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Interview

Interview with Cowboy Bebop Creator Watanabe Shinichiro

October 11, 2017 12:00pm
by Tatsuya Yamashita, Lachlan Johnston & Mike Tamburelli

Within the world of Japanese animation, there are few individuals more prolific than Watanabe Shinichiro. This fact has become so prevalent in fact, that the term ‘anime’ has almost become synonymous with a majority of his series — many citing shows such as “Cowboy Bebop,” “Samurai Champloo,” and even his more recent “Space Dandy” as their introduction to the world of Japanese animation. As such, the opportunity for us to spend the evening with such an influential creator wasn’t something to be taken lightly, and over a series of both text and video interviews, we’ll be dwelling deep into the mind of Watanabe Shinichiro.

Sitting down with Watanabe, we spoke about his upbringings in the anime industry, as well as looked back at his long-history of creations and ideas. You can find our full text interview below:

OTAQUEST: Watanabe Shinichiro, it’s a pleasure to have you here. Kicking things off, you originally found your footing in the industry as an anime producer at ‘Nippon Sunrise.’ Of all the other active studios existent during that time, why was it you chose to work there? 

Watanabe: I felt like Sunrise was a studio that actively sought to animate original works, rather than adaptations of pre-existing manga series. If I was going to get into the animation industry, I wanted to create my own works rather than adopting someone else’s series.

OTAQUEST: Up until you joined Sunrise, were you studying anime production?

Watanabe: I self-studied pretty much everything I know about movie production and direction on my own accord. I read plenty of books on both film techniques and technology, where I then learned basics such as the 180-degree rule of camera positioning, frame-right, and frame-left. 

As for storyboarding, I learned a lot of that after entering the industry by looking at and mimicking the works of others. There was no proper education system to instruct directors in the anime industry at the time.

OTAQUEST: During that early period of time, were their any creatives who really caught your attention?

Watanabe: Kazuki Akane was kind of a friendly rival of mine — he originally debuted as a director with “The Vision of Escaflowne” at Sunrise in 1996. Even now we occasionally help each other out with projects.

OTAQUEST: Were there any anime directors that you derived a lot of inspiration from, or even those from whom you took reference from?

Watanabe: The director whom I have taken the most personal inspiration from would have to be Masaaki Osumi, who worked on the original “Lupin the Third” TV series. When the series debuted, it had a very adult tone and feel, which wasn’t bringing in the desired ratings, so he was removed from the project. He also assisted in directing the TV series “Moomin,” and it wasn’t until I myself became an adult that I realized he worked on both. 

Since entering the anime industry, I also found myself influenced by Ryousuke Takahashi, who was a part of Sunrise’s third studio and best known for his work on “Armored Trooper VOTOMS.” I learned from him that I shouldn’t rely solely on my own ability to create — I needed to learn to rely more on my staff and their abilities, all while fostering their skills at the same time. For a job done as a team, especially something like the creation of anime, that is of great importance. 

OTAQUEST: It was finally time in 1994 for you to take to the stage with your directorial debut on “Macross Plus.” Can you tell us a little bit about why you were selected to helm such a popular series?

Watanabe: At that time director Kawamori Shoji was producing a film called “Mime” at Sunrise, and it was because of our shared workspace that we originally became acquainted. Unfortunately, however, that film was shelved, but soon after planning for “Macross Plus” began. He approached me and asked if I’d be up for the task.

OTAQUEST: After Kawamori stopped working on “Mime,” his break from the anime industry was an extremely hot topic amongst fans, wasn’t it? 

Watanabe: It was pretty major news. One of the main reasons I accepted the “Macross Plus” offer was to help him make a comeback. Another reason, though, was that I was an episode director at the time, and I felt that I still wasn’t given the freedom I needed to create something of my own. I wanted to be involved with the creative process of something all the way from the beginning.

OTAQUEST: Having done just that, you moved on to work on your very first project you could truly call your own — “Cowboy Bebop.” Can you tell us a little bit about the circumstances that lead to this moment?

Watanabe: Masahiko Minami, who is now the president of Studio Bones, was someone I had known for quite some time. He approached me to ask if I had any good ideas for a new project, and after about 2-3 days of deliberating, something I had thrown together over the course of an hour known only as “Bebop” surfaced. Usually, the things that are quickly slapped together become the big hits, rather than the ones you would painstakingly deliberate on.

