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Yu Sakai has unveiled his eighth album, PASADENA. The title pays homage to the city of Pasadena, California, where Sakai resided while pursuing his musical dreams in the U.S. Four tracks on the album were recorded in Los Angeles, a location he holds dear, while the remaining four tracks were developed in Tokyo, produced in collaboration with Shingo Suzuki from the band Ovall. After returning to Japan, Sakai entered into a creative rivalry with Suzuki. Additionally, the album features three bonus tracks recorded in New York last year, which were previously exclusive to streaming platforms.
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Last October marked the 15th anniversary of Yu Sakai’s music career. In an interview with Billboard JAPAN, he expressed aspirations for his latest album, which signifies a return to his artistic roots, and shared insights about his recent appearance on Tiny Desk Concerts in Washington, D.C.
What inspired the creation of this new album, and when did the process begin?
The impetus came after completing my hits album, Yu Sakai’s Playlist [White and Black]. I wrapped up the album tour in March of last year, and by summer, I had commenced recording sessions in both Los Angeles and Japan.
Can you share your experiences recording in Los Angeles? Many of the producers and songwriters you worked with have collaborated with renowned artists like John Legend and Usher. Did you participate in the songwriting process?
Absolutely, we co-wrote every song from the ground up.
So your process began with you in the studio at the piano?
Precisely. To be honest, the initial tracks they provided didn’t resonate with me, so I decided to reject them. They designed songs with me in mind, which were great but lacked the distinctive features that embody “Yu Sakai.” Trying to overlay my style would have muddled these songs, so it was more efficient to start fresh. We co-created the four songs completely anew.
Were there any standout collaborators during the L.A. recordings?
Sam Barsh, who co-wrote “Amakunai Kikenna Kaori,” was incredible. I could have spent a whole day with him just playing the piano. His talents truly shine through in that track, which features a funky, jazzy vibe and a solid rhythm.
What was the vision for the single “PASADENA”?
The essence of L.A. is embedded in it—it’s a sound that wouldn’t emerge from New York (laughs).
So the track carries that vibrant, fresh groove due to being written in L.A.?
Exactly. From the outset, I had a few objectives: I wanted the listeners to visualize the scene upon hearing it, to make this the opening track, and to conclude the album with a ballad. The album’s title, PASADENA, came to me on the same day we penned the song—I felt it had to be called that!
You released “PASADENA” in December, and shortly after, the city faced devastating wildfires.
I was taken aback by the events that unfolded.
It’s truly heartbreaking. Yet the song begins with “I’m back,” and in the chorus, “Pasadena Beautiful,” which feels like a message of hope for the city.
Absolutely. I’m genuinely concerned about Pasadena and send my best to all those impacted by the fires. It has transformed into a song with lasting significance for me.
What themes are explored in “What About You?”
This song tackles politics and poses the question, “What will you do?” My perspective could be considered an active resignation, encapsulated in the messages of “Amakunai Kikenna Kaori” and “Gotta Get Up.”
Is the message of this song intended to encourage civic engagement among the listeners?
Yes, precisely. Ignoring politics isn’t a viable option; ultimately, we cannot escape its influence. Both “What About You” and “Gotta Get Up” share this theme. Many people feel overwhelmed by significant societal issues, leading to a sense of powerlessness and retreat from political participation. However, while politicians may not always be truthful, governmental data remains reliable. By monitoring this information and vocalizing our insights, we can shed light on these matters.
What inspired the lyrics of “Amakunai Kikenna Kaori?”
The song presents societal absurdities in a playful manner. There’s an unseen yet palpable tension around us, and although people argue about it, this conflict creates division instead of unity. We must focus on coming together.
This theme aligns closely with “Understanding” and its call for mutual comprehension.
Correct. “Understanding” addresses both politics and historical perspectives. This mindset largely influenced the creation of the album.
Shifting gears, you performed a Tiny Desk Concert in Washington D.C. this past March. How was that experience?
It was one of the most enjoyable trips I’ve ever taken, though it was quite exhausting—three nights and six days (laughs). I was so nervous the night before that I couldn’t sleep. To preserve my vocal health, I refrained from talking and instead lay in bed, filled with excitement and curiosity about the performance.
What songs did you select for the performance?
I opened with “Get it together,” which I recorded in L.A. much earlier. It’s a relaxed track that we elevated in tempo for the concert. I also aimed to deliver a J-pop medley, featuring segments from “Story,” “Gaze, Daydream,” and “Rose & Rhodes,” concluding with “Sinatra, The Darkness Of Cherry Blossom.” Even though that last song references New York, I thought it fitting to perform in Washington, given the city’s famous cherry blossoms. The entire set spanned about 20 minutes, which felt like it flew by.
What can viewers expect to take away from your Tiny Desk Concert?
My performance brings J-pop to an office setting in Washington D.C. I hope that true music enthusiasts in America discover the joy of J-pop through this experience.
After a decade since your debut, you’ve been collaborating with more international musicians. How has this shaped your development as an artist?
It’s challenging to articulate, but I don’t see foreign music as inherently superior. Japan boasts its unique sound. While I appreciate American music, my tastes are not limited to a single nationality. If I were solely passionate about American music, I might have relocated to New Orleans, like guitarist June Yamagishi has done. My heart truly lies with Cape Ashizuri in Kochi Prefecture. I believe in seizing opportunities to collaborate when the timing is right, each contributing to the richness of my musical tapestry.
—This interview by Takashi Inomata first appeared on Billboard Japan
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