I never looked into the Musik composers for each character. But I am glad I found out.

Turns out Tchaikovsky and Bach's Musik has the same singer too (Merumo Hisaoka and Arisa Hario)

[arbitrarygreay]

Bibitaru Ichigeki saved me from attempting this using Ee Ka as the other rap...

Unlike the MM one, all of the songs in this were blessedly close in key, so pitch changes were minimal.

I will say, the MM one has more synergy, which basically reflects the fact that that one was all Tsunku all the time, whereas here we have an arrangement tailored to a Tsunku composition with 3 vocals composed by non-Tsunku (Ookubo/Hoshibe, Takui, and Hirata).

[hotarutranslations]

Gachi Presentation~~!

Evening

⋆͛📣Hello Pro Dance Gakuen Public Recording

It'll be streamed from the 27th🪽

Thank you very much! For all the joyful comments! Look forward!

Well, its Tuesday!

Its the day a dance video was uploaded, for the Aoyama Clothes collab🕺

Today is the group with Chel-chan, Maria, Akanechin, and Yoko-chan✨️

"Aoyama Musume '60" Dance Project Part 2!!

These sparkling 4~~~✨

As they're in stylish arrangements, light steps suited them, It seemed like the genre I learned recently, HOUSE, was a good fit! And Okubo-san, made this song!

If you listen and compare it to the first one with the older sisters,

"Aoyama Musume '60" Dance Project Part 1!!

Its so different, amazing🪽

With these 4, relied a lot on their own skills,😳🩵

Let them be free here! I'm certain they'll do it! like, thats what I ended up deciding with the teacher!

That was really wonderful!

Everyone was really cute like it was a fashion show🥹🩵

Everyone, by all means, Where was it cute-- Where did you like it--

Please relay it to these girls🙈🩵

Morning Musume '23 <MV Watch Party> Suggoi FEVER!

Suggoi FEVER!'s MV watch party was released🫶🏻

Also now, in real time,

Presentation #21 Morning Musume。 The composer himself explains "Wake-up ～Awake-up Time～"!

I'm watching this video from Hoshibe Shou-san!!!

The first time I heard this song, I thought, it sounds like something is starting…! I was like uwaa towards the semi-tone of the melody, and the fact that there are no breaks,

It seems like this reaction was what he was anticipating😂 lol

Since the world of making music, isn't something I have experience in, I think its something really amazing……

Tsunku-san is always there too so,

Hoshibe Shou-san, Okubo Kaoru-san, Thank you very much this time😌🍀

These new songs, are releasing tomorrow! Finally!

It seems like everyone got it before it went on sale! fufu

Please definitely listen to it a lot!

see you ayumin <3

[rpgmakershowdown]

There have been several Custom Remixes of Pepper Steak, but I really wanted one that included visuals, so I put this together in Heaven Studio.

I ran into several issues when making this so there are parts that I'm still unhappy with. At some point in the future I might come back and remake this. Maybe. Or I might make a custom remix for a different song like Fake Orchestra or something. We'll see.

Link to a Zip file containing the remix, the modified version of Heaven Studio, and the art files is here: https://www.mediafire.com/file/nqry3b...

!Important issues!

a) The game lags really bad after the Working Dough section if you miss any of the inputs (I considered an alternate version with a much easier Working Dough section, but could never get one that sounds good, sorry)

b) The Marcher graphics aren't replaced. Despite replacing the files, the game reloads the originals. I believe this has to do with Marcher using streamed assets, but I've never worked with streamed assets in Unity so I can't say for sure or figure out how to fix it (The video was accomplished by reanimating the Marcher section with my new graphics, which also allowed me to throw in the Burnt at the end)

c) The Sarge's first "Attention" sound clip sometimes doesn't play.

Off belongs to Mortis Ghost

Pepper Steak originally composed by Alias Conrad Coldwood

Rhythm Heaven created by Tsunku

[puppys-rhythm-heaven]

which language is it-

[redsevendiamonds]

OnlyOneOf Rie & Nine interview in Good Rocks! vol 115

As the magazine is still on sale I’m not including the original Japanese text for now.

Scans by aveariax @ twitter, translation by me under cut

Korean boy group OnlyOneOf have made their Japanese debut in May 2022. On October 19th will be released their second single, to the tune of the emblematic hit of the 1990s, SharanQ's Zurui Onna. We've invited members Rie and Nine to an interview, drawn by the charms that have captivated so many across borders.

— How did you feel hearing that you were to cover Zurui Onna?

Rie: Japan is famous for that band sound, so I was excited to hear that we would be covering a song representative of the Japanese 1990s, and one written by Tsunku of the band SharanQ and producer of Morning Musume. To have the opportunity to cover the song of someone so talented is an honour.

