kyary pamyu pamyu moshi moshi harajuku album download moshi moshi harajuku album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66a8af3f1ebd16a1 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Kyary Pamyu Pamyu’s “Moshi Moshi Harajuku” Debuts at #14 on Daily Charts. Kyary Pamyu Pamyu – Japanese singer, model, fashion blogger, and Harajuku’s queen of all things kawaii – is currently in the midst of a whirlwind tour promoting the release of her new EP “Moshi Moshi Harajuku”. The official CD release party was held Wednesday in Shibuya, she’s doing an event at KDDI in Harajuku today, and she’ll be back in Shibuya for another big public appearance this weekend. All of Kyary’s hard work appears to be paying off as the “Moshi Moshi Harajuku” EP debuted at #14 on the Oricon overall sales charts on its first day of release (08/17). Kyary’s #14 debut on the Oricon Japan daily sales charts is impressive, but that’s not the only place where “Moshi Moshi Harajuku” has caught fire. Shortly after the EP was released on iTunes Japan, it raced up to the #2 overall sales spot, where it’s been holding steady since. The CD is also in this week’s Amazon Japan top 50 best selling CDs. Additionally, the video for the first single “PONPONPON” is quickly approaching two million views on YouTube. Outside of Japan, Kyary’s Finnish fans have lifted “Moshi Moshi Harajuku” into the #4 spot on the iTunes Finland charts. The EP is also ranked impressively at #12 on the iTunes USA electronica charts. We should know more about actual “Moshi Moshi Harajuku” sales numbers once the Oricon weekly charts are released next week, but so far it looks like Kyary Pamyu Pamyu’s musical debut is going to be a big success! (Note: The Oricon chart in Japan is the equivalent of the Billboard sales charts in America.) KPP Official site.

2nd.Full album「Nanda Collection」Limited Edition.

Produced by (CAPSULE) 2013.6.26 RELEASE!! Photo Book Limited Edition spec WPZL-30633/4 ¥3,619 ＋tax.

■Photo Book Limited Edition spec（CD+DVD）Bonus contents 1. With DVD 2. Special Photo Book spec.

■Track list [Disc 1] CD 1.Nanda Collection 2.Ninja Re Bang Bang（Jingle for au） 3.Kimini 100 Percent（Opening theme for Crayon Shin-chan, an anime series by TV Asahi） 4.Super Scooter Happy 5. （Jingle for GU） 6.Mi 7.Fashion Monster （Jingle for GU） 8.Saigono Ice Cream 9.Noriko To Norio（Jingle for au） 10.Furisodation 11.Kura Kura（Jingle for KFC Krushers） 12.Otona Na Kodomo.

[Disc 2] DVD ・Fashion Monster（MUSIC VIDEO） ・Furisodation（MUSIC VIDEO） ・Ninja Re Bang Bang （MUSIC VIDEO） ・Invader Invader（MUSIC VIDEO）

2nd.Full album「Nanda Collection」Regular Edition.

Produced by Yasutaka Nakata(CAPSULE) 2013.6.26 RELEASE!! Regular Edition WPCL-11518 ¥3,000 ＋tax.

■Track list 1.Nanda Collection 2.Ninja Re Bang Bang（Jingle for au） 3.Kimini 100 Percent（Opening theme for Crayon Shin-chan, an anime series by TV Asahi） 4.Super Scooter Happy 5.Invader Invader （Jingle for GU） 6.Mi 7.Fashion Monster （Jingle for GU） 8.Saigono Ice Cream 9.Noriko To Norio（Jingle for au） 10.Furisodation 11.Kura Kura（Jingle for KFC Krushers） 12.Otona Na Kodomo.

1st. Full album「Pamyu Pamyu Revolution」Limited Edition.

Produced by Yasutaka Nakata(CAPSULE) 2012.5.23 RELEASE!! Photo Book Limited Edition spec WPZL-30376/7 ¥3,619 ＋tax.

