Hikaru Kuma
04-02-2009, 01:58 PM
Trên trang Myspace của Utada đã dc update với tên của Album mới là ^
Và đi kèm : (coi mỏi mắt lun)
http://blog.ningin.com/wp-content/uploads/ningin/blog/2009/02/utada_ningin_this_is_the_one.png
01. On And On
02. Merry Christmas Mr. Lawrence - FYI
03. Apple And Cinnamon
04. Taking My Money Back
05. This One (Crying Like A Child)
06. Automatic Part II
07. Dirty Desire
08. Poppin’
09. Come Back To Me
10. Me Muero
Extra Remix Tracks:
11. Come Back To Me (Seamus Haji & Paul Emanuel Radio Edit)
12. Come Back To Me (Quentin Harris Radio Edit)
About Utada
When I start making a song, for one second I see an amazing view—and in that instant, it cracks and falls to pieces. Then the rest of the process is trying to put the pieces back together. So when it feels familiar, when I see what I saw in that moment the song was conceived, then I know it’s done.—Utada
Hikaru Utada is one of the biggest pop stars in the universe. Over the last ten years, her accomplishments in Japan are simply staggering. Her 1999 debut First Love is the country's biggest-selling album of all time, and three of her albums rank among the Top Ten best-sellers. She has had 12 Number One hits, including four songs in Japan's all-time Top 100. 2001's Distance had the largest first-week sales for any album in Japanese music history, selling an astonishing three million copies. In total, the young singer has sold more than 52 million albums.
But unlike most pop starlets around the world, Utada is also a songwriter and producer; indeed, she says that she thinks of herself as a composer more than as a performer. And on her new Island Def Jam album—ten self-penned songs produced by the powerhouse producers Stargate (Ne-Yo, Rihanna, Beyonce) and Tricky (Britney Spears, Madonna, Mariah Carey)—26-year-old Utada reveals the unique sense of songcraft that is poised to make her a force in the US and European music communities.
"I wanted to make something that’s accessible but not cheap—not low-class or stupid, but still appealing to a wide audience," says Utada. "I like to make music that’s multi-layered. You might like a song and want to dance, but not really dive into the lyrics and analyze them. And then if you’re more bookish and you like words, you might notice the references I make, to Captain Picard or Freddie Mercury or Winona Ryder.
"Both things are just as important to me—to be catchy, so when you hear a song on the radio it sticks out, and also to have that depth."
In conversation, Utada is endlessly surprising, instantly shattering any expectations or stereotypes. The list of heroes and influences that she cites—from the Cocteau Twins to Conan O'Brien, from author Roald Dahl to the Notorious B.I.G.—is unpredictable but extremely telling. "I like smart people," she says. "Not whether you're educated or not, just whether you have that spark, that light in your attic."
Born and raised in Manhattan and educated at Columbia University, Hikaru Utada grew up surrounded by music. Her father, Teruzane Utada, was an accomplished musician and producer, and her mother, Keiko Fuji, was a successful Japanese enka (ballad) singer. Utada spent her youth shuttling between New York City and Tokyo, but her most consistent home was the recording studio. By age 11, she had written and recorded her first song, and by the time she graduated from junior high school, she had been signed by EMI Records; her first album, Precious, was recorded in English, but didn't come out in the US because of business problems at the label; it was subsequently released in Japan.
After moving to Tokyo full-time, she began recording in Japanese, and her debut album in that language, First Love, was an explosive, historic success. Since then, she has had five Number One albums in Japan—most recently, Heart Station in 2008, which was the year's best-selling non-compilation album.
With that level of popularity, it's easy to wonder why Utada is taking the difficult step of starting over as a new artist for a new audience. "It's true that I could have stuck to my throne and taken the easy way," she says, "but I felt that my creativity, my humanity would be endangered by staying in that position. I don’t want to just be this crazy artist who lives in la-la land, I want to be in touch with the real world and stay humble. And I like it when something feels scary—I see fear as a guiding light."
