You’ve certainly developed a deep fascination with Japanese music. Once you get into that, then I think you can discover more about Japanese music that’s really great. They’re working with singers that have just a little magic in their voice, and they’re creating these little pop symphonies. ![]() They’re not working with these superstar singers. But in Japanese music, there’s a whole new dimension, and heta-uma is a big part of that.Īround the heta-uma voice, there are producers, arrangers, and songwriters who shine it like a diamond. They’re going to kick ass singing on their own. If you’re looking at a singer like Celine Dion or Adele, they don’t need anybody’s help. Yes, especially idol music, but also in regular pop music. That’s kind of the appeal of idol music, right? It’s like, “Just a little bit harder! Do your best”. And I think Japanese people not only embrace this but as fans want to support it. It’s just a natural voice that people can enjoy. It’s like finding this magical sound of a voice that’s not based on vocal technique or technical training or talent. “Heta” means “it sucks”, and “uma” means “it’s great”. It’s just too much of an overload.ĭo you know what “heta-uma” is? It’s a concept that’s pretty much Japanese in nature. I can totally see why you like it”, but the first listen just goes over people’s heads. At second listen, the good musicians would always say, “Man, this is so inventive! So creative. When you hear it at first, it just sounds really cute. ![]() There are a lot of interesting production things going on, and musically, it’s very deep. After two or three listens though, especially for good musicians, they would think this stuff is genius! I remember playing some Hello! Project that Tsunku produced, like early Matsuura Aya stuff. When I would play Japanese music for American or European musicians, yes, they would think I was weird. After living in Japan and in America for a long time and touring everywhere, I’ve pretty much come to the conclusion that every single country-rightfully so-believes it’s the center of the universe. Not over here! Not in Japan, that’s for sure. You had already achieved so much fame in America, which is viewed as the institution for musical success. What was the reaction from your colleagues when you told them you wanted to find out more about Japan based on your discovery of Japanese music? Did people find your decision odd? It was so different from the Western sound that it was new and fresh, always evolving and always interesting. Everywhere you’d go, you’d hear his sound at that time. Everything that Komuro Tetsuya produced, like Kahala Tomomi. Idol music started to evolve and become really interesting. Late 90s to early 2000s-the “golden era” of Jpop. If you were to say bands, then X JAPAN, B’z, and visual kei. When I first started getting into it, it was things like Hello! Project. Was there any specific band that got you hooked? Since moving to Tokyo in 2003, Marty Friedman has established himself as a Jpop powerhouse Marty Friedman Official Website ![]() I’d buy CDs and bring them home and listen to them on the plane, on the tour bus, in the airport, and backstage. I just got hooked on it while I was coming here for touring. It’s prevalent, and you hear it everywhere you go. But they love Japanese music much, much more. A lot of times in America, you think, “Oh, Japan. It’s like 10%, maybe? That really messed with my mind. Japanese music is everywhere, and there’s so little Western music. I’d be the first one to say, “Send me to Japan! Send me to Japan”, so I always wound up going, not only for the tour, but for a promo trip beforehand.Įvery time I came here, I’d hear lots of Jpop. Anytime we’d do a big tour, we were asked which band members wanted to go to promote it. I was coming to Japan very often while I was in Megadeth to do tours and promotions. What spurred you to pivot from Megadeth lead guitarist to Japanese music icon? Was Jpop the impetus for your relocation to Japan? Welcome to the next chapter of our Breaking Barriers interview series. Marty joins us from his studio in Tokyo to describe what makes music in Japan so special and how it can help bridge listeners regardless of age, gender, or cultural background.
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