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| Fade Out Remixes / Koizumix (Kyouko Koizumi) |
ー FMのボリューム 大きめにしてね ー
近田春夫さんという方のことを私は知らないまま来ているんですが、聞くところによると、世界的に大変有名な実力とセンスのありすぎるミュージシャンなんだそうです。
私は、今年の夏、小泉今日子さんの音楽が聴きたくなってApple Musicで色々聴いていた時に、Fade Outのことを知りました。
この楽曲がFade Outだと知ったんですが、何かデジャブのような感覚に囚われたので、ああ、やっぱりあの深夜ラジオはキョンキョン（小泉今日子さんのニックネーム KYON² や K²とも書きます。)だったのだ。と胸が遠く、3速から5速にアがっていく気持ちになりました。
その時に流れていたのが「ドライブ」という楽曲でした。
Fade Outを作ったのが近田春夫さんという方で、作詞作曲編曲プロデュースを手掛けられています。
レーベルはビクター音楽産業（現：ビクターエンタテインメント）です。
現在小泉今日子さんは独立され「明後日（あさって）」という事務所を開かれています。
私は小泉今日子がハウスのアルバムを出した。という大評判を聴いて、馴染みが無いようであるような大変モダンなものを当時感じていました。
私の住む国の当時の街ではクラブ文化黎明期と言ってもよく、 HIPHOPカルチャーに対しても期待だけが充満していました。
その頃、キョンキョンがハウスのアルバムを出し、何もかもが新しい世界に突入し始めたのを体感で感じながら、私は当時のBFの車に乗って、1番新しい1番無機質で1番オシャレで1番お金持ちがIN・分かっているという意味の夜の街を週末毎に、平日に明日の仕事なんか鼻で笑っているように、美しい電気世界を見つめていました。
それ程の世界を知っているので、実はその頃お台場で遊んでいたり、光り輝くものと毎晩一緒にいるカップルをバカにするのが未だに良く分からないような所があります。
そこは世界の終わりと始まりがきっと綺麗な感じでディスプレイされているのだ。素敵な誰も知らない香水の残り香がある髪の長い綺麗な人が、髪をかき上げて、話しかけてはいけないほど素敵で大人な人のスペシャルとして、助手席に黙って座っているのだ。と御伽話のように憧れていました。
Apple Musicで見つけたは良いが、何故リミックス集が出ていないのか？ と愕然としていたら、2026年の9月30日に「Fade Out Remixes」が配信されたそうです。
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| 近田春夫氏はLUNASUNで参加されています。 |
昨日購入しました。
ずっと聴いています。
1人の休日で盛り上がり過ぎて、昼ご飯の後ビールを飲んで、凄いことだな。と大喜びでした。
近田春夫氏を愛聴されている方々も大変喜ばれていました。
表紙のアートワークは私の大好きなエルテをモチーフに作られて、さらにぶち上がりました。
また練りに練られたトラックNo.で、
1. Fade Out
＜こちらはデジタル用に調整されておりシルキーですがコントラストが存在するトラックダウンが施されています。＞
2. Fade Out (LUNASUN Remix)
＜こちらは近田春夫氏とクリエイターOMB(Daisuke Yamagishi : OMBはワンマンバンドの略 のユニット名義です。私はトランスな感じの疾走感のある楽曲が好きなので、LUNASUNも良いと勧められて嬉しいです。＞
3. Fade Out (Soichi Terada Remix)
＜こちらは寺田創一氏によるリミックス。Wikipediaによると日本でも最も早くハウスミュージックに参加されたお一人とのことです。＞
4. Fade Out (MOODY STRINGS MIX)
＜私はこの最初の音が大好きです。そして最後の一音までSTRINGSの表現が為されていて、ハードボイルドな雰囲気と霧の中の街トウキョウの現在の匂いを出していると感じました。＞
この楽曲構成なのですが、トラック4を聴いた後、トラック1に戻ると、愕然とするカッコ良さが激しくスコールのように訪れます。
こちらは恐らくループ再生設定をして聴くとトラック4からトラック1まで戻る時間が計算されているからだと考えています。
何回聴いてもカッコ良いKAWAIIと思わず立ち上がりますよ。
ずっと聴いています。
加速するドライブをテーマとしてると思うんですが、89年から90年が始まっていく黎明期の日本リバイバルが、ファッションからフードから言語から電子テキストから巻き起こり、エフェクトになりながら、Early80's Medデザインから、
ドライブはビニル製のトウキョウの夜
街は水に映った星の海
そうFade Out Remixesに書かれていました。
・
・
・
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| Fade Out Remixes / Koizumix (Kyouko Koizumi) |
— Turn up the FM volume a Bit —
I’ve gone this long without knowing who Haruo Chikada is, but from what I’ve heard, he’s a world-renowned musician with incredible talent and exceptional taste.
