Chapter 413 Album Preparation

Chapter 413 Album Preparation

Chapter 413 Album Preparation
When we met again, the managers from various music platforms were much more enthusiastic than before.

Not only did he keep praising Wu Mu's live performance, he also began to actively talk about his ideas for Wu Mu's new album.

"Mr. Wu Mu, how many songs do you plan to make in your new album?" Sony Music's director Shigeru Matsuyama asked in detail.

Wu Mu counted the songs on his hand, "About seven."

The size of a mini album.

Japanese albums generally have ten to fourteen songs, and those with less than ten songs are considered mini albums.

Atsushi Atsuta of LINE Music is most concerned about, "Will today's song "Loser" be included in the album?"

They have just witnessed the quality of this song on the spot. If it is used as the title song, the quality is guaranteed.

"Yes." Wu Mu nodded, "And besides 'Loser', there is another song that can be the title song."

He was talking about "Until the End of the World", the theme song of "Slam Dunk" that he had drawn a long time ago.

He plans to include this song in the album as the main track.

Kenshi Yonezu's masterpiece and the world-famous Slam Dunk theme song can be said to be very powerful.

Including other songs, none of them are of low quality.

"A Letter to Your Fifteen-Year-Old Self" was the national song of Japan in its previous life.

"One more time, One more chance", the theme song of 97 Centimeters per Second, is a classic song in Japan. It was released in and then chosen as the theme song of Centimeters per Second by Makoto Shinkai, who could not forget it. It became even more famous. Legendary Japanese singers like Miyuki Nakajima and Akina Nakamori have all covered this song.

"Forever Together", the theme song of Spirited Away, was not composed by Joe Hisaishi, but as the theme song of Hayao Miyazaki's highest-grossing film, its quality is beyond doubt.

"Thank You" by Takuya Ohashi was brought back to China by Chopstick Brothers and became a hit in China. The melody is undoubtedly great.

Even "Rain" is very popular. This song was written by Chisato Oe, a famous artist from Japan on Earth in 1988, and then used by Makoto Shinkai as the theme song of "The Garden of Words". It is still remembered by people more than years later and was used as the theme song of his own movie, so you can naturally imagine its quality.

It can be said that all seven songs in this album have the strength to be the title song. It is no exaggeration to say that there are so many high-quality songs in one album that it is a massacre.

By then, even without considering sales, it will probably be on the major album charts in Japan based on quality alone.

The managers of various music platforms were obviously hesitant. Is this true? It’s amazing enough that you, a Chinese, can write a song called “Loser”, and you also want to write so many Japanese songs of almost the same quality?
There really are so many of them. Their domestic singers have lost all their shame, but they are not as good as you, a foreigner in writing.

But after all, having just experienced the scene, everyone is still a little skeptical.

"Then, Mr. Wu Mu, will your album be mainly released in physical form or digitally?" Shigeru Matsuyama asked again.

Physical distribution and digital distribution are two different ways of playing.

Ishitake has mentioned before that compared to other countries, where physical records are almost dying out, Japan's physical records, strangely enough, have a higher market share than digital records.

If physical records are the main focus, then you will need to visit more offline record stores and hold more record signing sessions, which is a bit similar to the process of promoting a domestic movie.

"I recommend that you, Wu Mu Sang, focus on physical channels, so that you can maximize your appearance!" The visitor from the RecoChoku platform had a fiery look in his eyes.

This platform was the leading platform in Japan's previous distribution era. Although its market share has been declining year after year in the current streaming era and it is completely unable to beat emerging streaming platforms such as Apple Music and Spotify, its overall popularity in Japan is still very high.

And they have special skills with their hands - RecoChoku does a great job of supporting idols.

Their platform can connect to various idol handshake ticket and cheering ticket redemption activities.

Well, although it sounds weird, this thing is really big in the Japanese market.

The people at the RecoChoku platform had shining eyes. "With your appearance, Wu Mu-san, if we hold a few more handshake events, we can boost sales in the first week."

With this look, he seems to be a natural for this kind of handshake event.

Let alone fans, even passers-by, seeing this appearance, could they resist the temptation and not buy an album to shake hands?

Even said to do it bigger, hug will be a special gift, sleep will be a special gift
Sold out!

