Name: HIMEKA
Birthday: July 20th
Hometown: Laval, a suburb of Montreal.
Job: Anison (anime song) Vocalist.
Credits: “Asue no Kizuna” (2009) — opening theme for anime-turned-PlayStation 3 video game, Valkyria Chronicles
“Hatenaki Michi” (2009) — ending theme for the anime series Tegamibachi
Love Anison: Utattemita (2010) — cover album of popular anime songs
“Mirai e…” (2010) — ending theme for the anime series Senkō no Night Raid
Years in Tokyo: Just over 2 years.
Favorite City in Japan: Sapporo because of the weather, nature, lack of humidity, and snacks like jagapokkuru (small potatoes with chunks of butter)!
Dream Vacation: Definitely Europe: UK & France; anywhere she’s never been before!
Website: http://www.himeka.info/
HIMEKA is the only foreign anison singer working professionally in Japan. After her arrival in Japan in 2008, she competed against over 3,000 other aspiring anison singers and claimed first place at the influential Animax Anison Grand Prix.
1.
10. What was your first anime convention like?
My first convention was in North Carolina, it was small and a lot of fun. The first time I went on stage at a convention was in California — I won first place in the karaoke competition!
It was really meaningful for me because I’d never sung in public before. Being such a shy person, and suddenly singing on stage, was a totally new experience. I was very happy because some of my friends were there watching me. It was at that time that I realized singing is what I would like to do for a living. Singing for myself is fun, but singing for someone else feels even more meaningful and gives me a different level of satisfaction.
2.
10. So that was a turning point in your life…
Yes and no. It was the very first time I truly realized I’d love to sing for a living, but it’s not like I imagined, “Oh, I can be a professional singer! It’s possible”. I still had no idea how I could become a professional singer. I didn’t know anyone [around me] who had the experience of becoming a professional singer. I’m just an ordinary person. For a person like me, “singers” and “actors” seem to be part of a different world.
Even if I thought I’d like to be a professional singer at that point, how could I start? I didn’t even know what to do in order to make it happen. In addition, even if I knew how to make a demo, I had no idea what record companies were looking for. Did they expect professional work? Or were they looking for raw talent — diamonds in the rough?
Back then, what I realized was that most of the songs I wanted to sing were Japanese anisons (animation songs). I don’t mean to say that I can’t sing in English or French, but I wanted to sing in Japanese. It’s a completely different genre, right? However, how could I make that come true? It’s impossible to make a living by singing Japanese songs in Canada. I thought, “If I want to do this, it has to be now and it has to be in Japan”.
3.
10. How did you find the competition you (eventually) won in Japan?
I had been looking for live auditions and places to send demos, mostly through the internet, magazines, and sometimes through other people. I found the “Animax Anison Grand Prix” on the internet. I knew it had been held the previous year, but I didn’t know if they would have a second one. At the time, I also bought a monthly magazine called Audition, which offers all types of auditions or contests — not just for singers, but also for models and actors, as well. Then I found the ad for the Second Annual Animax Anison contest and got really excited because that’s what I was looking for. I am used to singing animation songs. I knew that even if nothing came out of the contest, at least I’d get a chance to perform. It’d been a while since the last time I was on stage. I’d stopped going to anime conventions in 2006 because of my intention to go to Japan. I needed to work and save up money. Even if I didn’t win, this competition would get me some confidence to be on stage and have fun.
4.
10. Was the [contest] information available in English at that time?
Of course not! Everything was in Japanese. I don’t think they were expecting a non-Japanese participant like me in the contest in the first place. I saw the ad just a few months after I came to Japan. I made sure to read the contest rules carefully and looked up words I didn’t know in the dictionary.
5.
10. So what was your turning point, then?
I can’t say that a specific event was my turning point. I’m still scared and I have to fight with myself to be on stage. I still feel I’m the same person as I was before. Before I came to Japan, I was working regular sort of jobs. I feel bad when people are nervous because of me.
6.
10. What has been the biggest surprise in the CD production process in Japan? And the music industry in general?
Of course, there were lots of things I didn’t know about the music business before…
Maybe I thought there were lots more people behind the scenes. But in reality, only a small number of people are working around me, especially Nakanishi-san over there. It was much simpler than I had initially thought. So I’m really grateful for those who worked so hard to make this project possible.
7.
10. How did you overcome your loneliest moment after coming to Japan?
I’m a loner, but I don’t feel so lonely. Sometimes I miss Quebecoise French, because I don’t have to think while speaking, but here in Japan, all my friends speak with me either in English or Japanese.
When I lived in a dormitory, I had lots of housemates from different countries and some of them were from France. I tried to be careful and speak clearly when I spoke with them in standard French, so it was a bit stressful. I didn’t want to sound like I wasn’t able to speak French properly…(laughs)
10. I’m from a small town too, and I couldn’t speak proper Japanese when I first came to Tokyo. I had a bit of an inferiority complex — I know how you feel. My hometown is located in the middle of nowhere and the dialect is very strong. I even had difficulties in Shinjuku station because I couldn’t tell the difference between “South Exit” and “New South Exit”!
8.
10. What was the most difficult task that your producer, Mr. Tokita, gave you during the recording process?
Actually, I can’t say I really had a difficult “task”. He let me sing the song the way I wanted. I was surprised to find him so laidback. The most difficult part was recording with so many video cameras and staff members around. It was a bit stressful. Also, there were lots of things I didn’t know about the process of recording. In the past, I’ve often heard things like, “Oh, people in the studio can fix anything…”. But what I learned from the actual experience of recording is that you can adjust the pitch or edit some of the small details of a recording, but nobody can fix a singer’s emotion or pronunciation. You have to get those details right from the get-go.
9.
10. Tell us about your new single “Mirai-e…” (“To the Future”).
What can I say? First, please listen! It’s a ballad; the previous two singles are pretty uptempo songs. It was quite challenging because ballads require really good vocal control; it was quite difficult. But in the end, I think I managed to sound very emotional.
10.
10. Where else can we hear you sing?
You can hear me singing the ending theme song for “NIGHTRAID-1931” (Senkō no Night Raid), which is aired on TV Tokyo at 1:30am on Tuesdays. It’s a serious spy story in Shanghai in the early ‘30s. Please watch and listen!
10. Thanks for giving us the opportunity to interview you. You’re a pioneer! That’s why I admire you.
Thank you.