Around the same time, there was a very real buzz on the streets in regards to a “Star Wars” revival which had everyone excited. This piqued the interest of Bandai’s toy division in producing something with spaceships as a central element — they thought both the series and affiliated merchandise would sell well. That’s why the offering of my “Bebop” project was taken.

OTAQUEST: At that time it almost felt like robots were a given within the sci-fi genre, but there were few works in the world of anime that delved into the realm of spacecrafts. Because of that, daring to switch was quite a large risk for them, wasn’t it?

Watanabe: It definitely was, and they weren’t very happy with the way we ended up portraying the world of “Cowboy Bebop” either. Around the time we were producing the fourth episode, they actually pulled their sponsorship because they didn’t think such a dark and subdued portrayal of spacecrafts would do any favors to their toy sales. We even considered canceling production after that whole drama, but Bandai’s main film production company Bandai Visual swooped-in to save the project.

OTAQUEST: Looking back on it, it’s absolutely crazy to think that during the first airing of “Cowboy Bebop” in Japan, only the first 12 of 26 episodes were actually broadcasted.

Watanabe: Before the broadcast even began — during the production of the first few episodes, there were a lot of internal stakeholders saying things like “This show is too adult, there’s no way this will work” and “It’s just too pretentious,” as well as other cold things. These very same people began to change their attitudes when the show did manage to grow a following, where they then started saying things like “Oh, I always knew it would sell!” (Laughs) In a sense, it was accepted that things may have changed since the airing of the original “Lupin the Third” series.

OTAQUEST: When do you think the way people viewed “Cowboy Bebop” started to change?

Watanabe: Hmm, when was it that people’s views started to change? To this day, I really couldn’t tell you why “Cowboy Bebop” gained popularity and began selling; even now I still think it went way over budget. If “Cowboy Bebop” had failed, I guarantee I’d be working at a ramen shop by now. I’d be the type of ramen shop owner to get overly fussy regarding minor details and things like ingredients. (Laughs)

Anyway, we’ve spoken a bit about all these moments of misery, so why don’t we talk about something a little more fun?

OTAQUEST: Well, usually when the name “Cowboy Bebop” is mentioned, there’s another name that’s brought up alongside it — Yoko Kanno. Can you tell us a little bit about her, and why you appointed her as the series’ composer?

Watanabe: I first met Yoko during the days of “Macross Plus,” and at that time it was almost as if she was a total newcomer. That being said, however, I too was still a complete newcomer to the project I was about to face. Taking on the role of director — it felt like we had the whole world in front of us. We were also pretty much the same age, and it was almost like we could be comrades-in-arms, so to speak. 

I reached out to Yoko for the project, but when I told her the details she actually indicated that she was likely going turn the offer down because she wasn’t a big fan of jazz. If things really did go that way, and she wasn’t involved, then “Tank!” would have never seen the light of day, and “Cowboy Bebop” may never have realized its full potential. (Laughs)

OTAQUEST: So you’re saying that even though she wasn’t a passionate fan of the jazz genre, she was able to produce such an amazing soundtrack? 

Watanabe: As a result of this, however, I feel as though a genuine synergy between both music and video was created. She inspired me to create songs that I didn’t ask for, and I was inspired by her music to make scenes that I originally didn’t even plan.

OTAQUEST: Can you elaborate on that last part a little bit?

Watanabe: For example, the scene at the end of episode five where Spike falls from the window was inspired by the song “Green Bird,” and was made without having originally been ordered. It’s fair to say “Cowboy Bebop” is full of such occurrences, and that the project’s music budget may have gone well overboard. (Laughs)

OTAQUEST: Was that even allowed?

Watanabe: Normally that would have raised a lot of red flags, but “Cowboy Bebop” definitely wasn’t an ordinary project. 

OTAQUEST: I guess “Cowboy Bebop” just had that sort of power, right?

Watanabe: It honestly wasn’t just the content of “Cowboy Bebop” that was out of the ordinary — the whole production and the circumstances surrounding it were all pretty non-standard. 

OTAQUEST: I’d dare suggest that non-standard feeling has almost become a recurring theme in all of your works, with one of the better examples being the more recent “SpaceDandy.”

Watanabe: I feel like “Cowboy Bebop” was a project full of content that I wanted to create — it felt as though it was a series full of my own personal color. On the flipside, however, “SpaceDandy” was the bi-product of a more diverse pool of talent and thought. Everyone involved was having a good time piecing together the show in their own little way. 

For the longest time, I felt as though “SpaceDandy” had a totally different color to mine. Looking back on it now though, I do realize there is a fair amount of my own color too. 