Handshake meeting.
Wu Mu looked at the person coming from the RC platform with shining eyes.

Okay, you can go out.

However, Matsuyama Shigeru also recommended that Wu Mu focus on selling physical albums.

This is not only because Sony has an advantage in physical albums and deeper channels, but more importantly -

"Mr. Wu Mu, our Japanese music market is a little different from the Chinese music market. Compared to the Chinese music market, which now mainly relies on digital albums, our Japanese market is still dominated by physical albums. The market share of physical albums is 66%, and it can still rise. For example, last year it increased by 6% compared to the year before."

Matsumoto Shigeru was afraid that Wu Mu didn't understand the situation, so he explained it to him in detail.

Well, the Japanese music market can be said to be extremely weird. In other places, physical records are almost dead.

As a result, in Japan, digital albums are the ones that are doomed.

It's already the 21st century, and the market for physical records in Japan is still growing?
As for the digital platforms nearby, people from Apple, Spotify, and LINE were all silent, and they were indeed a little unconfident when it came to market share.

And in addition to market share, there is another important reason.

Matsumoto Shigeru continued, "Moreover, physical releases are the mainstay, which can help you get on the charts better. The weight of physical records on the Oricon chart is higher, at 70%, while electronic sales only account for 20%."

Topping the charts is another important way to play in the Japanese music market.

This is different from the rankings of various singers and the sales rankings of various albums in the domestic music market, which are rather vague.

Japan is very mature in this regard.

The Oricon chart, also known as the Japanese Public Trust Chart, is an extremely important chart in the Japanese entertainment industry. It compiles daily, weekly, monthly, and annual sales charts of various entertainment products.

This thing has a huge number of followers in Japan, has a huge exposure, and is very authoritative. It is a weather vane for the Japanese entertainment industry.

You say your idol is more popular than my brother? Look at the Oricon charts. How many albums have been sold in total? Has a single album sold over a million copies? How long has it been on the charts at most?

The performance is one level lower, and your idol can only be stepped on by our brother!
Anyway, no matter whether they are passers-by or fans, they will often pay attention to this thing to buy new albums. This thing is like the monthly ticket list of the novel platform. Being on this can equal the promotion of ten other channels.

This thing is actually what Shi Wu and Shu Mei value most.

Only by being on this list can they export and sell domestically, letting domestic audiences know that they are truly talented and not just relying on hype.

Shigeru Matsumoto is generally quite confident and thinks that any normal person would know how to choose. Even if he wants to release a Japanese album, he will probably only choose between them and Universal Music. Other digital platforms can only serve as a supplementary channel.

but.
Wu Mu listened and shook his head, "I plan to focus mainly on digital platforms."

Physical records?

If you use a profit card, it doesn't matter as it can cover the cost.

But this time he mainly intends to redeem performance cards, and he already has 19 performance cards. If he also releases physical records, his profits will be completely eaten up by costs and channels.

The digital platform managers, who had originally thought that this would only be a supplementary channel, were surprised. This guy was planning to release mainly digital albums?

OK!
Cooperation matters cannot be finalized in one day. After the initial meeting, we will move on to detailed discussions.

People from several streaming platforms hope to obtain the exclusive copyright or first release rights of Wu Mu.

It doesn’t matter to Wu Mu. It doesn’t matter which platform he releases on or even if it’s not.

Anyway, once the performance card is used, this part of the performance will definitely be fulfilled.

However, the lost time and uncertainty will require the platform to pay to make up for it.

so.
"thirty million!?"

LINE Music's director Atsushi Atsushi looked at Wu Mu with a look that said "are you crazy?"

The first release rights, which aren't even exclusive rights, require a licensing fee of 30 million! ?
Still RMB!
Although they did inquire about it, they found that the initial release fee of Wu Mu's album in the country was roughly this price.

But how can it be the same for him in the country and in Japan?

He is a big star in China, but no one in Japan knows him at all!

Atsuta Atsushi was very suspicious that this man was taking advantage of them.

Wu Mu didn't think they would lose money. Not to mention the money they earned from the performance card on the first launch, the publicity and new customer acquisition alone were worth the price.

However, other people don’t know that he has a performance card, so it’s normal for them to have doubts.