I first learned about “Fade Out” this summer when I was in the mood to listen to Kyoko Koizumi’s music and was browsing through various tracks on Apple Music.
When I realized this song was “Fade Out,” I was overcome by a feeling of déjà vu, and I thought, “Ah, so that late-night radio show really was Kyon-Kyon” (Kyoko Koizumi’s nickname, also written as KYON² or K²). My heart swelled, and I felt like I was shifting from third gear to fifth.
The song playing at that moment was “Drive.”
The man behind “Fade Out” is Haruo Chikada, who handled the lyrics, composition, arrangement, and production.
The label was Victor Music Industries (now Victor Entertainment).
Kyoko Koizumi is now independent and has opened her own agency called “Asatte” (The Day After Tomorrow).
I heard the huge buzz that Kyoko Koizumi had released a house music album, and at the time, it struck me as something incredibly modern—yet somehow familiar at the same time.
In the city where I lived back then, it was safe to say the club culture was in its infancy, and there was nothing but anticipation surrounding hip-hop culture.
Around that time, Kyokyo released her house album, and as I physically sensed that we were plunging into a world where everything was new, I’d ride in my boyfriend’s car every weekend—and even on weekdays, as if scoffing at tomorrow’s work—to the nightlife district that was the newest, the most impersonal, the most stylish, and the place where the wealthiest and “in-the-know” people gathered, gazing at that beautiful world of lights.
Because I knew that world so well, there’s still a part of me that doesn’t quite understand why people make fun of couples hanging out in Odaiba or spending every night surrounded by glittering lights.I imagined that place as a beautiful display of the end and beginning of the world.
I first learned about “Fade Out” this summer when I was in the mood to listen to Kyoko Koizumi’s music and was browsing through various tracks on Apple Music.
When I realized this song was “Fade Out,” I was overcome by a feeling of déjà vu, and I thought, “Ah, so that late-night radio show really was Kyon-Kyon” (Kyoko Koizumi’s nickname, also written as KYON² or K²). My heart swelled, and I felt like I was shifting from third gear to fifth.
The song playing at that moment was “Drive.”
The man behind “Fade Out” is Haruo Chikada, who handled the lyrics, composition, arrangement, and production.
The label was Victor Music Industries (now Victor Entertainment).
Kyoko Koizumi is now independent and has opened her own agency called “Asatte” (The Day After Tomorrow).
I heard the huge buzz that Kyoko Koizumi had released a house music album, and at the time, it struck me as something incredibly modern—yet somehow familiar at the same time.
In the city where I lived back then, it was safe to say the club culture was in its infancy, and there was nothing but anticipation surrounding hip-hop culture.
Around that time, Kyokyo released her house album, and as I physically sensed that we were plunging into a world where everything was new, I’d ride in my boyfriend’s car every weekend—and even on weekdays, as if scoffing at tomorrow’s work—to the nightlife district that was the newest, the most impersonal, the most stylish, and the place where the wealthiest and “in-the-know” people gathered, gazing at that beautiful world of lights.
Because I knew that world so well, there’s still a part of me that doesn’t quite understand why people make fun of couples hanging out in Odaiba or spending every night surrounded by glittering lights.I imagined that place as a beautiful display of the end and beginning of the world.
I daydreamed, just like in a fairy tale, about a beautiful woman with long hair—wearing the lingering scent of a wonderful, unknown perfume—tossing her hair back and sitting silently in the passenger seat as the special companion of someone so stunning and mature that you wouldn’t dare speak to them.