Utada did make one earlier foray into the English-language marketplace with the Exodus album n 2004. But even though the singles "Easy Breezy" and "Devil Inside" were hits on the club charts, she views the new album as her true debut. "On that album, I was so insecure," she says. "I was trying too hard, it wasn’t natural. But on this album, there’s a maturity, a more free-flowing and natural confidence."
In approaching the new album, Utada was very careful about choosing her collaborators and setting their expectations. "With both teams, I wanted them to lay out the basic tracks," she says, "but I told them that I have to write my own songs, with complete control over melody and lyrics."
The producers also turned out to have very different processes. "With Stargate, it was all data transfer," she says. "I recorded most of the vocals in Tokyo and sent them to Norway or New York. They loved it—they were like ‘This is the future!” But with Tricky, we actually spent time in the studio together, and that was nice and warm. I’m not much of an extrovert, so it was a good experience to have to communicate and get to know a new person."
Utada singles out the track "F.Y.I." (which includes samples from experimental pianist Ryuichi Sakamoto and references to the film Merry Christmas, Mr. Lawrence) as a central moment in determining her final vision of the album. "I recorded the demo in December of 2007," she says, "but it was a difficult song, and I wasn’t satisfied with it—I had to try to get to the bottom of it. And then just a few months ago, I suddenly came up with the right lyrics, changed the melody in places, and it made sense.
"When that song crystallized," she continues, "the message of it was very strong and confident, and I felt like it was a good introduction to me, that it fits in with my current story."
In contrast, the breezy "Apples and Cinnamon" came "almost too easily" to Utada. The vocals on the final version are mostly what she recorded as the demo. "I almost don't even feel like I made it," she says. "I didn’t get to savor the experience of it." But her own favorite song on the album is the flirty, sophisticated "Me Muero"—"no other song makes me feel the way that one does."
It's been a long journey, full of many miles and many melodies, for Utada to get to this album. But the lessons she's learned ultimately gave her a clear sense of what she was looking for. "I wanted to get back to basics," she says. "Nothing gimmicky, just very straightforward and confident, with a sense of humor. I was so sure of what I was doing, and I just became more of an adult—finally."
Cuộc phỏng vấn qua điện thoại với Utada do Mike Parker thực hiện
You might not recognize the name, Utada, but you soon will. Born into a musical family, Hikaru Utada had written and recorded her first song before she entered jr. high. Before she got out of junior high she had already signed her first record deal. In the past ten years all she has done is sell more than 52 million records in Japan. Utada’s new single, “Come Back to Me” is set to impact pop radio on February 9th, and her Island Def Jam debut album is scheduled to drop in the US in late March. Will the 26 year old pop diva deliver a repeat performance of her Japanese success? After chatting with Utada on the phone, I wouldn’t bet against her.
Mike Parker – There is an old saying that goes, ‘Nothing succeeds like success.’ You’re huge in Japan. Why bother trying to crack the American market?
Hikaru Utada – It’s something new and challenging and fun. I don’t want to be enthroned in one place and feel like there is nothing left to accomplish. I don’t want to get caught up in the unreal position that success can engender. I would rather be climbing the mountain that sitting on top of one.
Parker – You come from a musical family. How much did that influence your choice to pursue music as a career?
Utada – As a child I really wanted to avoid choosing that career path. Watching my parents I realized at an early age that music is an unstable career. I think my mother wanted me to become a musician, so I’m not sure I had a choice (laughs). I have a choice now, of course, and I’m happy being a musician.
Parker – What kind of training get your parents give you as a musician?
Utada – I had no musical training when I was growing up. My training came from just living with musicians. I was an only child so I was frequently with my mother when she was traveling, performed or in the studio recording. I remember after school when I was in the first or second grade I would go straight to the studio and do my homework there. I was already living like a musician. It was all watch and learn.
Parker – Did your parents give you any advice about being a musician that you have found to be indispensable?
Utada – I don’t think so, no. Not direct advice. I’ve mostly just watched and learned from them. They really let me grow on my own. They never made me take specific classes or lessons. They waited to see where my interest lie and then they helped me find the resources I needed to excel at that.
Parker – You were born and raised in Manhattan. Why did you decide to pursue your pop music career in Japan?
