A 16-disc 7-inch box set and a 2-disc CD, "THE BAND OF 20TH CENTURY: Nippon Columbia Years 1991-2001," featuring music from Pizzicato Five's Nippon Columbia era, will be released in November. Pizzicato Five, a driving force behind the so-called "Shibuya-kei" movement and a prime example of the band, not only enjoys enduring popularity overseas, but continues to influence subsequent musicians.

This time, we interviewed Nomiya Maki, the band's third-generation singer, who worked with Konishi Yasuharu for over 10 years, from 1990 until the band's disbandment. Looking back on those days, we spoke to her about Shibuya-kei and Pizzicato Five from her current perspective.

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--It's been about 20 years since the band disbanded, but looking back at it now, how does your time with Pizzicato Five position you in your career?

It was the busiest, but also the most fulfilling period of my career as a singer. I became a singer because I loved fashion and singing from a young age, and Pizzicato allowed me to achieve both. What's more, it went far beyond my expectations, taking us outside of Japan and overseas. :


-- Nomiya-san, you've continued to actively sing Pizzicato Five's songs even after the band disbanded. If you had to pick a song that you're particularly attached to, what would it be?

If I had to choose just one, I think it would be "Tokyo wa Yoru no Nanajiro." It was also sung at the closing ceremony of the Rio Paralympics (2016), so I think it's a song that represents Tokyo and is recognized overseas as well. Both Konishi and I hold this song very dear, and ever since we were singing it with Pizzicato, we've thought, "There's no other song like this," and that impression hasn't changed even now. I think it's a highly original song that only Pizzicato can offer.

--A new version of "Tokyo wa Yoru no Shichiji" was released last year, right?

Yes. That was the first song I recorded with Konishi-san in the 17 years since our breakup. For the past five years, I've been releasing CDs and performing live shows under the title "Nomiya Maki Sings Shibuya-kei," and I initially asked him to remix "Tokyo wa Yoru no Shichiji" as part of that project. Konishi then said, "I have an idea I'd like to try." So, with Konishi producing, we decided to record a record with a band called Shaolin Brothers. That's the latest rockabilly version of "Tokyo wa Yoru no Shichiji."

It was originally just going to be that one song, but Konishi said, "I want to make a 7-inch vinyl record so I can play it at DJs," and as the conversation progressed, we decided to add a coupling track, so we re-recorded "Happy Sad" and released it as a 7-inch single last year.

--It's been about 20 years since Pizzicato Five disbanded, but has the image of their music that you have of them changed since then?

Pizzicato's songs never become nostalgic, and I can still listen to them with a fresh feeling. You could say that as I've gotten older, I've been able to make new discoveries and appreciate them more deeply, but I don't think there are any melodies and lyrics that never get old as well as these. I'm once again reminded of the greatness of Konishi's songs.

What made me happy was that in Konishi's song commentary he wrote, "When I listened to Sweet Soul Revue again in the studio this time, I was moved to realize how wonderful Nomiya Maki's vocals are." It's a compliment I received after so many decades (laughs).

--Nomiya-san, from your perspective, what do you think makes Pizzicato Five unique?

I think Pizzicato Five's uniqueness lies in their strong commitment to creating musical works that encompass not only the music but also the visuals and artwork. I think that their work resonated with music lovers all over the world. At the time, they were proud to be doing the coolest things in the world. They were sometimes described overseas as "Oriental Barbie Dolls," but I think Konishi-san was also conscious of being an iconic band on a global level.

That's why I think so many people overseas listened to and enjoyed their music.

--There seems to be a strong trend toward a reevaluation of Shibuya-kei music these days. Have you personally experienced this phenomenon, Nomiya-san?

A lot of parents and children come to my shows, and I think that my music resonates with the younger generation as well. It seems like even young musicians are increasingly being influenced by Shibuya-kei. It's really exciting, isn't it? I think the quality of the songs is a big factor. While tones change with the times, I think it's precisely because they value the core elements of melody and arrangement that they exude such universal appeal.

--Shibuya-kei and Pizzicato Five are still incredibly popular overseas, aren't they?

That's right. When I announced the release of this 7-inch box set and greatest hits album, I received a lot of reactions from overseas on social media. I recently performed in Beijing, and I'm grateful to still receive many offers to perform with them. Global streaming will also begin, so overseas fans who previously couldn't get the Japanese version will finally be able to hear some of your songs, which is very meaningful.

--Were there any memorable events or stories from your time working overseas in the '90s?

