I produced three songs from rapper Tamaki ROY's 4th album "Lucky": "YES", "So So Kyoku", and "Nakama".
The lead track "YES" is sampled from my song "Hello Everything." I'm also planning to arrange it for live performance by Hasunuma Philharmonic.
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From his first album "Shounen Monster" through his breakthrough second album "BREAK BOY" to his third album "Acchi to Kocchi," Tamaki ROY's unique presence has captivated us. However, this "uniqueness" is perhaps more limitless than one might think. It's like gazing into a tropical ocean with incredibly clear water in broad daylight, only to find that the bottom never seems to be visible.
He displays a disarming candor in both his rhymes and beats, making one wonder if he's never even heard of gimmicks. On the other hand, Tamaki ROY also engages in experimental sessions with musicians from a variety of fields. While this side of him may swell, it's likely merely a ripple on the surface. He certainly seems like the epitome of a "cultured" rapper, with a delicate, delinquent-like quality. However, those who have witnessed his solitary appearance during solo concerts, facing the audience alone without a backup DJ, unanimously describe him as "demonic," "tremendous," "powerful," and "unexpected." The intensity with which he seizes the microphone and spits out rhymes, as if possessed, is unparalleled. Confused by his sudden change of smile after a show, I decided to return to Tamaki ROY's own albums. Then, what appears to be straightforward innocence cracks open, revealing a strange boldness and strength. At the same time, one realizes that his rhymes, which seem to present the life-sized aspects of city life in a lyrical and terse manner, are permeated with meticulous thoughtfulness and a rebellious spirit. Of course, Tamaki ROY is someone who brazenly flaunts the "strength" of his music, thoughts, and rebellion, refusing to make them a commodity—it is this strange shyness and modesty that makes the artist's depths seem like an ocean, not a pond or a lake.
Tamaki ROY's music perfectly matches his appearance. He'll be astonished by those around him with his elementary school-aged playfulness and outspoken speech, then suddenly turn cold-eyed and utter lines that reveal a glimpse of sharp intelligence and critical thinking. However, with his distinctive, embarrassed smile, he'd likely shy away from clichés like "being natural"—"Please stop, I don't like that kind of thing"—but Tamaki ROY strives to break away from such "ordinary" behavior. The moment he's boxed in, he escapes far beyond. Yet the result is truly "hip hop." It's pure, without any added sweetness or unnatural smell. It's like water pouring down on a parched body. It's as clear as water, yet as terrifying as water; it seems as ubiquitous as water, yet as bottomless as water. This strange paradox of a man's music is like water. But isn't this the very paradox inherent in hip-hop music itself? Is there any other music that is as faithful to established music and the lives of people living their daily lives as hip-hop, yet so radically rejects rigidity and continues to change? With this new "Lucky," Tamaki ROY is once again demonstrating the true essence of hip-hop. Listen carefully. You will definitely hear it.
(Text by Ataru Sasaki)