OTAQUEST: On the topic of that pool of talent; how did you go about choosing such a diverse team of staff for the project?

Watanabe: When the time to assemble the staff of “SpaceDandy” arrived, I reached out to absolutely everyone I had ever wanted to work with, regardless of whether we were acquainted or not. The world of anime is quite wide, and it was through this project I met a long list of individuals; both industry veterans and newcomers alike. 


 
OTAQUEST: Your most recent animated work, “Blade Runner Black Out 2022,” released just a short while ago. Can you tell us a little bit about it?

Watanabe: It was right after the offer came in to work on a “Blade Runner” spinoff that I decided the rewatch the original film. It was through this viewing that I came to remember just how influential it was in my entire career as a creator. During the entire production process, I felt an immense pressure given the enormous expectations that come with the “Blade Runner” title. The schedule was extremely tight too, so that didn’t help. 

I knew that if I hadn’t taken the job, however, that some other director would come around and mess it up. (Laughs) To put that another way, if it did end up failing, it would be my own personal failure — I didn’t want that pinned on someone else. (Laughs) 

Even though I mentioned that pressure, however, I was able to convince myself it didn’t really matter in the end. Compared to the original film and Denis Villeneuve’s continuation, my work wasn’t as big a deal. It was after I realized this that I was able to work without hesitation and tell the story I wanted to tell. 

Though the blackout incident is mentioned in “Blade Runner 2049,” it’s only in conversation, which is where my work was meant to complement the film. Taking that into consideration, I began developing my script while consolidating with members of the “Blade Runner 2049” staff and even ended up going to the set of the film for a meeting. It was there that I was able to examine not just the scenery and set, but also show my work to Denis Villeneuve and the director of photography, Roger Deakins. That was an incredible moment. 

OTAQUEST: Wrapping things up, as a veteran anime director, are there any issues that you have with the modern anime industry? What do you think will become of the industry going forward?

Watanabe: As of late we’re finally seeing the upper-limits of a business model that relies too heavily on consumer video disc sales. I also firmly believe we’re seeing too much similar work within the same genres. Now, however, with the advent of services like Netflix and Amazon Prime Video, we’re seeing a tremendous change in the way content is delivered. Similarly so, the Japanese animation industry is having to undergo some equally massive changes as well. 

 I feel as though it’s become easier to take greater risks with our projects, and that’s something I think is a great direction for the industry to be heading. On top of that, I’ve also been thinking — hand-drawn animation has a charm that you can’t simply replace. It’s become a global dependency to utilize the power of CG animation, but it’s no longer being done in moderation. I just hope more young people — both in Japan and internationally — can learn to adore the world of hand-drawn animation even more so. 
If you’re interested in checking out even more about the life of Shinichiro Watanabe, as well as all of the incredible achievements he has earned, be sure to stay tuned for even more content in the coming weeks. For now, be sure to check out some of our past interviews with creatives such as “Yuri!!! on ICE” creator Sayo Yamamoto, “One-Punch Man” director Natsume Shingo and plenty more, here.

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Hunter x Hunter Editor Teases ‘God-like Chapter’ for Series’ Return

September 21, 2018 2:00pm
by Jacob Parker-Dalton

Another year, another hiatus for Hunter x Hunter. At this point, there’s not much that creator Yoshihiro Togashi can do to alleviate the ennui of long-time fans who have been disappointed with the slow pacing and intermittent publishing schedule ever since the series moved onto it’s latest ‘Dark Continent’ arc all the way back in 2012. Or at least, that's how it seemed, with recent comments from the editor of the series would have us believe that things are really going to start heating up.

Hunter x Hunter series editor Moji’s comments come from the NHK series 100 Cameras, which sees one hundred cameras placed in the Weekly Shonen Jump office to chart the activities of the editorial staff as they struggle with the various problems that come from the hectic environment of weekly publication. Moji was featured in a short scene from last Monday’s show, where the following exchange happened between him and a cameraman.

Moji: “I’ve just gotten my hands on something seriously crazy.”
Cameraman: “What?
Moji: “A God-like chapter?”
Cameraman: “...what god-like chapter?”
Moji: “It’s been a long time since I received a manuscript that brought me to tears.”


The manuscript that Moji clutches in the scene is of course none other than the latest chapter for Hunter x Hunter, which has come out of hiatus for the second time this year to resume in next week’s issue (September 24).

