The Work That Made Me: Junya Terui

Junya> Back in the day, the internet wasn't even a whisper in our lives – TV reigned supreme. Those were the days when commercials held the power of magic. You know, the good old ‘comasong’ era: catchy tunes with products' names sung in ways that got stuck in your head. I can still recall a candy jingle that hit you like a flavour explosion.

Oddly enough, those commercials introduced me to foreign music, like The Beatles and Rolling Stones. Back then, they were the gateway to a musical world. I’d hear a tune in an ad and think, "Hey, I want to hear more of this!" That's how I got into listening to music on CDs.

Junya> When I was just a college student, we had this popular video sharing website called Nico Nico Douga. It was like a treasure trove of creativity, especially those MAD videos and music mashed up with videos – pure genius! I found myself glued to the screen, thinking "I want to do something like this someday." Looking back, Nico Nico Douga was a bit like a cosy, domestic corner of the internet. Yet, it was on this very platform that the seeds of creativity were planted. Who would have thought that it would give birth to talents like Yonezu Genji and other vocaloid maestros who now dominate the Japanese music scene?

Junya> Wouldn’t even know where to start. I regularly reread the novels of Ramo Nakajima and the poetry collections of Chuya Nakahara. I also like L'Écume des Jours by Boris Paul Vian. And then there's the enchanting realm of gaming. The scene from Final Fantasy VI, where a ship emerges from the rough sea, is the epitome of cinematic music. The way it swells and guides the emotions, it's nothing short of magical. There's something about the power of music in games; it's like a direct route to the heartstrings.

Junya> Ah, the good old days! My first gig as a producer was actually a cell phone commercial for Docomo. I vividly recall those moments when I was just starting out, trying my best to replicate the techniques I had learned while assisting the seasoned producers. It was a blend of excitement and determination, a real learning curve.

Junya> No comment. The only thing I would say is that we should quit relying on remakes of famous works of the past or public domain songs. It happens way too often nowadays in both music and moving picture.

This is purely coincidental. I remember the first time I saw NIKE's Write the Future, produced by MassiveMusic. It was jaw-dropping – a true testament to the brilliance of global advertising. I couldn't help but be awestruck; it felt like the pinnacle of what advertising could achieve. I found myself yearning to be part of something so creatively groundbreaking. And here I am, years later, working as Managing Director for their Tokyo office! 

There's this other envy I've always had – the desire to put my own spin on songs I've cherished, like this one. There's a certain magic in rearranging tunes that have been the soundtrack of our lives. It's like adding your own brushstrokes to a masterpiece, creating something uniquely yours. 

Junya> Definitely the work we did for Nike Korea. We produced a large number of songs to match the theme, and it was difficult to find the music that best expressed the concept of the video. In the end, we managed to delve deep into the core emotions and conflicts, channelling them into the music. 

The Time as Organs is another project where we were able to channel our creativity through music, enhancing the impact of the visuals.

Junya> When the creative goal is blurred or the overall direction is not unified, we try to proceed with a firm discussion so that the music does not become an exhibition of outlandish (and unrealistic) ideas. It’s a great lesson from the past.

Junya> Working on a Sprite campaign for the second consecutive year has been quite a journey. Aside from the music, we handled everything – from VO talent casting and recording to sound design. Wrangling all those elements into a cohesive project was no small feat, especially considering we had to tailor over 100 different variations of data to cater to various markets. It was a colossal endeavour, but the satisfaction of seeing it all come together is priceless.