Nine: I was initially worried about covering a song that's so legendary in Japan, but our producer Director Jeong worked hard and we were able to take both our strengths and those of the original song and blend them into a cool song. Confidence and determination to do our best replaced the worry.

— The first time I listened to your cover of Zurui Onna, I got a rather fresh impression from it, different from the original song. It was surprising coming from OnlyOneOf considering your sexy, adult image.

Nine: What we’re mindful of when composing songs isn’t generally sexiness, but rather which course will make us shine the most. This time as well we started from Director Jeong's guidance and exchanged among ourselves, and landed on this course. Director Jeong is very considerate of us, he's our oji-san [uncle in Japanese]. Rie: Ahjussi? [uncle in Korean] Nine: Wait, appa [dad in Korean]! I meant oto-san, not oji-san! [laughs]

— The original doesn't have choreography either, so that was also refreshing.

Rie: The way the singer sings with his legs in a wide stance in the original MV was memorable. Our main dancer Yoojung imitated it, we stuck to the original song's feeling in the chorus while changing it up a bit, and that became our choreography, in our style.

— There's group choreography, but the pair dancing scenes are also memorable.

Nine: The member pairs use their chemistry while dancing to express the relationship in the lyrics. It's more interesting to watch and listen with that in mind.

— Were there any difficulties in singing Japanese lyrics, rather than in your mother tongue Korean?

Rie: One of my parts is "Goodbye arigato, kokoro kara itoshii koibito" [Goodbye and thank you, love I cherished with all my heart]. The lyrics aren't difficult in themselves, but they're sad lyrics while the singing isn't sad. Having to convey the sadness to the listener was hard.

Nine: Japanese pronunciation is hard. When I listen to our Japanese debut released in May, suit dance (Japanese version), there are parts that I feel that I need to record again. So while I can't do it perfectly, when singing I was careful about pronouncing in a way that wouldn’t result in that uneasy feeling. For example, in Zurui Onna the "zutto" in the chorus' "Zutto kono hi ga tsuzukeba to" [For this day to go on forever] is difficult.

Rie: The "tsu" in Tsunku is also difficult. [laughs]

— Is there a lyric that you particularly like?

Rie: I like the "Bye bye arigato sayonara itoshii koibito yo" [Bye bye thank you and farewell, cherished love of mine] sung by Mill in the chorus. I like Mill's singing voice, it's beautiful.

Nine: I like Kyubin's "Naze konai konai konai konai" [Why won't you won't you won't you won't you come], the diction is interesting. I like the way it sticks in your head just from singing it once. I find myself humming it.

— So what kind of people do you want to listen to this song brimming with various charms?

Rie: Obviously the lyOns [name for OnlyOneOf's fans] who support us, but also the generation of their parents who know the original song. And I want the people of our own generation who don't know the original song to come to love it after listening to our Zurui Onna, and people of all generations to listen to both and compare them.

Nine: I think the original is a legendary song loved by many people. I think our cover can also be liked regardless of generation or nationality, so I'd like for people all around the world to listen to it, and the choreography is also easy to imitate, so I hope they also dance to it.

— What do you think is OnlyOneOf's appeal?

Nine: On stage we focus on alluring with our sexiness, coolness or cuteness, but when we come off stage I think we've got a close, casual atmosphere about us. I think our appeal is within that gap.

Rie: There are many fans who've told us that they were so nervous when first meeting us that they could hardly talk, but as we talked to them the nervousness disappeared. I think fans would say this is part of our appeal.

Nine: But our number one appeal is our songs, I would be very happy for everyone to listen to them.

— Finally, please give a message for Japanese lyOns and readers.

Nine: We prepared many stages for our coming to Japan, and received so much happiness from the lyOns who were there and sent love to us. We'll grow and send this happiness back to our fans, so please continue supporting us!

Rie: Coming to Japan for the first time in May was so fun and I really wanted to come again, so even if it was for a really short stay this time, I was so happy to be able to do live concerts in Osaka, Nagoya and Tokyo. I'll do my best to become a singer who can go to many other places! From now on, my dream will be to perform at Tokyo Dome next year! I'll do my best for it to come true, so please support us!

[super-smash-bracket]

ROUND ONE

Pit: Lady Palutena! Come quick, that lady has monkeys! Can I have a quarter? Palutena: She's not a sideshow, Pit! That's Yuka, a seasoned tap dancer! For years, she's been seeking the secret tap dance parties of the animal kingdom, and those red shoes of hers has finally allowed her to tap with the best of them! Pit: ...Monkeys? Palutena: Monkeys, Pit. Viridi: Honestly? She's right. Those tap dance parties go crazy! There was this one time with a penguin- Pit: Um, but what about her fighting? Palutena: Oh, right. Well, a chain of monkeys can fling her around if she needs to, and she's very adept and punching flowerpots and barrels. I suppose she's had a very good teacher for that. Just read her movements and try to get into her groove!