Utada – It wasn’t a conscious choice on my part. It didn’t matter to me, it just happened that way. I made an album in English when I was in my early teens, but there were some complications at the label and it never came out. But EMI Japan heard it and when they realized I was Japanese they encouraged me to do an album in Japanese. Things just took off from there.
Parker – At age 26 you’ve already had a career that far eclipses most recording artists. Are there challenges that you still look forward to facing?
Utada – I get excited about everyday things like cooking, or making sure my room is humidified. Just daily living. Little things excite me.
Parker – In addition to being a recording artist you also write your own music and have had a pretty large role in producing. What is your favorite part of the creative process?
Utada – I can’t chop up the process into little pieces. It is all one process for me. I can’t do an autopsy and take out one part. Creativity is one organism for me and I love the whole process.
The Seven Questions
1. What’s your favorite sound?
Utada – An MRI. I love the sound I hear when I am inside it. I wish I could sample it.
2. What makes you happy?
Utada – Being grateful. Being appreciative.
3. What makes you angry?
Utada – People who are not professional on their job. It doesn’t matter what the job is, you can be a waitress or a CEO, if you are good at your job I admire that. If you are not, it irritates me. And people standing around in doorways. It’s a doorway. Don’t stand there.
4. What is the secret of success?
Utada – It is to not know the secret; to be unaware on some level.
5. If you could have dinner with anyone in history, living or dead, who would it be?
Utada – Roald Dahl, the author.
6. What is the epitaph that is written on your tombstone?
Utada – I see no epitaph. Just my name and the years. Very simple. Nothing elaborate.
7. When you get to heaven, what is the first thing you want to hear God say to you?
Utada – ‘Oh, you again.’
Bài phỏng vấn nữa với David gì gì đó
Utada was back in New York City this past week and somehow found the time to meet with Ningin ningens David, Hoc and Megu. No Ningin camera crew this time. Just a casual interview 26 floors up on the West side of Manhattan with Utada and her father. Utada was lounging out like it was a lazy Sunday with just a T-shirt, jeans and an ear flapped knit cap - except it was Monday. Her upcoming English language album, This is The One, is set for a March debut and will be released in American and Japan. In this first of two parts, Utada talked about record label politics and writing her new album.
David: The first single that’s out right now has a very American R&B sound to it, will the album have that same sound? Your other Japanese albums have more of an electronic sound to them.
Utada: Compared to the Japanese stuff, yes, there is a bit more of a very American sound I guess. I think the R&B-ness of it is because of the fact that I wanted to make an album that would be mainstream and good pop. At this point, R&B, it’s just that it’s mainstream.
David: and pop?
Utada: Right. But then there are many different styles in the album. Like the songs, they’re all very… some of them are more European sounding or Japanese influenced, it’s many different forms, but overall I would say there’s that mainstream feeling.
David: The first single “Come Back to Me” isn’t necessarily an indication of the entire sound of the album?
Utada: It’s hard. In some ways it is, and in some ways it isn’t.
David: People who already know your stuff will find something familiar?
Utada: Yeh, I think so. There should be something familiar with “Come Back to Me” as well. It’s just what aspect or how much you’re talking about… just the essence as an artist or the nature of the genre or nature of the track. It’s the same voice.
David: “Come Back to Me” personally I think it goes a little bit back towards your older stuff.
Utada: Yeh, it’s true. To the very beginning. [laughs]
David: It seems to ride more on your actual voice.
Utada: Yeh, I intended to be more of a singer, which is where I started out anyways. I feel very comfortable, like at home with the new song.
David: I assume you’re very confident about the new album because you’re going to release the American version in Japan.
Utada: That’s a sign of confidence? [surprised]
David: Well, it’s not like your Japanese releases. So you must be confident that even tho your Japanese fans are used to listening to something else from you…
Utada: Oh, it’s not a choice that I’m releasing in Japan. It’s more record company politics. It’s like in the contract. It’s not like “I’m going to put this out in Japan because I’m confident.” That kind of thing? Nada!
David: Oh.
Utada: It’s politics. No choice.
David: Is it EMI that’s releasing in Japan?
