Show Me What You’ve Got is another mess. I hope Namie doesn't pull an Uncontrolled because it will be one of her worst albums if all of those b-sides are included.
Perfume's collab with Ok GO is also awful.
I'm going to find out if Boku no Lyric's new release is good.
Show Me What You’ve Got is another mess. I hope Namie doesn't pull an Uncontrolled because it will be one of her worst albums if all of those b-sides are included.
Perfume's collab with Ok GO is also awful.
I'm going to find out if Boku no Lyric's new release is good.
Hoping she pulls a _genic and just scraps everything again.
They could at least release their music on spotify. I don't understand the japanese music industry. It's super frustrating.
The Japanese music industry is worth around USD$3 billion (the second largest in the world) and its all from local Japanese consumers. It's a self-containing music industry, they make enough money in Japan, they don't need to promote overseas. To give you an idea, Ayumi Hamasaki has sold 60 million records, all in Japan.
The South Korean music industry is worth around USD$300 million and they have rampant piracy in South Korea, that is why they need to promote overseas. To give you an idea, the best selling Korean artists are BoA and TVXQ, and most of their sales are from Japan, not Korea.
Hero by Namie Amuro is beautiful, both the song and the video. Gorgeous.
1. She'll probably do really well, it's her first album in almost 10 years so there's no doubt it'll be a big event. I mean if she can make headlines for sneezing then...
2.Yeah, from what I've seen on my iTunes store for example they have barely anything J-Pop related. I think it's not on most Western services because they don't really need it. Like they're the 2nd biggest market in the world and they're rather....independent about it?
Sidenote but who's in your avi? I thought it was Cyndi Wang for a good second but I can't make it out.
Eh idk how Utada will do. Her last Best Of album flopped pretty badly compared to her first one.
The Japanese music industry is worth around USD$3 billion (the second largest in the world) and its all from local Japanese consumers. It's a self-containing music industry, they make enough money in Japan, they don't need to promote overseas. To give you an idea, Ayumi Hamasaki has sold 60 million records, all in Japan.
The South Korean music industry is worth around USD$300 million and they have rampant piracy in South Korea, that is why they need to promote overseas. To give you an idea, the best selling Korean artists are BoA and TVXQ, and most of their sales are from Japan, not Korea.
Hero by Namie Amuro is beautiful, both the song and the video. Gorgeous.
I know and I understand that but wouldn't they make even more money with spotify streams and youtube views? I just want to support Namie and spotify is the easiest way to support your fave. It's so hard to find her songs or other Jpop songs on the internet and I have bought some of her albums on yesasia but ugh.. I wish there was a faster and easier way
The Japanese music industry is worth around USD$3 billion (the second largest in the world) and its all from local Japanese consumers. It's a self-containing music industry, they make enough money in Japan, they don't need to promote overseas. To give you an idea, Ayumi Hamasaki has sold 60 million records, all in Japan.
The South Korean music industry is worth around USD$300 million and they have rampant piracy in South Korea, that is why they need to promote overseas. To give you an idea, the best selling Korean artists are BoA and TVXQ, and most of their sales are from Japan, not Korea.
Hero by Namie Amuro is beautiful, both the song and the video. Gorgeous.
But that's not a reason to specifically make the material completely inaccessible or restricted in distribution. They may be self contained, but the simple act of having music available in all formats in the west would only serve to strengthen their revenue streams and help establish reliable consumers who might even pay more to import special editions, or who will become a major source of streaming revenue. There's really no reason to treat the outside world like Avex and other labels do.
J-pop is not going to change its distribution policy unless Japan revises its treatment of foreigners and the chances of that are slim. It is not the issues of earning money, it's pure mentality. We are not meant to consume j-pop. Gimmick acts, Cool Japan, glimpses of Ayumi Hamasaki here and there in the past - maybe. A typical avex manager doesn't know that we listen to j-pop or refuses to believe we do. Unlike other Japanese media like anime and video games that are being translated and imported to other countries, j-pop is untranslatable and they take pride in this fact. I don't present this is a fact, but I can't find any reasonable explanations beyond that.