It’s easy to get excited at comments such as these, especially since fans have been waiting so long for the newest arc of the series to pick up and show us it’s full potential, but it is important to take these comments with a fairly large pinch of salt. It’s in Moji’s best interests to get fans excited about the new chapter so that the magazine’s sales can be boosted, so it’s possible that he may be overexaggerating for publicity purposes.

That being said, Hunter x Hunter is penned by the mad genius Yoshihiro Togashi, and he’s done some pretty crazy stuff in the past. But with the current arc still in the midst of heavy exposition in order to set up the new breed of Nen powers, the only shocking thing I can really think of is a major character death - and there’s certainly a fair few candidates. Obviously, Kurapika himself would be the most devastating death, but since he has effectively become the main character at this point, it’s unlikely that Togashi would shoot himself in the foot in such a way. If anyone’s going to die, then I’d argue it to be Leorio - he’s never served much of a purpose anyway and would be a good way to add some stakes to the current arc for Kurapika.

Either way, we don’t have long to wait to see what the true nature of Moji’s comments was, with the latest chapter of the series releasing next Monday. I certainly can’t wait to get my hands on it.

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‘Karakuri Circus’ to Get Hardcover Reprint in Preparation for Upcoming Anime

September 21, 2018 1:00pm
by Jacob Parker-Dalton

The announcement of an anime adaptation of Kazuhiro Fujita’s Karakuri Circus earlier this year came as a surprise to everyone and brought a lot of attention to a series which had previously enjoyed a fairly small cult following. So to prepare for the anime’s premiere next month, publisher Shogakukan will be releasing a new edition of the series, featuring never-seen-before material in an all-new format -- perfect for long-time fans and newcomers alike.

Titled “Complete Edition,” this new reprint of Karakuri Circus will be A5 sized, making it slightly bigger than original takonbon releases but slightly smaller than the original magazine print. Still, the bigger size will let you appreciate Fujita’s excellent artwork all the better, and will come in handy when it comes to some of the Complete Edition extra features, which include never-seen-before production notes, illustrations, and character sheets, along with all of the original color pages from its initial run in Weekly Shonen Sunday.

For longtime fans of the series, this is a fantastic opportunity to dive back into Fujita’s masterpiece in an all-new fashion, and for newcomers to the series, it’s a fantastic opportunity to read the manga before the anime begins airing. Even though the anime begins in merely a month from now, since two volumes will be released each month from now on, it’ll keep a good pace with the anime adaptation, and will perhaps tide over those viewers who’d prefer to wait for the Blu-rays to release.

Furthermore, with VIZ recently announcing their English release of Naoki Urasawa’s similar cult hit 20th Century Boy’s Japanese hardcover, deluxe edition under the name The Perfect Edition, it definitely wouldn’t surprise me if another publisher follows suit by licensing this deluxe edition of Karakuri Circus, especially when considering the hype for the upcoming anime. Nevertheless,  both volumes one and two of the Complete Edition are now available in Japanese stores. They are priced at 1400 yen each, and you can check them out via Shogakukan’s official website.

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Taito Brings The True Space Invaders Experience Home In Japan With Arcade1Up

September 20, 2018 4:00pm
by Eddie Lehecka

Arcade pioneer Taito has announced this week at Tokyo Game Show that they're teaming up with US home arcade startup Arcade1Up to bring their 3/4th sized cabinets to Japan starting in December. 

Priced at 58,000¥, the newly designed and manufactured cabinets are made to provide as close to an authentic gameplay experience as possible to the original machines released back in the late 1970s. Arcade1Up announced their products for the US market earlier this year, featuring an array of influential and popular classic arcade titles to be released in an affordable and size-efficient manner for anyone who has dreamed of owning an arcade machine with their favorite game. What makes the Tokyo Game Show announcement so exciting (aside from the release in Japan) is that two new offerings, Space Invaders & Pac-Man, are being shown off on the show floor.

These arcade replicas are actually a brilliant solution for the Japanese market as space is often very limited in the average building. These smaller form factor cabinets are perfect for any office or homeowner looking to add some fun to their surroundings. They even use the original artwork and design of the classic cabinets, making them an eye-catching decorative piece as well!

The first 3 cabinets are going to be released in December of this year, with pre-orders for Japanese buyers currently available on Amazon. If you're in Japan and want more details on how to buy, check out the official Taito website for the product. If you're in America and want to see Arcade1Up's other offerings, check out their official website for more information.