Utada: Universal.
David: Oh, well that’s a little surprising.
Utada: Really? I don’t think any artist has that choice to put it out and in what country. That’s not up to the artist. It’s completely up to the record company.
David: I guess I’m surprised [because] I thought you would have a little more say in it.
Utada: No. [laughs]
David: The first single is “Come Back to Me” which a lot of people have heard already. It’s on your MySpace and on your website, and that comes out February 9. And the new album will be called?
Utada: “This is the One”
David: For “Come Back to Me” you worked with the Stargate producers. Did you work on any other tracks with them?
Utada: More than half the songs. There’s ten songs on the album and six of them were done with Stargate. And the other four with Tricky.
David: Did you have a say in songwriting for all the tracks?
Utada: Yeh, I wrote the songs. Wouldn’t have it any other way. [laughs]
David: You also worked with Timbaland–
Utada: For the last album.
David: Are there any other American producers or artists that you want to collaborate with?
Utada: Not really. When the time comes I will think about who, but not really. [laughs]
David: You prefer being a solo performer?
Utada: This time the reason why I decided to work with Stargate and Tricky was because I didn’t want to have any big producers on the album like Timbaland-type producers that have their own color coming out, like their character is strong, like Timbaland-esque.
David: It sounds like Timbaland.
Utada: Right, where as I wanted it to be just me. To have track makers instead of producers. Stargate and Tricky are more like track makers. They’re producers but compared to Timbaland-type producers, they’re better at bringing out the quality and characteristics of a particular artist. They can take one step behind, sort of, into the background a bit. They know how to do that. That’s how they work. It was a very interesting collaboration in terms of music as well. I said “I’m going to write all the songs. That’s how it is.” I also collaborated on the tracks as well. I added some tracks, I changed the chords, had a part in the arranging… so I think a lot of me comes out in the whole album… which is good. [smiles]
David: I think a lot of you comes out in the single that’s out now. Like I said, it definitely reminds me of some of your older material.
Utada: Yeh, like the “First Love”-ish thing. Yes.
David: But contemporary.
Utada: But the 2009 version. [laughs]
Và đi kèm : (coi mỏi mắt lun)
http://blog.ningin.com/wp-content/uploads/ningin/blog/2009/02/utada_ningin_this_is_the_one.png
01. On And On
02. Merry Christmas Mr. Lawrence - FYI
03. Apple And Cinnamon
04. Taking My Money Back
05. This One (Crying Like A Child)
06. Automatic Part II
07. Dirty Desire
08. Poppin’
09. Come Back To Me
10. Me Muero
Extra Remix Tracks:
11. Come Back To Me (Seamus Haji & Paul Emanuel Radio Edit)
12. Come Back To Me (Quentin Harris Radio Edit)
About Utada
When I start making a song, for one second I see an amazing view—and in that instant, it cracks and falls to pieces. Then the rest of the process is trying to put the pieces back together. So when it feels familiar, when I see what I saw in that moment the song was conceived, then I know it’s done.—Utada
Hikaru Utada is one of the biggest pop stars in the universe. Over the last ten years, her accomplishments in Japan are simply staggering. Her 1999 debut First Love is the country's biggest-selling album of all time, and three of her albums rank among the Top Ten best-sellers. She has had 12 Number One hits, including four songs in Japan's all-time Top 100. 2001's Distance had the largest first-week sales for any album in Japanese music history, selling an astonishing three million copies. In total, the young singer has sold more than 52 million albums.
But unlike most pop starlets around the world, Utada is also a songwriter and producer; indeed, she says that she thinks of herself as a composer more than as a performer. And on her new Island Def Jam album—ten self-penned songs produced by the powerhouse producers Stargate (Ne-Yo, Rihanna, Beyonce) and Tricky (Britney Spears, Madonna, Mariah Carey)—26-year-old Utada reveals the unique sense of songcraft that is poised to make her a force in the US and European music communities.