The most moving thing was having the chance to talk to Burt Bacharach, someone both Konishi and I admire. Pizzicato covered his song "Me Japanese Boy," and when we appeared on a radio show in LA, they played the song. Burt Bacharach heard it and called our record company. "You're on the phone with Burt Bacharach," we were like, "What!?" (laughs). We all put the phone on speaker and listened, and he said, "Thank you for covering 'Me Japanese Boy,'" and performed it for us on piano over the phone. I was so happy I cried. I never knew something like this could happen. Since then, I've had the opportunity to meet him whenever he comes to Japan, but I'll never forget how moved I was at that time. 」 />
--I'd also like to ask you about fashion. Since your days with Pizzicato Five, you've been active both in Japan and overseas. From your perspective, what do you think are the characteristics of Tokyo fashion?

The average level of fashion in Tokyo is high, isn't it? Young women in particular are very interested in fashion and I think they dress well. But unfortunately, that doesn't mean they have a strong sense of individuality. Fashion reflects a person's lifestyle, so I think it would be better if there was more freedom. Women tend to shy away from fashion as they get older, but you should never give up on remaining attractive as a woman. Even just wearing red lipstick can make a big difference, so give it a try. Like a French lady (laughs).

--In a past interview, you said, "In order to enjoy the fashion I like, I need to have an objective perspective," and "I always observe people I pass by on the street and people I meet at parties." I'd like to ask you about the changes in fashion from your perspective.

As you get older, you establish what you like and what styles suit you. Nowadays, I'm not so influenced by trends. When I observe myself objectively, I notice subtle changes, like clothes that I used to be confident in no longer suit me, or, conversely, colors that didn't suit me before now look great. It's important to adapt to those changes. I can't help but observe people because both wonderful and unfortunate people serve as role models. When I was young, I didn't have much money and it was hard to get the clothes I wanted, but now with fast fashion brands, I can quickly adopt the latest trends. While using fashion wisely is great, I also think it's important to find clothes that really suit you through conversations at trusted stores.

--What about fashion trends? It's often said that they tend to follow a similar cycle.

I agree. When I see styles that are being called '80s and '90s revivals, I feel a sense of nostalgia, but at the same time, I sense something new and exciting. However, as someone who actually experienced that era, it brings back memories of that time, and it makes me feel complicated.

--You also have a live concert titled "Nomiya Maki Sings Pizzicato Five" scheduled for November. Given that it's coming after the release of this album, I imagine it will be more emotionally charged for both you and your fans than ever before.

That's right. This time, we'll be singing only Pizzicato Five songs. I think this will be the first time since the band's breakup that we'll be performing a live concert entirely with Pizzicato Five songs. I want to deliver Pizzicato Five's classic songs as 21st century standards with a fresh feeling, not just as Pizzicato Five's Maki, but as the person I am today. We're thinking of evolving the costumes while retaining the image of the time, so I think both fans from back then and younger people will be able to enjoy both the music and the visuals.

--So fashion and music are inseparable, then?

Yes. For me, they are absolutely inseparable. Shibuya-kei was seen as "trendy, fashionable music" precisely because it was fashionable, but I also felt that there was nothing wrong with being fashionable. We wanted to play fashionable, cool music. That was very important to us.

--By the way, your son is now in his early twenties, isn't he? Is there anything you notice when you see how he approaches music and fashion?

Maybe it's because of my influence, but my son still buys my CDs. He seems to like and enjoy fashion, but if an outfit seems a little... I don't say anything, and only praise him when it's good (laughs). It's good to be adventurous as much as possible when you're young.

--I'm sure you've been asked this question in many places, but as we approach 2020, what do you personally think about the Shibuya-kei trend and what made it so unique?

To be honest, back then, when you said "Shibuya-kei," the musicians themselves didn't really get it (laughs).

What all the musicians known as Shibuya-kei had in common was that they were influenced by great music, movies, design, fashion, and other cultures from the past, especially those of the 1960s. I think they expressed their love for their roots to the fullest. In that way, I think it served as a gateway to the various cultures that informed their backgrounds. I also think that the fact that they were broadcasting this stylish culture from Tokyo, including the artwork created by art director Mitsuo Shindo, played a major role. This attracted attention overseas, with Pizzicato's songs being played at Paris Fashion Week and being featured in magazines like "Prêt-à-Porter" and in films. Through this 7-inch box set and best-of album, we hope that not only fans from back in the day, but also younger generations, will discover the music that Pizzicato loved through their music.