I was thrilled to find it on Apple Music, but I was stunned to realize there wasn’t a remix album—until I learned that “Fade Out Remixes” was released on September 30, 2026.
I was thrilled to find it on Apple Music, but I was stunned to realize there wasn’t a remix album—until I learned that “Fade Out Remixes” was released on September 30, 2026.
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| Haruo Chikada is participating as a member of LUNASUN. |
I bought it yesterday.
I’ve been listening to it nonstop.
I got way too hyped up on my day off—I even had a beer after lunch—and was absolutely thrilled, thinking, “This is amazing!”
Fans of Haruo Chikada were also thrilled.
The cover artwork is based on my favorite band, Elte, which got me even more excited.
Plus, the track list is meticulously curated:
1. Fade Out
<This track has been adjusted for digital release; it has a silky sound but features a mixdown with distinct contrast.>
2. Fade Out (LUNASUN Remix)
<This is a collaboration between Haruo Chikada and the creator OMB (Daisuke Yamagishi; OMB stands for “one-man band,” which is the unit’s name). I love tracks with a trance-like, fast-paced feel, so I’m thrilled to have been recommended LUNASUN.>
3. Fade Out (Soichi Terada Remix)
<This is a remix by Soichi Terada. According to Wikipedia, he is one of the earliest pioneers of house music in Japan.>
4. Fade Out (MOODY STRINGS MIX)
<I absolutely love the opening sound. The string arrangement is maintained right up to the very last note, and I felt it captured both a hard-boiled atmosphere and the current vibe of Tokyo—a city shrouded in fog.>
As for the track structure, after listening to Track 4 and then returning to Track 1, a stunning coolness hits you like a sudden downpour.
I suspect this is because, when set to loop, the time it takes to go from Track 4 back to Track 1 is precisely calculated.
No matter how many times I listen to it, I can’t help but get up and dance—it’s so cool and KAWAII.
I’ve been listening to it nonstop.
I think the theme is an accelerating drive. It captures the dawn of the Japanese revival as the 1989–90 era began—a movement that swept through everything from fashion to food, language, and digital text, evolving into a cultural effect—all while drawing inspiration from early ’80s Med design.
“The drive is a vinyl-coated Tokyo night;
the city is a sea of stars reflected in the water,”
as written in *Fade Out Remixes*.
I’ve been listening to it nonstop.
I got way too hyped up on my day off—I even had a beer after lunch—and was absolutely thrilled, thinking, “This is amazing!”
Fans of Haruo Chikada were also thrilled.
The cover artwork is based on my favorite band, Elte, which got me even more excited.
Plus, the track list is meticulously curated:
1. Fade Out
<This track has been adjusted for digital release; it has a silky sound but features a mixdown with distinct contrast.>
2. Fade Out (LUNASUN Remix)
<This is a collaboration between Haruo Chikada and the creator OMB (Daisuke Yamagishi; OMB stands for “one-man band,” which is the unit’s name). I love tracks with a trance-like, fast-paced feel, so I’m thrilled to have been recommended LUNASUN.>
3. Fade Out (Soichi Terada Remix)
<This is a remix by Soichi Terada. According to Wikipedia, he is one of the earliest pioneers of house music in Japan.>
4. Fade Out (MOODY STRINGS MIX)
<I absolutely love the opening sound. The string arrangement is maintained right up to the very last note, and I felt it captured both a hard-boiled atmosphere and the current vibe of Tokyo—a city shrouded in fog.>
As for the track structure, after listening to Track 4 and then returning to Track 1, a stunning coolness hits you like a sudden downpour.
I suspect this is because, when set to loop, the time it takes to go from Track 4 back to Track 1 is precisely calculated.
No matter how many times I listen to it, I can’t help but get up and dance—it’s so cool and KAWAII.
I’ve been listening to it nonstop.
I think the theme is an accelerating drive. It captures the dawn of the Japanese revival as the 1989–90 era began—a movement that swept through everything from fashion to food, language, and digital text, evolving into a cultural effect—all while drawing inspiration from early ’80s Med design.
“The drive is a vinyl-coated Tokyo night;
the city is a sea of stars reflected in the water,”
as written in *Fade Out Remixes*.
Translated with DeepL.com (free version)