■Photo Book Limited Edition spec（CD+DVD）Bonus content 1. With DVD 2. Special Photo Book spec. ■Track list 1.Pamyu Pamyu Revolution 2.Tsukematsukeru 3. 4.Minna no Uta 5.Kyary AN-AN 6.CANDY CANDY 7.Drinker 8.Onedari 44°C 9.Suki Sugite Kiresō 10.Giri Giri Safe 11.Oyasumi 12.Chan Chaka Chan Chan.

■DVD disc ・Music Videos ・Digest video of 1st.live performance without any supporting acts「Moshi Moshi Quattro」 （2012.2.25＠Shibuya CLUB QUATTRO） 1st. Full album「Pamyu Pamyu Revolution」Regular Edition.

Produced by Yasutaka Nakata(CAPSULE) 2012.5.23 RELEASE!! Regular Edition WPCL-11079 ¥3,000 ＋tax. ■Track list 1.Pamyu Pamyu Revolution 2.Tsukematsukeru 3.PON PON PON 4.Minna no Uta 5.Kyary AN-AN 6.CANDY CANDY 7.Drinker 8.Onedari 44°C 9.Suki Sugite Kiresō 10.Giri Giri Safe 11.Oyasumi 12.Chan Chaka Chan Chan.

Debut mini album「Moshi Moshi Harajuku」Limited Edition.

