K8 is "relaunching" or something. Out from Teichiku. New recording company, independent label "Infinity Records"

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maaaaaaaaaaannn Teichiku gives us SO MUCH DVD BONUSES and BLU-RAY!!!!!!!!!!!!!!

i can’t if we don’t get bluray and excellent bonuses again

idk who the fuck is gonna mange that. if this means K8 will have more creative control, awesome. but right now i’m just a little sad. and frankly, shocked.

tour is announced. dates can be found at source

source http://infoeighter.blog.fc2.com/blog-entry-862.html

テイチクさん、十年間お世話になっております。今まで本当にどうもありがとうございます。

Watch on gkjs59.tumblr.com

2002-12-7:  Kanjani8 Unit is official.

Congratulations to eito and eighters for the 10th unit anniversary.
(and thanks to all pre-debut fans who supported Eito, giving chance to all “new” fans to know them)

Until October, I will keep my little hope for Infinity Records. Frankly, I HATE JSTORM. When the release of HEART was announced, I intended to buy that album but when it came out, I can see Jstorm provide me nothing but shitty of collecting all the single song randomly and coupling song randomly into 2 disc and released. I couldn’t see any thing related to the HEART theme in that album. They charge fan a lot of money but don’t put effort to make best production. an because Johnnys fan are crazy so they will buy even for nothing. 

Teichiku indeed provided me nice deal with low price and long DVD with MC, making of and Enroll, album with concept, some singles disappointing me but the same quality between LE and RE, nice jacket. I haven’t feel any annoyed when paying for Teichiku production. 

My problem when Eito change record company is moslty because that company turned out to be Jstorm, which I hate. Somewhere in my mind don’t want to spent any $ or JPY or whatever you call money for that record company. 

are k8 just gonna say goodbye to everyone on teichiku? like, is kuwa-chan not gonna be on subaraji anymore? kuwa-chan gets emails from listeners! and, idk, music directors, sound engineers, recording people, etc etc etc, are k8 gonna have to work with an entirely new group of people or is this “infinity records” gonna pull some people from teichiku? even the graphic designers are all great, are they not gonna have those anymore either? ok designers are probably outsourced anyway, but i love the cd and dvd designs of the past 3-4 years. like 8est daruma, juke box font and jukebox, the 3D printing, ExE design…. :(

if Kanjani-ism turns out sooooo different it’s gonna be so weird and jarring. if is a good change that would be great. if every track turned out like your wurlitzer than all my agitation today was a complete waste.

places that are shown on bonus dvd, like where they divided up the teams for juke box competition, 8sai batsu game meetings, those are all actually inside teichiku building right? gonna miss those…..XD

physical store only items
-booklet: aoppana, kokoro sora moyou, hibiki, omoidama
-A/B/C prizes: koko/hesomagari, juke box, king of otoko
did i miss anything?

they’re not gonna stop are they? :/

thankfully scans are readily available online and i’ve accepted that i can’t get stickers or phone straps or keychain or whatever. not willing to spend ¥¥¥ for mere trinkets on yahoo auction. doesn’t mean i’m not a little mad and bitter at nearly every release now

:Da you don't say...

So I’ve been pretty zen about the whole label change.  Partially just my personality and personal experience with music that I’m not terribly bothered by these kinds of things. (That isn’t to say I wasn’t at all because I did have a bit of a knee-jerk reaction immediately about the whole thing.)

One of the things I did worry about was retention of staff members.  But now that I think about it - in hindsight that was really silly of me.  See, my immediate concern was what happens to people like YOKAN or Peach, those relationships they’ve cultivated and started to develop with who have significantly contributed to the construction of this group.  

This is dumb because:

1) I was already very, very aware that most of the people doing Kanjani’s music on Teichiku were not in any way exclusive to Teichiku.  A lot of staff writers on those albums have done work for other J&A artists.*  

2) They took some of their backing people on NTV with them for The Music Day.  You get a backing band you like and trust for concerts (and tv), you generally want to keep them.

* This of course doesn’t apply to guest artists who have appeared, and that might actually be where we see the most change.  I doubt any label that’s specifically designed to keep more profits in-house is going to want to jump through the royalties hoops of guest publishing companies but…I don’t have a firm grasp on the Japanese recording industry’s policies and practices (doubt they’re that much different from everyone else, though).  It also doesn’t exclude the potential of going with more independent artists (not a bad thing necessarily…I think 山森大輔 ‘s last release was on a smaller label called OCTAVE [which actually might be owned by Avex]).  Larger point: who knows.

