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Parcourez les partitions de piano de Lanndo (ぬゆり) sur Zen Virtual Piano. ぬゆり, known as Lanndo, played piano from childhood; he has said that he stopped lessons in junior high school and has had little proper instruction since, but plays because he likes to. One day he bought a piano app that happened to include a sequencer, and since he had it, he decided to try making a song. An app bought for playing the piano turning into a way of writing songs can be read as a chance discovery that changed his path. ぬゆり’s oldest surviving Vocaloid song is “Itamashikute Takumashikute,” posted on 19 May 2012; “DE-Pression” (2014) and “Sakusō” (2015) also became hits, but Realsound writes that his real breakthrough was probably “Fragile,” posted on 10 September 2016. A breakthrough that came years after his oldest surviving song can be read as a career built slowly. He has said that until about 2015 he made more band-sounding songs, until the person teaching him DTM told him that instead of competing in a genre where many can do better, he should look for something only he could do. Advice to look for what only he could do reads as a turning point in how he approached his songwriting. He introduced the Vocaloid v flower around 2017 and says it suits his style so well that he seems to have used it ever since; its forceful, belting voice stands out even in a dense arrangement. He says each Vocaloid has base characteristics, such as a powerful voice for v flower and a whisper-like one for Kaai Yuki, and that he is conscious of using them differently. Matching each voice to a song’s needs can be read as casting a synthetic singer like an actor. For his work with human vocalists he made guide vocals with a Vocaloid, sent the backing track and guide vocal to the singers to interpret, and then reconsidered which Vocaloid should sing in light of what the vocalists had done. Letting singers answer a guide vocal before choosing a Vocaloid can be read as a loop between human and synthetic voices. He says that wanting to borrow a great deal of other people’s strength was a strong motive for Lanndo, and that he only realised it might be band-like when it was pointed out. He liked Japanese rock: he was a fan of the now-disbanded band Hanuman and liked gritty distortion guitar and crisp Fender Telecaster-style sounds. Hearing his programmed sound become live instruments in “Byōshin wo Kamu,” with drums and bass played by others, made the song feel like it was no longer entirely his own and gave him a longing for live instruments. A producer of programmed music who longs for live instruments can be read as someone drawn toward the unpredictability of other players.
Parcourez les partitions de piano de Lanndo (ぬゆり) sur Zen Virtual Piano.
ぬゆり, known as Lanndo, played piano from childhood; he has said that he stopped lessons in junior high school and has had little proper instruction since, but plays because he likes to. One day he bought a piano app that happened to include a sequencer, and since he had it, he decided to try making a song. An app bought for playing the piano turning into a way of writing songs can be read as a chance discovery that changed his path.
ぬゆり’s oldest surviving Vocaloid song is “Itamashikute Takumashikute,” posted on 19 May 2012; “DE-Pression” (2014) and “Sakusō” (2015) also became hits, but Realsound writes that his real breakthrough was probably “Fragile,” posted on 10 September 2016. A breakthrough that came years after his oldest surviving song can be read as a career built slowly. He has said that until about 2015 he made more band-sounding songs, until the person teaching him DTM told him that instead of competing in a genre where many can do better, he should look for something only he could do. Advice to look for what only he could do reads as a turning point in how he approached his songwriting.
He introduced the Vocaloid v flower around 2017 and says it suits his style so well that he seems to have used it ever since; its forceful, belting voice stands out even in a dense arrangement. He says each Vocaloid has base characteristics, such as a powerful voice for v flower and a whisper-like one for Kaai Yuki, and that he is conscious of using them differently. Matching each voice to a song’s needs can be read as casting a synthetic singer like an actor. For his work with human vocalists he made guide vocals with a Vocaloid, sent the backing track and guide vocal to the singers to interpret, and then reconsidered which Vocaloid should sing in light of what the vocalists had done. Letting singers answer a guide vocal before choosing a Vocaloid can be read as a loop between human and synthetic voices.
He says that wanting to borrow a great deal of other people’s strength was a strong motive for Lanndo, and that he only realised it might be band-like when it was pointed out. He liked Japanese rock: he was a fan of the now-disbanded band Hanuman and liked gritty distortion guitar and crisp Fender Telecaster-style sounds. Hearing his programmed sound become live instruments in “Byōshin wo Kamu,” with drums and bass played by others, made the song feel like it was no longer entirely his own and gave him a longing for live instruments. A producer of programmed music who longs for live instruments can be read as someone drawn toward the unpredictability of other players.
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