Kaze Team Journey 2025

Climb with Fujii Kaze

[kazejourney]

Translate into English. If you found anything needs to be clarified please let me know. Thx 🙏🏻

A Sonic Journey of Love, Reflection, and Freedom: Special Interview with Fujii Kaze on Prema

After a three-year time, Fujii Kaze released his new album Prema in September 2025. The title comes from the Sanskrit word “Prema,” meaning “selfless love.” All nine tracks were co-written by Kaze himself, with collaborations from American singer-songwriter Shy Carter and Korean producer 250, known for hits with NewJeans. Together, they guide listeners through a sonic journey of love, introspection, and liberation.

We had an opportunity to speak with Fujii Kaze, inviting him to share his mind and creative process behind Prema with his fans in Taiwan.

Interviewer: UNIPA (“U”)

Interviewee: Fujii Kaze (“FK”)

1st Q

U: You said you carried the weight that Prema as if this were the last album of your life. It’s completed and released in the world, how satisfied are you with it? Do you feel it’s a work without regrets?

FK: I challenged myself with things I’d never done before. The whole process felt like “Let God create through me”. It came together naturally. I have no regrets.

2nd Q

U: You’ve openly shared that you went through a low point in your life. Was the creation of Prema more like a journey of self-realization before songwriting, or did you find answers step by step through the act of creating?

FK: I was invited to write a theme song for a basketball contest broadcast, which became Workin’ Hard, filmed in Taipei. Around that time, I wrote three or four other songs. I eventually gravitated toward “sports” among all themes to choose from. Having this concrete purpose and direction, it is the anchor of my creative process.

To answer your questions, I usually create while searching. It feels more like discovering treasures that were already completed.

3rd Q

U: The word Prema means “selfless, spiritual, supreme love” in Sanskrit. Your previous works also reflect India philosophy. How has Indian culture and philosophy influenced your music?

FK: Personally, it is not just about music, but my life moves forward together with the philosophy. Thus, it shows up in my work in a nature way. When I am lost or struggle in my life, I return to those teachings. The messages I want to remind myself of were often find their way ran into my songs.

4th Q

U: This album expresses both “vulnerability” and “strength”. How do you allow these two seemingly contradictory selves to coexist in your music?

FK: The ego is something I want to get rid of. My ideal state is one without ego. I want to depict both light and darkness and make the light stand out more. I try to stay honest, so I show my vulnerable. Talking about my ideal state of mind is also very important to me.

5th Q

U: Musically, how do you hope listeners will feel the “love” embedded in Prema?

FK: I’ve been inspired by a lot of great music from the past. I want to break free from the idea that music must always be “new.”

I hope people can feel pure musical creativity through rich harmonies, textured rhythms, and full song structures with intros and bridges, those elements that are not emphasized as much today.

6th Q

U: You collaborated with producer 250, known for NewJeans hits like Attention and Ditto. What memorable exchanges or advice did you receive?

FK: When I first listened Attention, I thought it was super stylish and loved it. Then Ditto came out and completely stole my heart. Both were produced by 250. I also love his solo album, especially the final track Finale, which has a strong ’80s vibe and a touch of sadness.

In producing You, I especially love the intro and bass line. It Ain’t Over was his idea to add saxophone. Forever Young also strongly reflects his personality, and I love it.

Respect is key when working with international producers. Keeping an open heart and childlike spirit is just as important.

7th Q

U: This is your first full album written entirely in English. Did you face any pressure or difficulty? How do English and Japanese differ in expressing emotion or ideas?

FK: Writing in English does come with pressure to “sound cool.” However, the best lyrics often emerge when I free myself from that pressure. When I let go and entrust the process to something greater than myself, the words flow effortlessly.

When I compose the lyric with Shy Carter, he gave me courage to put the purest and the sincerest messages into the songs. I feel English lyrics can convey my thoughts more clearly and directly.

8th Q

U: Prema is not only musical but deeply spiritual. You often speak of abstract ideas like “Letting Go” and “Oneness of All Things”. How are these reflected in your music? Has any recent phrase deeply influenced you?

FK: Concepts like “Letting Go” or “Oneness of All Things” may not appear directly in lyrics, but if I sing and express with that mindset, I believe listeners will feel it.