"I wanted to make something that’s accessible but not cheap—not low-class or stupid, but still appealing to a wide audience," says Utada. "I like to make music that’s multi-layered. You might like a song and want to dance, but not really dive into the lyrics and analyze them. And then if you’re more bookish and you like words, you might notice the references I make, to Captain Picard or Freddie Mercury or Winona Ryder.
"Both things are just as important to me—to be catchy, so when you hear a song on the radio it sticks out, and also to have that depth."
In conversation, Utada is endlessly surprising, instantly shattering any expectations or stereotypes. The list of heroes and influences that she cites—from the Cocteau Twins to Conan O'Brien, from author Roald Dahl to the Notorious B.I.G.—is unpredictable but extremely telling. "I like smart people," she says. "Not whether you're educated or not, just whether you have that spark, that light in your attic."
Born and raised in Manhattan and educated at Columbia University, Hikaru Utada grew up surrounded by music. Her father, Teruzane Utada, was an accomplished musician and producer, and her mother, Keiko Fuji, was a successful Japanese enka (ballad) singer. Utada spent her youth shuttling between New York City and Tokyo, but her most consistent home was the recording studio. By age 11, she had written and recorded her first song, and by the time she graduated from junior high school, she had been signed by EMI Records; her first album, Precious, was recorded in English, but didn't come out in the US because of business problems at the label; it was subsequently released in Japan.
After moving to Tokyo full-time, she began recording in Japanese, and her debut album in that language, First Love, was an explosive, historic success. Since then, she has had five Number One albums in Japan—most recently, Heart Station in 2008, which was the year's best-selling non-compilation album.
With that level of popularity, it's easy to wonder why Utada is taking the difficult step of starting over as a new artist for a new audience. "It's true that I could have stuck to my throne and taken the easy way," she says, "but I felt that my creativity, my humanity would be endangered by staying in that position. I don’t want to just be this crazy artist who lives in la-la land, I want to be in touch with the real world and stay humble. And I like it when something feels scary—I see fear as a guiding light."
Utada did make one earlier foray into the English-language marketplace with the Exodus album n 2004. But even though the singles "Easy Breezy" and "Devil Inside" were hits on the club charts, she views the new album as her true debut. "On that album, I was so insecure," she says. "I was trying too hard, it wasn’t natural. But on this album, there’s a maturity, a more free-flowing and natural confidence."
In approaching the new album, Utada was very careful about choosing her collaborators and setting their expectations. "With both teams, I wanted them to lay out the basic tracks," she says, "but I told them that I have to write my own songs, with complete control over melody and lyrics."
The producers also turned out to have very different processes. "With Stargate, it was all data transfer," she says. "I recorded most of the vocals in Tokyo and sent them to Norway or New York. They loved it—they were like ‘This is the future!” But with Tricky, we actually spent time in the studio together, and that was nice and warm. I’m not much of an extrovert, so it was a good experience to have to communicate and get to know a new person."
Utada singles out the track "F.Y.I." (which includes samples from experimental pianist Ryuichi Sakamoto and references to the film Merry Christmas, Mr. Lawrence) as a central moment in determining her final vision of the album. "I recorded the demo in December of 2007," she says, "but it was a difficult song, and I wasn’t satisfied with it—I had to try to get to the bottom of it. And then just a few months ago, I suddenly came up with the right lyrics, changed the melody in places, and it made sense.
"When that song crystallized," she continues, "the message of it was very strong and confident, and I felt like it was a good introduction to me, that it fits in with my current story."
In contrast, the breezy "Apples and Cinnamon" came "almost too easily" to Utada. The vocals on the final version are mostly what she recorded as the demo. "I almost don't even feel like I made it," she says. "I didn’t get to savor the experience of it." But her own favorite song on the album is the flirty, sophisticated "Me Muero"—"no other song makes me feel the way that one does."
It's been a long journey, full of many miles and many melodies, for Utada to get to this album. But the lessons she's learned ultimately gave her a clear sense of what she was looking for. "I wanted to get back to basics," she says. "Nothing gimmicky, just very straightforward and confident, with a sense of humor. I was so sure of what I was doing, and I just became more of an adult—finally."