Pit: Lady Palutena, there's a LOT of energy coming off this lady! Palutena: I don't believe it! That girl - Elizabeth - is overflowing with Tear energy! Pit: Tear... Energy? Palutena: Think of a Tear as a portal into another time period - or even another universe! Pit: Another universe? Viridi: Pit, you like serving Lady Palutena, right? Well, what do you think of serving me? Pit: You?! Never! Viridi: And yet, there's a universe out there where you DO serve me. Probably. If I understand Palutena right, this Elizabeth can open portals to worlds where... Where I won against you two! Palutena: Don't get too ahead of yourself, Viridi. I have faith in Pit to help me protect humanity from any of your attacks. Pit: Aw, thanks, Lady Palutena. Hey, do you have any advice for fighting Elizabeth? Palutena: The possibilities are endless, Pit. However, she can only open one Tear at a time, so when she does, try and distract her so she'll get hit by whatever comes out as well!

[jjcocker]

WHY DID I ONLT FIND OUT NOW THAT TSUNKU COMPOSED A SOGN FLR CLASSICALOID?????

[putschki1969]

KEIKO’s 2nd Album “dew” AVAILABLE NOW in DIGITAL FORMAT - REVIEW

It’s officially past midnight in Japan so you can now purchase and stream KEIKO’s 2nd album “dew” on various Japanese sites/platforms. Even if you ordered a physical copy, please consider ❗SUPPORTING KEIKO❗ in any way you can! Especially if you are eager to listen to the brand new songs and don’t want to wait for your package to arrive!

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BUY it on mora (TUTORIAL here) | BUY it on Ototoy (no proxy required)

BUY it tomorrow in your local iTunes store!  

• ————— ¤ ♫ ¤ ————— •

2021/12/07 Tweet by KEIKO

Good evening. It’s past midnight so it’s the release day of my 2nd album “dew”. I started 2021 making music together with Tsunku, then I participated in Yuki Kajiura’s tour, the year became even more fun when I met eji and made music with her...With 「Lantana」 and now 「dew」 I am collecting more and more music that is precious to me. Thank you to everyone from the bottom of my heart. I am so happy, honestly, thank you ♡ KEIKO (Source)

• ————— ¤ ♫ ¤ ————— •

Review/Overall thoughts: Keiko has pulled it off, guys. She is now officially a living and breathing cello. Blown away by how she is using both her lower and higher register here. Her low notes are impeccable as always but her high notes are also so smooth, melodious and strong, not at all flat, screechy or breathy. She is creating beautiful contrasts that make her songs feel so much more vivid and vast. I think the more toned down nature of the album has given her the opportunity to polish her vocals and truly master the art of singing in a higher register in a way that’s actually flattering to her. I have never made it a secret that I prefer Keiko using her deeper voice but this album has made me truly appreciate all the things she can do with her voice. In her 1st album she had a lot of songs that made her sing in quite unflattering ranges, some of those tracks still give her trouble during live performances and more often than not I find her voice grating. But with her 2nd album that’s not really the case. Generally I would say that I am least impressed with the “old” tracks (i.e. “Sakura wo Goran”, “Michite wa Kakeru” and “Waratte Yaru”) since there is a lot of kinda unflattering high-pitched singing happening in those. None of these songs are bad per se,  I don’t mind hearing them performed live but I wouldn’t go out of my way to listen to them. As for the new tracks, the only song I absolutely cannot get behind is “Revolution” and I have honestly no idea if I will ever be able to overcome my dislike.