I’ve been focusing on “not letting emotions be swayed by outcomes” lately. Don’t be overly happy when praised, or sad when criticized. It’s hard, but if you see both good and bad as gifts from the universe, it’s easier to stay calm and this mindset naturally flows into the music.

9th Q

U: After the journey of creating Prema, do you have a new perspective on the definition of “Growth”? What guidance has this album given you for the next stage?

FK: I want to keep growing as a musician and as a person. In the album “Prema”, I expressed whole-heartedly who I am now and what I love with all my heart. As such, if I don’t grow further, I won’t be able to release another work. Thus I want to keep learning and absorbing more.

10th Q

U: “Love Like This” is your first MV based on a love story, with a classic cinematic vibe. How do you view your performance in it? Would you like to try acting or other fields?

FK: It might be hard to understand, but that MV is just part of the journey toward “ultimate love,” not a direct depiction of it. The character I played is a part of my inner self, so acting felt very natural.

I actually enjoy performing and would like to try different fields. However, it is tough to memorizing lines, so MV formats suit me well cos almost no talking! (laughs)

11th Q

U: You’ve performed in Taiwan twice. Except for food and sightseeing, what kind of “atmosphere” or “energy” do you feel in Taipei? Which song from Prema best represents it?

FK: Taipei is full of warmth and energy. It feels like people are open-hearted and having the capacity to embrace the others. If I had to pick a song from the album to represent that tenderness, it would be “Love Like This” or “You”.

12th Q

U: Lastly, could you share a message for your fans in Taiwan?

Fujii Kaze: 好棒棒!!! (English: You’re amazing (in Mandarin)) I want to wear blue-and-white flip-flops and visit Taipei again. Please come say hi! Don’t forget that smile and stay happy always!

一段關於愛、內省與自由的聲音旅程：藤井風《Prema》特別對談 - 宇宙電波 UNIPA

睽違 3 年，藤井風於 2025 年 9 月推出全新專輯《Prema》。專輯名稱取自梵文「Prema」，意為「無私之愛」。這次的 9 首作品皆由藤井風親自參與創作，同時邀請美國創作歌手 Shy Carter，以及曾為 NewJeans 打造多首熱門歌曲的韓國製作人 250 攜手合

[kazejourney]

June 20, 2025 – Fujii Kaze APP Update: Staff Diary

“Hachikō” is out!

Translated Staff diary - June 20, 2025 (Part 1)

**I separated paragraphs for easy reading**

One day in the spring of 2022—That day fell between the release of the second album “LOVE ALL SERVE ALL” and the upcoming hall tour in May (titled the “alone at home Tour”).

We went to the private studio of Sir Nolan in LA (one of the producers of “Hachikō”). It was our first attempt at having Kaze collaborate on music production overseas.

The team @included: Kaze, Mr. Azuma from Universal Music Japan (executive), Ms. Mai from Google (executive), Hiroki who supported our overseas efforts, and Kobayashi from Team Kaze, along with myself went together .

Kaze never usually says directly what he wants to do—so of course he’d never say something like “I want to go to LA to make music.” Up until now, as part of Team Kaze, we’ve had to anticipate: “Maybe this is what Kaze’s thinking right now” or “Perhaps in the future he’ll want this,” and prepare in advance.

Naturally, we couldn’t act purely on assumptions, so we’d confirm with Kaze at the right moments. We’d guide the conversation to help him express his thoughts and make sure we weren’t deviating from his vision.

The hardest part of moving this “Kaze Project” forward might be “exercising imagination.”

Back then, Kaze’s overseas expansion plans hadn’t been decided—there wasn’t even a single mention of a “third album.” But still, we headed to LA just to explore the possibilities.

Note: Thx Moon for offering the Chinese translation. Appreciated 😊

[kazejourney]

HELP EVER HURT NEVER HAPPY 5 YEARS ANNIVERSARY

May 20, 2025—Five Years Since “HELP EVER HURT NEVER”

Hello, it’s been a while.

I can’t believe it’s already been five years—time truly flies.

I still vividly remember reviewing the final audio at the mastering studio alongside Mr. Yaffle, mix engineer Mr. Komori, and mastering engineer Mr. Yamazaki. It was an unforgettable moment.