Wu Mu thought about it and said, "Then why not charge according to the tiered system. If the sales volume is below 5000 million, I will charge you 1000 million; if the sales volume is below 1 million, I will charge you 2000 million; if the sales volume is below 1 million, I will charge you 5 million. If the sales volume is higher, I will lower the share ratio."

Tiered pricing?

That's okay.

However, Hou Tian Hou Shi was still a little speechless. The price ranges mentioned by this person later were all redundant.

1 million, does this person know what this means?

按照他们常见的迷你专辑600日元，也就是30元的定价来说，1亿5千万要卖够500万张才行。

What does 5 million copies mean?
According to their Oricon data, their highest sales of a single album in Japan over the years has been 7.6 million.

Yes, in the past seventy or eighty years, the highest sales volume in the Japanese music market was 7.6 million.

And the second place dropped a lot, just around five million.

So this guy thinks that as an unknown Chinese star, he can come to Japan to release his first album and directly become their second best-selling album?
Atsuta Atsushi was too lazy to complain about this man's wild ideas.

The only question now is, is it a loss to spend 10 million to buy the first release rights of this person's album?
If he expected to make back the money by relying on the profit sharing ratio, he felt that he would definitely lose a lot of money.

But if it is used as advertising and marketing expenses, it is okay.

After all, their digital platforms are indeed at a disadvantage, and if they want to develop they can only spend money to subsidize advertising.

Wu Mu stated this condition to several interested platforms.

But in the end, after much hesitation, Line Music chose to get the first release rights for Wu Xia Mu's new album.

Just like that, Wu Mu’s new album was officially put on the agenda. Next, he had to finish writing the remaining songs and record the promotional materials.

LINE Music took this very seriously and sent a team to be responsible for this matter.

"Ishitake-san, once the song is recorded, we will push promotional resources to you directly on Line. We have also contacted the bottling factory and are preparing to produce a small batch of bonus records and audition records. What is your company's specific promotional plan?"

The team leader contacted Shi Wuwen.

Although this Chinese star is very confusing, it seems that they are not mainly releasing digital albums, but only releasing digital albums.

But the proportion of physical records is still too large, so Line Music still plans to package some records for Wu Mu for promotional purposes.

"publicity."

Ishiwu remained silent. He didn't even have the heart to tell the people at LINE Music that their boss had no promotional plans at all.

He was afraid that if he told the people at LINE Music, they would think they were there to defraud him of his money.

He could only make an excuse, "You'll understand when you get back."

The album could also be recorded in China, so Wu Mu flew back home as soon as he finished his work the next day, leaving only Shi Wu to handle the rest of the matters.

His next step is to prepare for the album recording and go to Cannes with Director Lin after he finishes editing the film next month.

But when he returned, things in Japan were not over yet.

After music critic Daishi Asano returned from the show, he immediately began searching for various information about Wu Mu in preparation for his next music review.

First search their Japanese website, there isn’t a lot of content, just the Wu Mu travel video and the previous news about Netflix variety show.

He also just found out that Wu Mu had actually posted travel videos and filmed a variety show in Tokyo before.

There are also some content moved by Japanese fans of Wu Mu, but they are not too detailed and feel a bit lacking.

So he simply used translation software to search on the Simplified Chinese Network.

Then after this search, he was a little stunned.

Just like countless other people who searched for information about Wu Mu on Jianzhong.com, he was directly inundated with all kinds of negative articles about Wu Mu.

It feels like there are negative reviews of Wu Mu everywhere.

"What's going on? Isn't he a big star in China? Why are people scolding him in China?" He didn't quite understand.

That’s not right. With that appearance, how come there are so many people who don’t like him?
And with that kind of exaggerated earnings, shouldn't he have fans all over China?
How come this is different from what he thought?
Daishi Asano inexplicably recalled the song "Loser" that he heard at the scene that day.

That day, because that person just treated Meteor Boys as toys and gave the impression of being a mentally strong person, he didn't think too deeply about it.

But now seeing these negative articles, I think of that song again
Asano Daishi's expression gradually became serious.

He felt that he understood the meaning of the song.

He also understood the tone he should use to write the review of that song.

(End of this chapter)