Produced by Yasutaka Nakata(CAPSULE) 2011.8.17 RELEASE!! Photo Book Limited Edition spec WPCL-10983 ¥1,905 ＋tax. ■Track list 1.Kyary no March 2.Cherry Bonbon 3.PON PON PON 4.Chōdo Ii no 5.Pinpon ga Nannai 6.Jelly. Kyary Pamyu Pamyu Throws a House Party for Fans in First Live Concert in Over a Year. J-pop artist Kyary Pamyu Pamyu performed in front of an actual audience for the first time in over a year on Apr. 17, at her Premium Live “Great Invitation” double concerts at Ex Theater Roppongi in Tokyo. The icon of kawaii is celebrating her tenth year in music in 2021, having made her major label debut in August 2011 with her mini-album Moshi Moshi Harajuku. In January, she launched her own record label called KRK LAB and released the first single off the new imprint, “GUM GUM GIRL,” to kick off the milestone year. The Premium Live “Great Invitation” event was Kyary’s first live show during her anniversary year, and also the first time she performed for an in- house audience in 14 months. The performance on the two stages strictly adhered to Tokyo’s COVID-19 guidelines and protocols, with fans sending love Kyary’s way by waving glow sticks and clapping only. The evening show began with an opening video in the style of a black-and-white old movie, showing the 28-year-old singer waiting to be invited to a party. When the phone rings at long last to relay her invitation to the gala, the video transforms to show Kyary’s smile in full color. The curtain then rose to the sound of a toy piano, and the Harajuku princess wearing a red-and-white dress and big ribbons in her pink hair opened the set with “Candy Candy,” her second single from 2012. Seated in an armchair in the living room at first, she stood up during the second verse to deliver her song and dance with two other dancers to the live audience. Her long-awaited reunion with fans at the beginning of the show was already an emotional moment so soon into the set. The pop artist then moved left into the kitchen to perform another early release, “Cherry Bonbon” (2011), wearing an apron that one of the dancers handed to her. “Clap your hands!” she called out, the crowd eagerly responding to her request. She then scooted over to the right into the bathroom area and sang “Choudo iino,” also off her 2011 debut mini-album. Waving the shower hose in one hand and joined by dancers who hop out from the bathtub, Kyary performed the tune in a flurry of bubbles. After the bathroom segment, the singer delivered “Scanty Skimpy” (2014) with a dancer in a suit. Later joined by four other dancers, the vibrant performance of the swinging number was like watching an entertaining musical film. Kyary then paused to address her fans. “Hey everyone, long time no see! How’ve you been?” she asked, and the crowd responded with enthusiastic applause. “It’s been a year and two months since I last saw you. Thank you for coming even though the pandemic is far from being over. I hope you enjoy this premium, one-day-only live show called Great Invitation.” She then went on to explain the concept of the opening video. “The clip you saw in the beginning like a scene from a movie expresses the year I spent feeling sick of waiting to be able to do concerts again, because I thought that a phone not ringing for a year really captured that sentiment,” she shared. “When I found myself not being to do live shows [because of the pandemic], something that I used do on a routine basis almost, I thought a lot about things like what I’m capable of providing.” “The theme of this show is something like ‘my home.’ I love being at home, so I wanted to give you all a peek into the wonderful world that is my home. Enjoy!” Kyary then launched into a nonstop torrent of nine tracks, kicking off with her cover of Capsule’s “Super Scooter Happy” from 2013 to brighten the mood. She then followed up with “Todoke Punch” (2017), performing the track alone and encouraging the audience to punch the air together with her. Next up was her hit song “Tsukematsukeru” (2012), performed with a team of dancers and fans providing backup by happily doing the “Tsukema Dance.” Kyary seemed moved by the sight and thanked everyone for joining in. The segment was far from over, and Kyary further hyped up the crowd with “Mottai-Nightland” (2013), delivering a blaring live rendition that highlighted the dynamic nature of the sparkly pop tune. While fans weren’t able to sing along or cheer during the set, the pop artist made sure everyone joined in on the fun by making eye contact and providing pointers on how to mimic some of her hand moves. Like the way she prompted fans to raise their hands during “Kizunami” (2018), her desire to uplift everybody in the audience was apparent. “Having fun? Now let’s dance together!” Kyary called out, as the familiar dance beat of her debut single “Pon Pon Pon” sparks a wave of excitement over the crowd. Donning a hat decorated with flowers, she performed the bubbly electro-pop tune while the audience danced along with her. The marathon continued with ’s “Ninja Re Bang Bang” (2013) remix, the 8-bit game music beat further fueling the euphoria in the air. Kyary kept the momentum going with a bop from last year, “Kamaitachi.” Originally slated to be premiered in front of audiences during her cancelled 2020 tour, the live version of the romantic number featuring Japanese