Utattemita is a popular online culture in Japan where individuals upload vocal covers of Vocaloid tracks or pop songs to video sharing sites. Singers who participate in this practice are known as utaite. Nico Nico Douga, Japan’s largest video platform, will be hosting the Utattemita Collection event starting from Nov. 22. This four-day event, also known as Uta-Colle, invites utaite singers to submit their covers. Uta-Colle is the utattemita version of The VOCALOID Collection submission project that began in 2020.
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During the Uta-Colle event held earlier this spring, utaite Underbar submitted an a cappella cover of “Igaku” by Sasuke Haraguchi. This cover, created using only his voice without any musical accompaniment, ranked No. 5 among the top 100 submissions. Underbar, a veteran utaite with 1.05 million subscribers on YouTube, is celebrating the 15th anniversary of his debut this year.
Sasuke Haraguchi, who started composing music at the age of five, made his major label debut in 2018 as track maker SASUKE. His track “Hito Mania” submitted to the Voca-Colle Summer 2023 event achieved 18 consecutive weeks at No. 1 on Billboard Japan‘s Nico Nico Vocaloid Songs Top 20 list.
In anticipation of the upcoming Uta-Colle Autumn 2024 event, the two artists, Underbar and Sasuke Haraguchi, discussed the current utattemita culture from the perspectives of a utaite and a track maker.
Underbar, you covered “Igaku” a cappella for the previous Uta-Colle event. Why did you choose that style to cover it?
Underbar: I found the sounds in the track to be unique and different from other Vocaloid producers. I was intrigued by the use of sound effects and male voices and wanted to experiment with replicating those sounds using only my voice. It was a challenge to express unconventional sounds vocally instead of relying on traditional instruments like guitar or bass. Additionally, the availability of stem data provided a helpful reference for my cover.
Haraguchi: I never expected the stem data to be used for utattemita covers, as I initially thought it would be utilized for remixes. (Laughs)
When creating Vocaloid tracks, what aspects do you consider to make them cover-friendly?
Haraguchi: One important factor is keeping the tracks short. This isn’t necessarily for platforms like TikTok or YouTube Shorts but to facilitate easier vocal recording for cover artists. Shorter tracks simplify the covering process, especially when songs have repetitive choruses that can be copied and pasted if needed.
Underbar: I admire your ability to create visually appealing videos at a low cost. In today’s era where extravagant spending is common, especially in the utattemita community, your approach stands out.
Haraguchi: Some music videos give off an anime opening sequence vibe, don’t they?
Underbar: Exactly! Your innovative use of live-action footage to create a stylish collage feel is truly impressive and inspiring.
Sasuke, what creative aspect of Underbar do you admire?
Haraguchi: I have great respect for your consistency and early establishment in the industry. Your ability to maintain a clear direction from the beginning while expanding your creative horizons is truly commendable.
Underbar: I’ve always been drawn to the festive nature of creating content. Unlike today, where many creators aim for monetary success, my initial motivation was simply the enjoyment and popularity of the platform. This intrinsic drive remains unchanged, and I continue to explore new trends that spark my interest.
When did you start watching utattemita videos, Sasuke?
Haraguchi: Around 2015 or 2016, I believe.
Did utattemita videos influence your music production?
Haraguchi: While I hoped for my works to be covered by singers, my music style at that time didn’t align with the typical utattemita genre. Creating songs that attract cover artists without relying on Vocaloid or anime tie-ins can be challenging.
Underbar: Vocaloid tracks offer a broader scope for interpretation, allowing cover artists to add their unique touch. Human vocal songs often lead to covers closely resembling the original, whereas I appreciate utaite singers infusing their individuality into their renditions.
Haraguchi: I encourage experimentation and deviation from the original Vocaloid version in covers of my songs. Diversity in interpretations adds richness to the music landscape.
Have you observed changes in feedback or fanbase since releasing Vocaloid tracks?
Haraguchi: The Vocaloid community fosters a culture of open communication and feedback, unlike my previous music endeavors. Direct interaction with listeners has provided valuable insights and challenges in navigating this new environment.
How do you perceive events like Voca-Colle and Uta-Colle organized by Nico Nico Douga?
Haraguchi: The resurgence of interest in Vocaloid culture is heartening, but maintaining a balance between passion and pressure is crucial. I aim to explore diverse works and draw inspiration from various sources, regardless of rankings.
What are your thoughts on such events, Underbar?
Underbar: Projects like Uta-Colle provide a clear direction for utaite artists who previously lacked a defined goal. It’s essential to have opportunities for recognition beyond mere cover songs or viral hits. I envision a future where utaite can dream of success through platforms like Nico Nico Douga, with active promotion of winners like those in Uta-Colle.
—This interview by Yuuka Higaki first appeared on Billboard Japan
FAQs
Q: What is utattemita?
A: Utattemita is a Japanese online culture where individuals upload vocal covers of Vocaloid tracks or pop songs to video sharing sites.
Q: What is Uta-Colle?
A: Uta-Colle is an event hosted by Nico Nico Douga that invites utaite singers to submit their covers, similar to The VOCALOID Collection project.
Q: How do Vocaloid tracks influence cover artists?
A: Vocaloid tracks offer a wide range of interpretations, allowing cover artists to add their unique spin to the songs.
Credit: www.billboard.com