Cuộc phỏng vấn qua điện thoại với Utada do Mike Parker thực hiện
You might not recognize the name, Utada, but you soon will. Born into a musical family, Hikaru Utada had written and recorded her first song before she entered jr. high. Before she got out of junior high she had already signed her first record deal. In the past ten years all she has done is sell more than 52 million records in Japan. Utada’s new single, “Come Back to Me” is set to impact pop radio on February 9th, and her Island Def Jam debut album is scheduled to drop in the US in late March. Will the 26 year old pop diva deliver a repeat performance of her Japanese success? After chatting with Utada on the phone, I wouldn’t bet against her.
Mike Parker – There is an old saying that goes, ‘Nothing succeeds like success.’ You’re huge in Japan. Why bother trying to crack the American market?
Hikaru Utada – It’s something new and challenging and fun. I don’t want to be enthroned in one place and feel like there is nothing left to accomplish. I don’t want to get caught up in the unreal position that success can engender. I would rather be climbing the mountain that sitting on top of one.
Parker – You come from a musical family. How much did that influence your choice to pursue music as a career?
Utada – As a child I really wanted to avoid choosing that career path. Watching my parents I realized at an early age that music is an unstable career. I think my mother wanted me to become a musician, so I’m not sure I had a choice (laughs). I have a choice now, of course, and I’m happy being a musician.
Parker – What kind of training get your parents give you as a musician?
Utada – I had no musical training when I was growing up. My training came from just living with musicians. I was an only child so I was frequently with my mother when she was traveling, performed or in the studio recording. I remember after school when I was in the first or second grade I would go straight to the studio and do my homework there. I was already living like a musician. It was all watch and learn.
Parker – Did your parents give you any advice about being a musician that you have found to be indispensable?
Utada – I don’t think so, no. Not direct advice. I’ve mostly just watched and learned from them. They really let me grow on my own. They never made me take specific classes or lessons. They waited to see where my interest lie and then they helped me find the resources I needed to excel at that.
Parker – You were born and raised in Manhattan. Why did you decide to pursue your pop music career in Japan?
Utada – It wasn’t a conscious choice on my part. It didn’t matter to me, it just happened that way. I made an album in English when I was in my early teens, but there were some complications at the label and it never came out. But EMI Japan heard it and when they realized I was Japanese they encouraged me to do an album in Japanese. Things just took off from there.
Parker – At age 26 you’ve already had a career that far eclipses most recording artists. Are there challenges that you still look forward to facing?
Utada – I get excited about everyday things like cooking, or making sure my room is humidified. Just daily living. Little things excite me.
Parker – In addition to being a recording artist you also write your own music and have had a pretty large role in producing. What is your favorite part of the creative process?
Utada – I can’t chop up the process into little pieces. It is all one process for me. I can’t do an autopsy and take out one part. Creativity is one organism for me and I love the whole process.
The Seven Questions
1. What’s your favorite sound?
Utada – An MRI. I love the sound I hear when I am inside it. I wish I could sample it.
2. What makes you happy?
Utada – Being grateful. Being appreciative.
3. What makes you angry?
Utada – People who are not professional on their job. It doesn’t matter what the job is, you can be a waitress or a CEO, if you are good at your job I admire that. If you are not, it irritates me. And people standing around in doorways. It’s a doorway. Don’t stand there.
4. What is the secret of success?
Utada – It is to not know the secret; to be unaware on some level.
5. If you could have dinner with anyone in history, living or dead, who would it be?
Utada – Roald Dahl, the author.
6. What is the epitaph that is written on your tombstone?
Utada – I see no epitaph. Just my name and the years. Very simple. Nothing elaborate.
7. When you get to heaven, what is the first thing you want to hear God say to you?
Utada – ‘Oh, you again.’
Bài phỏng vấn nữa với David gì gì đó
Utada was back in New York City this past week and somehow found the time to meet with Ningin ningens David, Hoc and Megu. No Ningin camera crew this time. Just a casual interview 26 floors up on the West side of Manhattan with Utada and her father. Utada was lounging out like it was a lazy Sunday with just a T-shirt, jeans and an ear flapped knit cap - except it was Monday. Her upcoming English language album, This is The One, is set for a March debut and will be released in American and Japan. In this first of two parts, Utada talked about record label politics and writing her new album.