lore in its imagery was delivered to fans at last. She wrapped up the nonstop run with “Gum Gum Girl,” her latest single that features some serious battle scenes in the accompanying music video. Repeating the key phrase, “Ippon! Ippon!,” Kyary nailed the aggressive choreography that also incorporates kicking action, portraying a cute but tough ninja that embodies her signature aesthetic. The singer finally took a little break to address fans again. “Going from ‘Kamaitachi’ to ‘Gum Gum Girl’ really makes me lose my wind,” she confessed, sitting down on a chair to catch her breath. She then opened up about the inspiration behind her costumes for the show. “Do you know a great French actress named Brigitte Bardot? I love her and wanted to channel her style as the motif for my costumes in order to express this at- home feel. It ended up being a bit like my look in ‘Furisodation,’” she shared, and went on to explain that the props such as the lamp, vase, and teapot were all antiques that she actually owned, plus some other personal belongings. “Believe it or not,” she gushed, “the cushion was a birthday present from [popular actor] Go Ayano!” The singer then informed fans that she used her quarantine time from the past year to remedy her vision. “I got an operation called ICL on my eyes during this past year and two months, and now I have 20/20 vision without contacts. So I see all your faces really clearly!” she said, pointing out that she’d been aware of the signs that fans had brought. “And I see that sign that says, ‘Happy 10th Anniversary.’ Thank you.” Emphasizing that “Yes, it’s my tenth anniversary,” she voiced her hope of doing various live shows during her milestone year. “Please look forward to it!” she said, to the delight of fans responding with loud applause. Kyary then kicked off the remainder of the set, performing “Sai & Co” (2016) and encouraging everyone to dance with her to the marching beat. Riding high on the happy mood, she closed her hit-filled set with “Otona na Kodomo” (2013), with lyrics that express the desire to become a “sparkly” grown-up, in line with her will to keep evolving after ten years in music. The curtain fell slowly after Kyary finished delivering her positive messages to fans, and the concert ended with a video that concluded with the words: “to be continued 10th ANNIVERSARY YEAR.” Kyary Pamyu Pamyu’s first concert in front of a live audience since the pandemic began brimmed with the cuteness and joy that fans love and expect from her, while also displaying her maturity and strength as an artist and entertainer. Her determination to throw the best party even during a pandemic could be sensed from the way she kept the crowd engaged in spite of the restrictions imposed due to COVID-19 protocols, encouraging everyone to participate and enjoy. The balanced mix of throwback tracks and recent releases showcased Kyary’s evolution over the years, raising expectations for what’s more to come from the princess of kawaii. This article by Keisuke Tsuchiya first appeared on Billboard Japan. Review: Kyary Pamyu Pamyu’s Moshi Moshi Harajuku. A common complaint thrown at…or, in a lot of cases, a clever way of justifying a legit enjoyment of…J-Pop trio Perfume is all their success comes courtesy of producer Yasutaka Nakata. The line goes that you could stick any three women in the roles held by the current members, and Nakata’s whizz-bang 80’s fetishism/production would still win the day. A fair point and a tough one to debate. Until now, because from this point on anyone who lays out the above argument will get a finger pointed squarely at Moshi Moshi Harajuku and a smug saying “yeah, OK, listen to this buddy.” Harajuku blogger-turned-model-turned-eyelash-peddler Kyary Pamyu Pamyu (Kyary from here on out) stands as the most replaceable leading lady Nakata has ever worked with…and yet he’s managed to put together a shockingly great EP- worth of Nakata-pop on her behalf. Dude should update his resume with this near the top. To be fair to Kyary, she finds herself in a strange position on this album. This is her initial foray into the world of music following a pretty darn smart career moving on up in the Harajuku fashion world, a realm that I imagine is surprisingly cut-throat given all the pink sparkles. She’s also 18, and any still-teenager smart enough to align herself with the people who can nab Nakata to produce your music…a move giving her instant cred, and guaranteeing her music will get exposed to a whole bunch of people who try to avoid Harajuku…deserves credit. Plus, that time spent modeling for magazines prepared her for the visual side of the music business, as her video for lead single “PonPonPon” shows. That got on Kotaku and, uh, topped the Finnish and Belgian iTunes charts. Yet Kyary isn’t as flashy a singer, turning into just-a-voice for the most part amongst Nakata’s electro wonderlands. Which brings us to the women who came before her…they were able to inject honest-to-goodness bits of uniqueness into their songs, even with Nakata doing his thing. The individual members of Perfume don’t really shine through themselves, but rather they come together and play off one another, working as a team to create a vital aspect of the trio’s music that not just anyone could step into. It’s kinda like that fake AKB48 member, if it actually