yutori Meeting on ‘Rate’ & ‘WITCH VIEW’ Period 2 Closing Style

Four-player band Yutori launched his founding in April 2025 with “Rate” (the style of TV anime finale) My Hero Scholar: Be careful Stick to use mini CDs Hertzmetre Buzz has actually been developing since then, and now they have actually withdrawn from the brand new “Hidden and Moon” which is the finale of the TV anime era 2 Witch watch The songs and verses of the music are composed of Kotoko Sato (vocals and guitar), which fits the work trajectory of “Rate” and Yutori before, including a whole new subtlety. Sato’s vocals are best suited for relaxing, beautiful audio, and you can feel her heat.

Signboard Japan discovers a brand new description by working with the band’s 4 participants on the launch of its important document labels and ultimately bringing a completely new tune.

You launched the main documentation for the April launch “Fees”. This song has attracted personal interest, which means your previous music really doesn’t have a real tune and offers a brand new audience the opportunity to find your song. How does this new focus affect you?

Ren Urayama (drum): We have a lot of followers that are different from those of the previous ones. “Fee” is the finishing style of the anime, so there are many followers, including those from abroad, who discovered us. Action is much better than anything we actually experienced before. Again, this does feel brand new. I’m similar to “It’s a feeling of growing by including a big tag.”

Taichi Toyoda (bass): We are currently playing solo and we have people from South Korea, the UK, China, Taiwan and various countries to find our plans. I’m not sure if this is due to the anime, but when I see it it actually makes me realize the number of brand new target markets we’re most likely to enter.

Ikuya Uchida (guitar): But what we are doing, what we are going to do hasn’t actually changed. It seems we need to get more people. I believe the factor we work with more people and others is that they can help us bring in target markets we cannot connect with. I seem to have wider efficiency opportunities available at the moment than before, and I actually have been evaluating this. But if we start changing the information, I believe this will surely tremble our core. So, directly, I don’t believe I’ve actually changed. I just intend to continue sharing what I actually shared.

To make sure this is the history of you launching a brand new tune with the moon. It reveals a completely different side of the “rate”.

Sato: Yes, it’s similar to a specific reverse (laugh).

Urayama: Kotoko wrote songs and verses for a brand new music, and I wrote songs and verses for “Rate” so you can actually see the difference between male and female perspectives in interesting ways. “Rate” is not the type of tune created, I’ve never actually created “Browse and Browse the Moon”. But that’s what makes them so interesting.

Kotoko, you create a lot of music. Is any of them especially your brand new?

Sato: Well… Let me believe…Most of the music I make, including love and non-love, has this feeling of worry or aggravation. In sharp contrast to them, the “browse and find the moon” environment is very satisfactory.

Yes, that makes this tune very fresh. Mere impressions don’t hint at a great concept, but I believe your tunes often tend to get darker and darker.

Sato: They have it, not (laughs).

This is not to say the tune is very bright, but I believe it has this heat. I’m interested in the timing of launching such music. This is the finished style Witch watch How did you create it?

Sato: I just simply leaned against the balcony, spacing and personal posts and the moon. As the moon gradually pursues energy posts, it will be covered up and I believe “like the moon is playing hide-and-seek”, which is what I was thinking about when I created this song. I hope that will work Witch watch So I looked back at the comics and then followed up with how I felt with what the comics really felt.

What did the rest of you think of at the beginning?

Urayama: Also in Kotoko’s music, I really feel that the methods she uses are more typical. In fact, the way music expression in previous music actually increased significantly. The power of silence. But the tune is – I don’t understand if joy is right, but it has heat. So I don’t want the drums to get thicker, I deliberately make them easy. When played in real time, this is a tune that can make your hands spin, and likewise, it has the power to cover it alone.

TOYODA: To me, this song is of course “The Earth of Kotoko Sato”. Kotoko is basically influenced by popular songs. Aren’t you, kotoko? Musicians like many sculptures.

Sato: Yes.

TOYODA: So it’s similar to the element that appears immediately. I seem to have created a mature tune that makes the pop really feel forward and the facilities are absolutely crucial, so I am delighted that we created this tune.

What does “Kotoko Sato Globe” imply?

Sato: I don’t understand (laugh).

TOYODA: You may not understand what this means, but you can feel it.

Urayama: I believe it has a sense of isolation, but it is completely different from previous music. Both of them sang a lot on “Weakness,” but the tunes they looked for on the moon. Directly, when I write songs, I don’t check the sky. When I create, I keep my eyes on my eyes or look right in advance. But Kotoko is usually inclined to look for it. This is actually separated in this song.