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Rhythm Game Legend Naoki Maeda Announces New Game, SEVEN's CODE

September 20, 2018 3:00pm
by Eddie Lehecka

Longtime rhythm game producer Naoki Maeda announced the first title from his newly founded venture, Unlimited Studio, in collaboration with developer Applibot at Tokyo Game Show. After his departure from Capcom last year many fans were wondering what was next for the man who helped define the rhythm game genre. The announcement that he was creating his own studio prompted a lot of speculation as to what direction he was moving in, and it seems that he's sticking with familiar territory.

Being billed as a music game that's "not a music game", the concept actually seems pretty novel. A deep story is being woven in the title, with episodic content being released over the course of the title's first year of release. General gameplay hasn't been described in detail yet, but in game battles/action are going to incorporate a rhythm game element of some kind. The story of the game involves solving a series of mysteries that may save humanity from extinction. Depending on how players perform in the game, results will change globally in-game for all players as the story progresses. Maeda has long been concerned with accessibility for players worldwide and of all skill levels, and that seems to definitely still be the case. His initial announcement stresses that the focus on the game is fun, while still offering a challenge for skilled players.

In addition, an audition event for illustrators and musicians is being planned, allowing for even more interaction with the game for all types of people. Longtime rhythm game fans will be pleased to see some familiar faces popping up in the title as well. Rhythm game veterans such as cranky, t+pazolite, REDALiCE, and newcomer KSUKE have been announced as participating with the title. The four of them appeared during a special announcement & talk event at Tokyo Game Show today to discuss the upcoming game.

There's still a lot more information to come, and we're definitely going to be keeping an eye on this title. Maeda's last creation, the short-lived CROSSxBEATS, was a blast to play and featured an excellent array music. His determination to create the next evolution of music games is something that should excite fans of all kinds, and it'll be really interesting to see the development of this new project. In the meantime, you can check out more details at the official website, or follow SEVEN's CODE on twitter for more information.

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Hiroshi Fujiwara & Pokemon Team Up For Thunderbolt Project

September 20, 2018 2:00pm
by Eddie Lehecka

The Pokémon company has officially announced that they're partnering up with streetwear legend Hiroshi Fujiwara for a new line of boldly designed & striking products featuring some of their most iconic characters. Originally teased on Fujiwara's Instagram a few weeks ago, the collaboration is titled THUNDERBOLT PROJECT and is being promised as an ongoing series of different pieces to be released through 2019 "and beyond". At first glance, this might seem like an odd pairing; but given Pokemon's long history with outside designers that have a unique style, this seems like a no-brainer for a brand that is loved by so many people worldwide.

There hasn't been much in the way of information about the project made available yet. We do know that the first item from the collection is slated to drop at the upcoming Hypefest event, taking place on October 6th & 7th in New York, at which Hiroshi Fujiwara is a member of the organizing committee. So far we've also caught a glimpse of a few minimal but amazing looking items from the collaboration including a black t-shirt with Pikachu's silhouette in white and a hoodie featuring a grey colored Mew on the back. Both items incorporate a thunderbolt shape that seems pulled directly from the logo of Fujiwara's Fragment Design label and are a stark contrast from the typically colorful designs seen in most Pokémon merchandise.

While Fujiwara is no stranger to collaborations with pop culture icons (we covered his recent Bikkuriman collaboration a few months back), it's always exciting to see two behemoths in their respective industries team up like this. Both parties are known for pushing boundaries and have years of significant experience in trying new and exciting things, meaning that the possibilities here are endless. For me personally being a massive fan of the Pokémon franchise and an avid streetwear enthusiast, I'll definitely be copping as much of this collaboration as possible.

You can find more information on the official THUNDERBOLT PROJECT Instagram account, and we'll be sure to report as more details become available!

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Lupin the Third to Take Over Universal Studios Japan in 2019

September 20, 2018 12:00pm
by Jacob Parker-Dalton

With the likes of Detective Conan and Sailor Moon receiving themed attractions as part of Universal Studios Japan’s “Cool Japan” initiative, it will perhaps come as no surprise that Lupin the Third is next in line to be featured in the ever-changing line-up of Japanese popular culture-themed attractions. But with the franchise only recently emerging from a lengthy TV anime hiatus, it’s a sign that the series is back and better than ever.
 