did anything besides shill for gum. Elsewhere, Toshiko Koshijima of Capsule and MEG have very distinct voices that, even when fucked around with by the producer, remain completely their own. Kyary, for the majority of Moshi Moshi , lacks any of that vocal presence and, while certainly not sonic wallpaper, ends up being a really prominent aural ottoman. In a recent Time Out Tokyo interview, Kyary talked about daily recording sessions with Nakata: “The way Nakata records, he doesn’t give you any demo tape in advance: you get the lyrics when you turn up at the studio on the day. I’d read the lyrics myself, and wonder what kind of song it would be, and then he’d play me the song. I’d memorize the lyrics in about an hour, and then I’d sing them.” Worked wonders here. After a cotton-candy-stuffed-inside-funnel-cake intro song, Moshi Moshi shocks with the sweet dance-pop of “Cherry Bonbon.” It makes sense “PonPonPon” got the single spot (more on that later), but that song and it’s CGI-fireball video don’t reflect how this mini-album actually sounds. It’s surprisingly reserved (for Nakata) and almost workman-like in the way these songs give you some verses and then a sticky-good chorus, no frills (for Nakata) just the goods. “Cherry Bonbon” captures this perfectly – it’s not breaking new ground for the producer but such a simply catchy pop song it floors anyway. How much of that comes because of the semi-dread forced up by “Pon” I don’t know, but like a cough drop “Cherry” makes it all better. The album’s back half continues what “Cherry” started. Despite opening with what legitimately sounds like fart sounds (no, really), “Chodo Lino” quickly transitions to a buttery bit of easy-going disco, the sort of thing you’d expect to hear in the coolest dentist’s office around. That’s a legit compliment – Nakata creates an airy atmosphere that Kyary wisely sets up a hammock between, everything building up to a predictably mellow- but-memorable chorus. “Pinpon Ga Nannai” picks up the pace a tad, throwing some sonic popcorn over a Perfume-lite dance track that peaks with a, uh, very Perfume-like chorus. This particularly strong stretch ends with Kyary covering older Capsule track “Jelly,” the original’s heavy dance-floor emphasis replaced by radio-friendly pop touches that make it the obvious second single. A worthy update that Nakata was wise to wheel out. Sitting right in the middle of Moshi Moshi , though, is the mini-album’s first single and bizarro-world “PonPonPon.” Cats chase dogs, Michele Bachmann makes a lot of sense while Nakata dyes his hair black and grows a really devilsh goatee. This is the one moment where roles swap, Kyary stumbling across flashes of personality and carrying this, while Nakata phones it in. On the production front, Nakata rehashes old Perfume songs pretty blatantly but without the oooomph of the originals. “But wait a sec,” you, the astute reader, are saying. “You said that one song sounded like Perfume, but was good?” True, but “Pinpon Ga Nannai” works because I’m reminded of Perfume but can’t place a specific song to it. With “PonPonPon,” the verses obviously borrow from “Polyrhythm” and that just detracts from the song. Kyary, meanwhile, adds a weird urgency to the chorus, and even comes close to showing off some nifty vocal tricks of her own, mostly when she stretches out “ponnnnnnnn” in “everyday ponnnnnnnn.” “PonPonPon” also improves dramatically when removed from the absolutely offensive-to- the-eyes video, no computer-generated pieces of white bread present to distract from that wisely extended sweet spot of a chorus. Considering how the five other songs on Moshi Moshi thrive because Nakata occupies the driver’s seat (we shall ignore the extended dance mix of “PonPonPon” for a lot of reasons), it’s surprising that this album’s most commercially-ready moment comes courtesy of Kyary’s energy. Which actually brings us to one more aspect of the Kyary experience…this stuff isn’t selling that well at the moment. “PonPonPon” might have topped digital charts in Finland and Belgium, but this is a Japanese act and in her native country Moshi Moshi has only gotten as high as 72 on the Billboard Hot 100. The only place I’ve seen ads for this release are at Harajuku-leaning fashion stores (where, admittedly, they are pimping the hell out of this), yet it stops there. The people marketing this advertised Kyary into a corner…by leaning on her Harajuku-ness to a fault (see: video), she seems to have fallen into a niche, one aimed at the fashion lovers crowding the Harajuku streets. Those people will eat this up, but it’s also gonna alienate folks…as someone who recently walked down Harajuku, fuck Harajuku. And that’s sorta a shame, because Moshi Moshi ends up being an extremely accessible dance-pop album courtesy of Nakata, anchored by one goofy-albeit-catchy single that really should be bigger than it is. For now, nerds like me can champion the fact Nakata done did it again, producing a great mini-album that given its backstory has no reason to be great. As for Kyary, she’s got a while to go before she carves out an identity beyond “wears clothes covered in eyeballs” but hope isn’t lost…remember when Perfume seem doomed to be Akihabara-centric idols? Until then, she has “PonPonPon,” a great jumping off single and the business card of one hell of a producer.