#shoichiro hirata

[posthumanwanderings]

Shoichiro Hirata: Aitakute… Your Smiles in My Heart (PS1) - Name Entry

[gj340]

i like boys that can sing, especially if their voice actors are good singers!

[arbitrarygreay]

Chel squeeing over Yoshi Yoshi Shite Hoshii no is me. Chel being a bass lover IS ME. I literally made a "Jpop bass covers" playlist this year that is over 95% H!P.

[jasper-rolls]

Song: Kiss Like This Artist: Shoichiro Hirata Album: AD:HOUSE 11 Circle: Diverse System

[imasallstars]

The cover art for THE IDOLM@STER MILLION THE@TER VARIETY 04 album has been released and the album is set to be released on September 27th 2022. It will feature the full version of previous special songs.

The crossfade of the album is located here

Tracklist:

Tr.01　Yumemigachi Bride 　Lyrics: Aira Yuhki　Music: Aira Yuhki, PandaBoY 　Arrange: PandaBoY 　Singer(s): Hibiki Ganaha, Nao Yokoyama, Umi Kousaka, Mizuki Makabe, Miya Miyao Tr.02　Campalina♡ 　Lyrics&Music: Riko Ohashi　Arrange: Shoichiro Hirata 　Singer(s): Azusa Miura, Chizuru Nikaido, Reika Kitakami, Takane Shijou, Fuka Toyokowa Tr.02　Dance in the Light 　Lyrics,Music&Arrange: Yuto Minami 　Singer(s): Ayumu Maihama, Iori Minase, Sayoko Takayama, Subaru Nagayoshi, Rio Momose Tr.04　Yumemigachi Bride (Off Vocal) Tr.05　Campalina♡ (Off Vocal) Tr.06　Dance in the Light (Off Vocal)

[koinodancesite]

“Gyuu Saretaidakenanoni”

Coupled with “Junjou Evidence”

Release date: December 16, 2020

Oricon Weekly placement: TBD

Members: Akane Haga, Ayumi Ishida, Chisaki Morito, Erina Ikuta, Homare Okamura, Kaede Kaga, Maria Makino, Masaki Sato, Mei Yamazaki, Miki Nonaka, Mizuki  Fukumura, Reina Yokoyama, Rio Kitagawa, Sakura Oda

If its other half, “Junjou Evidence,” remained a bit lyrically coy on what it tried to get across -- for one, what exactly is the “evidence of innocence” anyway? -- “Gyuu Saretaidakenanoni” is so obvious about its feelings that it would be simply foolish to call any attempt to grab attention here a hint. But Morning Musume’s eye candy here is unfortunately dull enough to not recognize the idols’ gestures even if they hit him on the head. The idols, meanwhile, sound rightfully frustrated.

“Gyuu” begins by making a lyrical callback to a Morning Musume ‘17 album cut, “Watashi No Nannimo Wakacchanai,” almost literally. Like they do in the 15 Thank You, Too song, the idols harp on the song’s main point -- “nanmo wakattenaijanai,” or “you just don’t understand anything” -- repeatedly like they’re putting him in the hot seat. It pairs with the also-repetitive nature of the EDM beat with each run of the throbbing loop onsetting a bigger ounce of guilt, or so seems their strategy. They conclude their guilt-tripping session by emphasizing how neglected they’ve been, and no other lyrics get seared deeper into memory than “usagi-chan syndrome.”

That instantly-viral “bunny syndrome” lyric aside, the contents so far read woefully serious. The chorus sings about regaining control, and sung over a familiar EDM backdrop, it can remind of another “taking the hand of the wheel” song like “Help Me!!” (Funny how that single, too, squeezes in Tsunku-isms before a chorus about taking back glory.) But “Gyuu” doesn’t aspire to speak on any greater ambition other than relieving their own desire for attention. Morning Musume don’t provide much base in the song for it to become some deeper metaphor. It’s all in the title: “I just want you to hold me tight.” Nothing more. 