Anyway, now I feel pretty stoked seeing the credits for CloveR/言ったじゃないか.  

Who’s involved in the writing and arrangement?

大西省吾, 久米康嵩, Peach, GAKU.

大西省吾 did arrangement for: Life, Ai Deshita, Crouton, 365, Baby Baby, Fly High, Takoyaki, and that double A side I never bother to remember the name of because YOUUUUUKOSO~ <— laziness at its finest, folks.

久米康嵩 did arrangement for: King of Otoko, ER2, Omoidama, Kokoro sora moyou, Kurage and Dear Summer.

Peach is their backing band guitarist in concert (probably had some session credits on Juke Box but those sleeve notes are way across my room 8|) and arranged Rescue Rescue, Your Wurlitzer and wrote West Side.

GAKU is almost solely responsible for Dear Summer and wrote ER2 (and a few bside things).

So - if you haven’t been digging the music as of late or those particular titles, that might be really bad news for you.

But it’s good news for me because I like most of the songs I just named and it indicates yes, people will be retained for use on the new label.  There’s a slight chance it’s a final obligation to use them on these new singles, but I highly doubt that.  I’ll be interested to see if YOKAN will continue to do brass for them or if those marching band b-sides on King were a final thank you present to him (nah, he has to stay HE HAS TO).

Not only are those songs generally ones I like, but Peach and GAKU especially haven’t been around that long relatively, which means there’s potential for them to develop alongside Kanjani.  Who knows, that might turn out for the worse if everyone stagnates - or it might be a really good relationship.  I look forward to seeing the next album. 8D<

In the meantime, I *like* both CloveR and 言ったじゃないか (and I get the feeling the general fandom ether maybe doesn’t? Who knows. I can’t say that I really care because I find the loudest opinions in fandom to be really bizarre sometimes and that’s why I mostly keep to myself XDa)

言ったじゃないか starts off really blase and kind of an uninspired blah garage band song, but gets better as it goes along, adding harmonies, a really catchy chorus - that I love the production on - and ends up a fun band song.  

CloveR I fucking love with a giant passion despite Maru’s lone solo line being in the key of MatsuJun for some reason. 8|;  I love band things and musical depth, but I love me some 80’s music like whoa (a side rant: people dismissing all 80’s music as fluff without recognizing the many well written songs and that there’s musical depth there too).  CloveR is all 80’stastic and …uses handbells and a few other instruments I wasn’t expecting. XD  

I’m not shaken to my core by any means, but I am pleased and this promises to stay in a vein I particularly like (while simultaneously feeding my need to have a nice mixture of things that satisfy my taste for more than a single genre).

Okay, fine.  I sort of wanted to support the change no matter what.  This makes it a lot easier.  *orders singles*  

Now, to see how terrifying the PVs might be since CloveR looked like Celtic Suspender pride and Maru’s sneak peak pic of Itta promises potentially scary puppets. 8|a

2

Front and back cover for the compilation Singing Movie Stars’ Big Hits, Teichiku GM-152. A quick look around on Google was not successful in finding more info for this compilation, like a release date.

On the cover there, you’ve got:

Ruriko Asaoka 浅丘 ルリ子
Bunta Sugawara 菅原 文太
Yujiro Ishihara 石原 裕次郎
Shintaro Katsu 勝 新太郎
Meiko Kaji 梶芽衣子
Tatsuo Umemiya 梅宮辰夫
Tetsuya Watari 渡 哲也

According to the auction I got these images from, Junko Fuji 藤 純子 and Hideki Takahashi 高橋 英樹 are pictured under the Obi strip.

out of curiosity (and also because i absolutely don’t understand anything when it comes to contracts/labels/agencies blahblah), does k8 creating a new label and releasing kanjanism under that said label mean we won’t get the songs they released before the label change on the new album?

like, do songs like “king of otoko” or “hesomagari” belong to teichiku, or can k8 still sell them on their own (and put them on the album just as usual)? 

宙也 Official Website

2014年10月22日発売
TECH-3041 / 定価:¥2,857+税
ブックレット:宙也インタビュー掲載 [椎名宗之(Rooftop)]
Manufactured and Distributed by TEICHIKU ENTERTAINMENT,INC.,Japan

不知火
Eos ~暁の女神
Automata
Double Think ~二重思考
不安なアタマ
J.B.の夢
行方不明
Tokyoフラストレーション
笑う土
Doll Or Man
El Dorado 2012
メシ喰うな! (Bonus track)


宙也:Vocal
内藤幸也:Guitar
中西智子:Bass
荒木康弘:Drums

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