回転するベンチは時計の針、つまり時間の経過を表してるんだと思う

👍👍👍nice reaction❤

Thank you for reacting to 2 phenomenal artists from my country 🇯🇵🌸
Will wait for more!

React on signed to god and goat song with subtitles sidhu moose wala

you need to watch it csm

😊Excerpt from an interview article

#### The effect of a “fundamental misalignment”: “JANE DOE,” a collaboration with Hikaru Utada. ####

---“IRIS OUT” is paired with an ending theme called “JANE DOE,” a term used for an unidentified female.

“The first time I encountered this phrase was when I heard the term ‘JOHN DOE’ in David Fincher's movie SEVEN, and after looking it up, I discovered there was also a female version. SEVEN didn’t have a direct influence on the song, but the film popped into mind and it naturally felt like this was the only possible title for it. That realization became clear when I wrote the lyrics for the chorus.
I had this image of someone walking barefoot through a place filled with broken glass, their feet getting cut and bloodied, leaving red footprints stretching far into the distance. That became the centerpiece, and I built on that.”

---Additionally, it's worth noting that this song uses a 6/8 time signature, which is unusual for Kenshi Yonezu.

“When I first thought about the ending theme for the REZE ARC, the image that immediately came to mind was of the two dancing a waltz. From there, it underwent many changes. I considered whether it might be better to create a symbolic song that evokes a certain ‘sense of adolescence’ —like the sound of a school brass band echoing in the distance after school. But in the end, I felt that the initial idea — the two dancing, with that melancholic and slightly dark impression—was the best fit for the story as a whole.”

---But when it comes to this song, Hikaru Utada's participation is definitely the hottest topic.

“From the very beginning, I felt the ending theme for the REZE ARC should be sung by someone else. But I didn’t know who would be a perfect match until I began working on it. I preferred to keep an open mind instead of making a predetermined decision, hoping something would reveal itself as I worked on the song. I built the song step by step, starting with the opening piano riff, and by the time the melody and lyrics for the verse started forming, I became convinced that Utada-san was the only choice. I thought, ‘I should just go for it and ask!’ That's how it all came together.”
“Utada-san has had such a long career with many facets that it’s tough to sum up in just a few words. In my opinion, there's a certain melancholic air about them, an unmistakable presence that also conveys feelings of loneliness and sadness. Yet, simultaneously, there's a refreshing, breeze-like quality to them, particularly in their smoky tones. I feel they possess both these contrasting qualities. Utada-san has an immense presence; their voice leaves your completely under their command. Yet the moment the song ends, it's as though they have vanished instantly from before your eyes. And I felt that really aligned with Réze.

---In other words, it appears the inspiration didn't come from any particular song by Hikaru Utada, but rather from the overall image they have developed over their career.

“That's right. At least, my personal impression of Utada-san played a major role. The first time I came to appreciate Utada-san as a musician was around junior high when ‘Darekano Negaiga Kanaukoro’ came out. I also really loved the song, ‘FINAL DISTANCE.’
This was a long time ago, so I know it’s very different from Utada-san's current style, but those songs are deeply engraved in my memory. Then there's the sadness, or rather the melancholic vibe of “Fantôme”, which also stood out to me and I really loved.”
“I think I said something quite audacious, like, “This song will not be complete without Utada-san's voice.” Since Utada-san lives in London, we recorded on the song by exchanging files. I explained the concept of ‘a duet between someone with all kinds of complexities and someone who fundamentally doesn’t understand them.’
We even had a phone conversation once. I did share some notes along the way, asking, ‘Could you sing this part a bit more like this?’, but I realized that the sensibilities we each have toward singing were fundamentally quite different. Ultimately, I felt it was best if Utada-san interpreted the song through their own physical expression, rather than me giving them too much direction.”

---What is the difference in singing style between Utada Hikaru and Yonezu Kenshi?

“Utada-san’s style is more R&B, meaning she doesn't feel the need to stay perfectly on beat like a metronome, but instead takes a more fluid approach to rhythm. On the other hand, I come from an alternative rock, Vocaloid, and DTM background, so I focus more on those elements. Additionally, there's that personal preference I mentioned earlier about ‘focusing on the downbeat,’ which highlights the difference in our styles. That said, the difference actually worked out in the end because it fit perfectly with the concept of ‘a duet between someone with all kinds of complexities and someone who fundamentally doesn’t understand them.’
I believe the mismatch worked incredibly well in the song.”

こんなにもわいわい聞く曲じゃないんだよな