Lupin’s entrance into Cool Japan comes during the initiative’s fifth year, and there’s perhaps some poetry in the fact that the Lupin franchise celebrated it’s own fiftieth anniversary last year, with the original manga launching in 1967. Perhaps due to this seniority, then, Lupin will be kicking the almost equally legendary Neon Genesis Evangelion off the XR Ride attraction (which was previously occupied by Final Fantasy) to deliver it’s own VR attraction. While the details on this attraction are few, having rode the Final Fantasy VR ride earlier this year, I’m sure that the surprisingly effective combination of a VR headset and moving carriage will be entertaining, to say the least.
 
Furthermore, there will be a new restaurant themed around the Lupin series, which will be both comedic and “hard-boiled” according to USJ’s official website - perhaps suggesting that the food served in the restaurant will be a little out of the ordinary, or perhaps that the diners will be treated to some kind of show during their meal, much like how the Detective Conan Mystery Restaurant had diners solving a mystery as they ate. Themed restaurants such as these are common at USJ, and it’s worth bearing in mind that it will most likely require reserving ahead of time, unlike the VR ride.
 
Finally, the official website teases an “original story” that can only be experienced at the park, through the attractions, which is sure to excite any fans of the Lupin series. Detective Conan did something very similar this year as it had attendees solving mysteries alongside Conan and the gang through the various park attractions, so I wouldn’t be surprised if Lupin followed suit, perhaps letting us do some thievery with the gang, or perhaps putting us in the shoes of the hapless Inspector Zenigata as he attempts to bring the gang to justice.

Either way, the attractions are expected to launch sometime in 2019, so we have a while to wait for more concrete information. Keep your eyes on the official website for more details.

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Lounge Neo Announces 家-Yeah- Anniversary Event Lineup

September 19, 2018 2:00pm
by Lachlan Johnston

There are few events I look forward to more than Lounge Neo's legendary annual 家-Yeah- anniversary event, and today we finally got a look at what we can be expecting from this year's event. Calling on some of the greatest talents from Japan's massively diverse club and internet music scenes, I'd dare suggest that no amount of planning could prepare you for November 25 when the back streets of Dogenzaka are taken over. Just to give you a scope of the scale of this event, 家-Yeah- will be utilizing not only Lounge Neo, but also Club Asia, Vuenos, and Glad.
 


This year celebrates the fifth anniversary of the 家-Yeah- event, as well as the 16th anniversary of Lounge Neo itself. With an incredibly stacked lineup of talents, including regularly featured talents such as Ujico*/Snail's House, Yunomi, Tomggg, and more, this really is set to be the ultimate party. Possibly the wildest part of this all, however, is the fact that this is only the first wave of announcements, with more to come for the event in the near future. It's a long one, but the current lineup can be seen below:

AMUNOA
Batsu
BUDDHAHOUSE
Cola Splash
Chordal Poem Secrets (Redcompass/Hercelot)
DJ DJ機器
DJ WILDPARTY
D-YAMA(MOGRA)
Genick
imai
isagen
JABBA DA FOOTBALL CLUB
KAN TAKAHIKO
Keita Kawakami
Kick a Show
KO3&Relect 
KOTONOHOUSE B2B Ujico*
国士無双
HyperJuice
has
長谷川白紙
Masayoshi Iimori B2B Maru
 feat. ONJUICY
マザーファッ子
三毛猫ホームレス feat. lulu
Miii
melo B2B Oblongar
okadada
Pa's Lam System
pavilion xool feat.ノレ
PARKGOLF
パソコン音楽クラブ
Seimei & Taimei (LOUNGE NEO Special Set)
SIRUP
TENG GANG STARR
tomad
Tomggg feat. ボンジュール鈴木
TORIENA
TREKKIE TRAX CREW
UNSQ
WATARU
ゆnovation
YONEDA
YonYon
YUC'e
yuigot / Applekid
Yunomi feat. アンテナガール, ローラーガール, 桃箱 with きあと

Amps
栄免建設株式会社
gu^2
hype
K8
LADY’S ONLY
monolith slip
テクの幸太朗
VIBES MAFIA
XYLÖZ
Ryuki Miyamoto
YOCO ORGAN
HAKA GANG VS なーどーぷクルー VS v.o.c crew
103i
BREADSHOP
JunyaUtsunomiya
kyo
Miyabi
NES
ryuzk
skmt
shucream
SUNOKO
taros
Yackle


Taking place on November 25 at Lounge Neo and surrounding venues, 家-Yeah-  is being priced at 3,500 yen + 1D for an advance ticket and 4,000 yen + 1D for door sales -- not a bad price for what's quite literally a club music festival with some of the greatest talents right now. Those interested in checking out further information on the event can hit up Lounge Neo's official website.

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