David: The first single that’s out right now has a very American R&B sound to it, will the album have that same sound? Your other Japanese albums have more of an electronic sound to them.
Utada: Compared to the Japanese stuff, yes, there is a bit more of a very American sound I guess. I think the R&B-ness of it is because of the fact that I wanted to make an album that would be mainstream and good pop. At this point, R&B, it’s just that it’s mainstream.
David: and pop?
Utada: Right. But then there are many different styles in the album. Like the songs, they’re all very… some of them are more European sounding or Japanese influenced, it’s many different forms, but overall I would say there’s that mainstream feeling.
David: The first single “Come Back to Me” isn’t necessarily an indication of the entire sound of the album?
Utada: It’s hard. In some ways it is, and in some ways it isn’t.
David: People who already know your stuff will find something familiar?
Utada: Yeh, I think so. There should be something familiar with “Come Back to Me” as well. It’s just what aspect or how much you’re talking about… just the essence as an artist or the nature of the genre or nature of the track. It’s the same voice.
David: “Come Back to Me” personally I think it goes a little bit back towards your older stuff.
Utada: Yeh, it’s true. To the very beginning. [laughs]
David: It seems to ride more on your actual voice.
Utada: Yeh, I intended to be more of a singer, which is where I started out anyways. I feel very comfortable, like at home with the new song.
David: I assume you’re very confident about the new album because you’re going to release the American version in Japan.
Utada: That’s a sign of confidence? [surprised]
David: Well, it’s not like your Japanese releases. So you must be confident that even tho your Japanese fans are used to listening to something else from you…
Utada: Oh, it’s not a choice that I’m releasing in Japan. It’s more record company politics. It’s like in the contract. It’s not like “I’m going to put this out in Japan because I’m confident.” That kind of thing? Nada!
David: Oh.
Utada: It’s politics. No choice.
David: Is it EMI that’s releasing in Japan?
Utada: Universal.
David: Oh, well that’s a little surprising.
Utada: Really? I don’t think any artist has that choice to put it out and in what country. That’s not up to the artist. It’s completely up to the record company.
David: I guess I’m surprised [because] I thought you would have a little more say in it.
Utada: No. [laughs]
David: The first single is “Come Back to Me” which a lot of people have heard already. It’s on your MySpace and on your website, and that comes out February 9. And the new album will be called?
Utada: “This is the One”
David: For “Come Back to Me” you worked with the Stargate producers. Did you work on any other tracks with them?
Utada: More than half the songs. There’s ten songs on the album and six of them were done with Stargate. And the other four with Tricky.
David: Did you have a say in songwriting for all the tracks?
Utada: Yeh, I wrote the songs. Wouldn’t have it any other way. [laughs]
David: You also worked with Timbaland–
Utada: For the last album.
David: Are there any other American producers or artists that you want to collaborate with?
Utada: Not really. When the time comes I will think about who, but not really. [laughs]
David: You prefer being a solo performer?
Utada: This time the reason why I decided to work with Stargate and Tricky was because I didn’t want to have any big producers on the album like Timbaland-type producers that have their own color coming out, like their character is strong, like Timbaland-esque.
David: It sounds like Timbaland.
Utada: Right, where as I wanted it to be just me. To have track makers instead of producers. Stargate and Tricky are more like track makers. They’re producers but compared to Timbaland-type producers, they’re better at bringing out the quality and characteristics of a particular artist. They can take one step behind, sort of, into the background a bit. They know how to do that. That’s how they work. It was a very interesting collaboration in terms of music as well. I said “I’m going to write all the songs. That’s how it is.” I also collaborated on the tracks as well. I added some tracks, I changed the chords, had a part in the arranging… so I think a lot of me comes out in the whole album… which is good. [smiles]
David: I think a lot of you comes out in the single that’s out now. Like I said, it definitely reminds me of some of your older material.
Utada: Yeh, like the “First Love”-ish thing. Yes.
David: But contemporary.
Utada: But the 2009 version. [laughs]