Sato: You are there. When we write songs, when Ren sets off, he cuts his head and can’t see anything. I’m the kind of person who will surely seek any small room where you can see the sky and look for the moon. That’s just one of the differences between us.

I made sure that what Toyoda said “Kotoko Sato Globe” actually always belongs to your song, but this tune seems to be more straightforward than before.

TOYODA: I believe Kotoko actually wrote verses before, and there are some obstacles to make this tune more like a Yutori tune. With this song, I believe she brought a lot of globes.

Urayama: She reveals a lot of developments by conveying this authenticity with the Scriptures, as the band participants age, we look at points and the means we really feel like it might change. I actually felt it in the scriptures.

Thanks to this tweak, “hiding with the moon” is more like pop music, right? You also mean 100-day Fuku and kayōkyokou (Japanese pop song standard). I realized that these were part of the origins of Kotoko songs and I believe there was some tuneful vibe.

Urayama: Actually, I like the feeling of Kayokyoku, not only in the scriptures, but also in the tune.

Sato: Yes, when we do this song, I assume, “Yeah, it’s great, it has the exact same feeling.” I believe this type of song has had a big impact on this song.

Uchida: I’m holding the guitar. In the past, when we created music, a large part of it was related to providing the feeling of Yutori, and I was going to stay away from that. Contrary to trying to incorporate it into our own design, I mean to make it a complete standalone tune. It seems that the chords are actually responsible for building the stage history, and I believe I will help maintain this.

Yes, the principles of setting and audio production are completely different from your previous music.

urayama: Yes. We intend to isolate this tune with all four of our tools and vocals.

Uchida: If you think “rate” is made with enhancement, the tone is made with reduction. Contrary to in-depth details, we tried to leave the entire “detail drag” for vocal singing.

So, you yourself eliminate yourself from the need to do poetry or seem to deal with Yutori’s pictures and designs, but instead a simpler and constant tune than ever before? I believe that’s what makes production so difficult.

urayama: I believe you are right. It was hard, but the biggest success was that the four men completed all the songs alone. Of course, we will definitely get some music (with the outdoors) because it provides a wonderful touch to our music, but at this moment we really feel everything and completely organize the tune. I believe this is definitely an important property in the future. This song is undoubtedly our discovery experience.

By launching it alone as a second important document, you will also experience a barrier to enthusiasm.

Sato: We’ve actually been between each other for 5 years, we’ve actually launched, but we can’t keep going back to “Yutori really feels it.” I want us to keep trying to tune in various states of mind, not before.

Urayama: When you make a tune similar to this, it will get you from the ruts that create the exact same music. When you make the tuning, you start to discover all this primitiveness, like “We should probably take advantage of this setup, which is actually great.” Since you don’t understand what’s most likely to happen, you can try out brand new points accurately.

Sato: Sometimes you try something like “No, this is wrong” and go back and repeat the program. Throughout your experiment, you will surely find something that is perfect for a brand new point.

In the long run, it seems like a Yutori tune. However, the process of production is completely different from the one you used for previous music. In short, I believe that “Yutori’s Feeling” requires not only driving a guitar, but also audio of bass and guitar and drums, or the drum sound at the same time or actual psychological audio.

urayama: Yes. I seem to have actually discovered a brand new element of Yutori that it suggests. We declare that whenever Yutori plays, it is Yutori.

Uchida: In “Speed” and our previous music, it seems to be “Kotoko Sato in Yutori’s Heart”, but with this song it’s more like “Yutori’s Real Feeling of Kotoko Sato”. I believe this principle is of all kinds. This is the description that I most appealed to me – this tune brings Yutori’s Kotoko feel.

Now that you stated it, there is a feeling in your previous music and I make sure some of your future tunes are certainly there too, just like you do with armor.

Sato: Yes, it still exists. Similarly, I have a very strong protection. Today, we have actually taken all the shields off and threw them away. So far, Yutori’s strategy has actually been “I’m weak, so I’m most likely to keep attacking.” This time, it’s more like “I’m weak, so I’m most likely to run” or “I’m most likely to hide.” It seems that we have actually relieved our heavy concerns.

I believe another component of this dynamic is that there is also a “you” there – another person who approved each of you, and it is also a weakness.

urayama: Yes. Also, if we delete all the shields, then we are not the only shields. I believe this actually stays true all the time, but no one actually ends the Yutori tune. There will definitely be a “you”. Of course, we might be vulnerable without our shield, but “you” has been there all the time. I believe this is done in our brand new music as well as poetry and songs.

– Tomohiro ogawa’s meeting appeared on Japanese signs for the first time