I say let them be. I understand that this is not even about expanding j-pop but rather letting the existing fans support the artists, still there is nothing we can do. Well, we can wait until the new generation takes the reins but knowing the vicious cycle of the Japanese society where one is most likely to abandon their progressive ambitions and go with flow, I'm pessimistic. There is no denying that the situation has been improving though, like when avex uploaded some full videos a year ago.
J-pop is not going to change its distribution policy unless Japan revises its treatment of foreigners and the chances of that are slim. It is not the issues of earning money, it's pure mentality. We are not meant to consume j-pop. Gimmick acts, Cool Japan, glimpses of Ayumi Hamasaki here and there in the past - maybe. A typical avex manager doesn't know that we listen to j-pop or refuses to believe we do. Unlike other Japanese media like anime and video games that are being translated and imported to other countries, j-pop is untranslatable and they take pride in this fact. I don't present this is a fact, but I can't find any reasonable explanations beyond that.
I say let them be. I understand that this is not even about expanding j-pop but rather letting the existing fans support the artists, still there is nothing we can do. Well, we can wait until the new generation takes the reins but knowing the vicious cycle of the Japanese society where one is most likely to abandon their progressive ambitions and go with flow, I'm pessimistic. There is no denying that the situation has been improving though, like when avex uploaded some full videos a year ago.
It just sucks as a fan, you know? To have these artists we legitimately love, who inspire us with their work and their artistry - Ayu is half ****ing deaf and keeps making incredible, personal music, that's my personal biggest thing - and to be entirely disregarded.
I want to work in the music industry eventually, with labels and publications. I want to be a part of that, and a big part of the reason I want to do that with my life are artists like Ayu and Utada who have had major influence on me. I'd like to be involved with work overseas as well, particularly in places like Japan, but I can't help but feel pessimistic about that when I can't even stream a single from an artist I happen to like.
I think it also depends on how much the artist wants to get involved with their international fandom tbh for example Namie gives no ****s while Ayu cares way more. On Apple Music you can stream Ayu's whole discography sans A ONE (oddly), there's also Koda's and some Nogizaka46 and SKE48 albums. Don't know much about the rest.
I think it also depends on how much the artist wants to get involved with their international fandom tbh for example Namie gives no ****s while Ayu cares way more. On Apple Music you can stream Ayu's whole discography sans A ONE (oddly), there's also Koda's and some Nogizaka46 and SKE48 albums. Don't know much about the rest.
You also can't buy FIVE or stream any songs from it but one, which really disappoints me because that was the (mini) album that really got me into her.
You also can't buy FIVE or stream any songs from it but one, which really disappoints me because that was the (mini) album that really got me into her.
His Sweet Sensation EP is fire, I need to get into his band's discography more tbh.
^ Btw I agree with the point about making J-pop more accessible. Unfortunately, it'll take some time for that mentality to change. I'd love to see them incorporate streaming a little more into the industry - that should trigger a domino-effect.
Hopefully
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I can't believe we're getting Utada's new album in two months, it's been so long
Here it's just ANother song... and none of the other tracks.
Actually, it looks like a pretty significant amount of her post-Love Songs discography is missing on streaming beneath the surface - there's only two LOVE again tracks available. And nothing before Secret except most of the tracks on A Complete, A Best 2 W+B.
But most of it's available for iTunes purchase - except FIVE. And, weirdly, LOVE again. Interesting that era is omitted. Avex is a mess.
Here it's just ANother song... and none of the other tracks.
Actually, it looks like a pretty significant amount of her post-Love Songs discography is missing on streaming beneath the surface - there's only two LOVE again tracks available. And nothing before Secret except most of the tracks on A Complete, A Best 2 W+B.
But most of it's available for iTunes purchase - except FIVE. And, weirdly, LOVE again. Interesting that era is omitted. Avex is a mess.
Definitely weird... Here you have all of the studio albums sans A ONE (with no Zutto.../Last minute/Walk either), all of the compilation albums, most of the remix albums and some random singles here and there. For Nogizaka46 for example you have just one single (only one out of four types) and the two albums (also only one out of two or three types). They could at least be consistent and upload the whole discographies.