1. Nobody Knows You: Written by Yosuke Saito Honestly perfection and such an epic introduction to this noticeably darker album. I am not sure why but I wasn’t 100% sold on it when we first got to hear the song during her fan club event this summer. I liked the verses and I loved the bridge but the chorus was only “meh” (and a tad obnoxious) in my opinion. By now she has performed it on multiple occasions so I have had some time to let everything sink in properly. I have officially reached a point where I can appreciate all parts (even the chorus XD). "Nobody Knows You” has already become a KEIKO staple for me and I can’t imagine a live where she doesn’t sing this. She absolutely SLAYS and provides the necessary gravitas with her striking vocals to complement the grim and fatalistic worldviews presented in the lyrics. Also glad they finally decided to incorporate some cello into her music. 2. 通り雨: Written by eji/KEIKO What can I say? Flawless. From the get-go I was in love with this. I am a ballad-girl and while I am not drawn to all types of ballads, this one certainly hits the right spot. The somber melody with its gorgeous strings/piano arrangement blends perfectly with Keiko’s tragic vocals.  3. 桜をごらん:  Written by Tsunku Doesn’t do much for me. I don’t like it but I don’t hate it either. Pretty bland and her singing style isn’t my cup of tea. Still a bit bummed that an apparently prolific composer like Tsunku couldn’t come up with something a bit more outstanding for Keiko. Very reminiscent of her 1st album. It goes back to what I said earlier about her voice sometimes sounding a bit too grating. I will say though that looking at the album as a whole, it was a good idea to place the song in this spot since it is a nice reprieve after the first two tracks which are quite dramatic and dark. 4. ミチテハカケル: Written by RamSeeni/Shiki Tono As far as up-tempo, rock-ish songs go, this one is pretty solid, I enjoy listening to it. Not as good as “endroll” from her 1st album but better than “Waratte Yaru”. The song does a good job of adding a bit of oomph to the album - although I personally don’t think it was needed. Would have been happy with an album full of ballads and medium-tempo songs XD It almost feels a bit jarring but it goes well with the follow-up track “Latte”. 5. ラテ: Written by Haruo Yoda/KEIKO/Takuma Sato A ton of fun. Didn’t expect to like the “future-funk” elements so much. As the name would suggest, the song is super funky and playful. Also surprised by the rather long instrumental sections in between. There is really not much happening here vocal-wise. No wonder the genre is known as Japanese disco music. Perfect background music for your everyday activities to get motivated. 6. 八月の空: Written by eji/KEIKO I feel like “Sakura wo Goran” and “Hachigatsu no Sora” are quite similar, as in they are both a bit too basic and borderline bland, BUT the latter is Keiko’s very first composition so I am much more forgiving of it.XD The “haha” parts make the song downright addictive and Keiko’s vocals are so much better here than they are in “Sakura wo Goran”. 7. 現実のメタファー: Written by KEYTONE Solid but nothing to write home about. I am curious why they chose to release this in advance. Probably because it was the only remaining up-beat song in the tracklist. 8. キミガネムルカラ: Written by eji/KEIKO I am pleasantly surprised to see Keiko get so many composition credits or maybe this refers to her writing the lyrics (not sure how Spotify’s crediting system works). I love classical music so I am all over the extended instrumental part. For others this track might be too uneventful and short but I think it’s captivating in its simplicity. Just wish there would be even more emphasis on the cello in the studio version. I am spoiled by the live version which has such impressive cello parts throughout the entire song and not just during the interlude. 9. 笑ってやる: Written by Aoi Yamazaki/rui(fade)/Kōsuke Ōshima Another song I am pretty indifferent about. Nothing to say really... 10. Revolution: Written by XYZ The instrumental at the beginning actually sounds quite promising but then the song turns into what we have already heard in the teaser and it doesn’t really change or improve until the end. By far my least favourite track of all the new songs. I don’t see myself coming to like this as I did with “Inochi no Hana” (which was also composed by XYZ). XYZ seems to have a very specific style that might work for Korean drama background music but not really for Keiko...Meh, not happy. 11. Lost: Written by Haruka Kato/koshin *sobs* I am in awe. The teaser wasn’t able to prepare me for the full version. In my opinion this is pretty close to a masterpiece. Not because it is particularly unique or new, quite the contrary actually, I would say the song uses a lot of very old and familiar Kayōkyoku motifs that make it into an instant classic, a true gem. The melody line appeals to me on so many levels, I can barely contain my feelings. Now I also know what they meant by Celtic elements, the intro in particular is super lovely (wish we would have gotten even more of that sprinkled throughout the song). 12. Burn In The Wind: Written by koshin/YHANAEL No complaints from me whatsoever. A nice feel-good ballad with some country vibes that work surprisingly well for Keiko. In my head this is Keiko paying tribute to Taylor Swift XD The soft-rock elements make this even better and remind me of some old-school power ballads.

In total, there are five standout tracks which I would give a solid 10/10 rating (”Nobody Knows You”, “Toori Ame”, “Kimi Ga Nemuru Kara”, “Lost” and “Burn In The Wind”). All of them just SCREAM “Keiko” to me. Not sure if Keiko put together the album with a concept in mind but I definitely feel like as a whole it represents her much better than the first one did and thus I automatically appreciate it more. And even though Keiko claims that she sang all these songs in a reserved manner and “without emotion”, I cannot help but feel like her singing is much more expressive than it used to be, it has a very raw and rich quality to it.