The EDM music carves out a space for Morning Musume to not care for guile or profundity, and it allows for a self-centered persona to come to the forefront. Kaoru Ookubo’s arrangements sound slightly more garish than Shoichiro Hirata’s for “Junjou Evidence.” The loud club synths surely recall the first wave of EDM that peaked during the Colorful Era, but the booming buzzsaw bass line also reminds me of brash-in-retrospect third-wave K-pop that took influence from post-crunk R&B as well as Timbaland and Danja. The datedness brings out some kitsch into the song’s personality, setting up an appropriate place for the idols to fill with shameless playfulness and boasting.

The brashness also helps solve some of Morning Musume’s more aggressive antics as if the loud music is there to distract from the bluntness of the lyrics. The way Morning Musume are drunk on their own desires recall “Shabondama,” particularly in the chorus when they let slip this thinly veiled threat: “do you want me to cry in the middle of this street?” But unlike Rika Ishikawa in that old single, it’s hard to detect any spike in emotion from them; they instead resemble the composed manner of any of their other post-Colorful songs. What I took away from “Gyuu” initially was how frustratingly oblivious the other person was in not getting the hint. But read a bit closer, and it’s clear Morning Musume are not such an easy group to answer to. 

[7]

[posthumanwanderings]

Shoichiro Hirata: ISS Pro Evolution 2 (PS1) - Main Menu

[gj340]

“guys can’t sing”? i beg to differ. they can sing!

[arbitrarygreay]

I don't know why Hirata would do this to me, but the Glass no Pumps arrangement is full of bloops in that high frequency range that old people can't hear.

Why.

[smackdownhotel]

LUV 2 FEEL U

-Shoichiro Hirata

-IIDX 8th style

[hellopromusic]

H!P's Bollywood If They Could

Koi wa Accha Accha

Composition: Hoshibe Sho Lyrics: Kodama Ameko Arrangement: Hirata Shoichiro

So the combo of Hoshibe and Ameko is starting to be one of my favorite duos. They have done two of my all time favorite Angerme songs, marionette 37C degrees, and now Koi wa Accha Accha. I am so very pleased with this writing duo and I hope they stay an item. The song is clearly based on Bollywood type musicals, which have a long, varied, and entertaining history. Bollywood is of course a play on words, its the "Hollywood" of India. Bollywood is known for its grandiose musicals, with their accompanying dance routines and songs. I offer you two old school examples of Bollywood's style in Dola Re Dola and Mehndi Lagaau Kis Naam Ki.

The indisputable highlight for me in this song was hearing Ebi-chan's voice (Ise Layla). She has the voice of a Siren. I am so pleased! So this confirmation for me has me strongly debating whether to let her have my number 1 spot or allow it to remain Maa-chan (Sato Masaki) (who was my original and my only ever Oshimen...)

Anyways, on to the song. So the song has the tonal Center of Gb. I am not sure of key or anything, it may be based on an Indian mode or scale or something. But the notes I used in playing this song were Gb - Ab - A - B - Db - D - F - Gb. The song is 1-4-5, for the most part. Sometimes it stays on the same note, like traditional Indian music (like drones or ragas), but not for long. The pre-chorus is 6-7-4-5-1 tho.  

Structure:

Intro (2 bars) Music Break (4 bars) Half Chorus (5 bars)

Verse 1 (4 bars) Verse 2 (4 bars) Pre-chorus (5 bars) Chorus (9 bars) Breakdown (5 bars)

Verse 1 (4 bars) Verse 2 (4 bars) Pre-chorus (5 bars) Chorus (9 bars) Breakdown (5 bars) Bridge (5 bars) Pre-chorus (5 bars) Odoritai Long (2 bars) (Meter slows down)

Chorus (9 bars) (Meter returns) Chorus (9 bars)

I really would like you guys to pay special attention to the Indian instruments that are used in the song. I think they (likely Hirata Shoichiro) do a good job of sprinkling in those traditional Indian instruments like the tablas and the sitar. They have reeded instruments and others. I think you should really pay attention to those little additions.

[imasallstars]

Campalina♡

　Lyrics&Music: Riko Ohashi 　Arrange: Shoichiro Hirata