Recently, Fujii KAZE shared on social media that the third album is complete—and yes, it’s definitely finished. While there’s no official announcement yet, please stay tuned a little longer.

This year began with a live broadcast from New York for NHK’s Kouhaku Uta Gassen. In the summer, the first European tour and second North American tour are set to take place. With the third album ready, its release is just around the corner—I can’t wait.

On this day five years ago, the release of “HELP EVER HURT NEVER” set so much in motion. To everyone who continues to listen, congratulations on the 5th anniversary!

Finally, here’s Fujii KAZE from five years ago today.

[kazejourney]

4 🧗🏼‍♂️ 2 🧗🏼‍♂️ 1 🥳😍 Congrats Kaze!!

Tokio Hot 100 No.1 🎉

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[kazejourney]

𝘛𝘰 𝘌𝘯𝘨𝘭𝘪𝘴𝘩-𝘴𝘱𝘦𝘢𝘬𝘪𝘯𝘨 𝘒𝘢𝘻𝘦𝘵𝘢𝘳𝘪𝘢𝘯𝘴 𝘰𝘳 𝘢𝘯𝘺𝘰𝘯𝘦 𝘪𝘯𝘵𝘦𝘳𝘦𝘴𝘵𝘦𝘥:

I found a video discussing Kaze's exceptional journey over the past five years. He is unique in that he has successfully entered the international platform without singing anime songs. 🥳

Please enjoy 😉

[kazejourney]

Message from Kaze Manager - Zuzu (2024/Mar/31)

How “Michi Teyu Ku” is born

It took some time for KAZE to produce this song (after the discussion for this offer). After discussing this offer (for the film’s theme song), it took some time until Kaze presented the piano demo. Initially, KAZE couldn't write the song at home, but after trying in a church, it seemed there was some progress.

Once the piano demo was completed, it was immediately presented to Mr. KAWAMURA (the original author of the film's novel) and the film production team. After numerous discussions, the pure piano version of “Michi Teyu Ku” was completed.

During these discussions, Mr. KAWAMURA proposed to add a bridge part (like the “開け放つ胸の光〜”) . After, we proceeded with the arrangement and recording work.

Since the release of the single “Grace” in October 2022, it had been a while since we invited Mr. YAFFLE (the song's producer) to work on a song.

Mr. YAFFLE originally suggested that, “It would be better not to use string instruments for this song.” KAZE also wanted to incorporate gospel-like harmonies in the music arrangement. With mutual agreement, the song arrangement and recording went smoothly.

Together with Mr. KOMORI (the mixing engineer) who handle the mixing and Mr. YAMAZAKI (the mastering engineer) who handle the song mastering, the song’s quality was further enhanced. Eventually, the “Michi Teyu Ku” was completed before Christmas.

After the song completion, we began to think about the MV and single cover.

Since the release of the “Seishun Sick” MV in December 2020, it had been a while since we invited Mr. TOMO (the movie director).

When filming for the movie 'She Will Come in April' began, Mr. TOMO had discussed the offer for the theme song with us. When the film was completed, he wrote us a letter saying, 'Even after two years, my feelings haven't changed.' (NB: it showed how Mr. TOMO wanted KAZE’s song be part of the film.)

After delivering the completed version of 'Michi Teyu Ku' in late December and finishing the work of matching the theme song with the film footage, Mr. TOMO expressed his gratitude with tears. It was his first time directing a feature film, and I believe a lot of emotions surged from his heart. We were all very moved, and everyone on the KAZE team was thrilled to be part of that emotional moment.

For this reason, we believe there is no better choice than Mr Tomo to direct the MV.

KAZE proposed that in this MV, instead of playing "Fujii Kaze" (himself), he would act a character in a story. KAZE initially imagined a love story for his first written love song. In contrast, Mr. TOMO envisioned a story about a relationship with mother. 👩🏻

The storyline provided by Mr. TOMO changed many times (from the very begining he had detailed everything from character names, settings, and even backgrounds). For example, the main character's name is called Joe (ジョウ), and his mother's name is "Satoko." To make it easier for KAZE as an actor, a script with dialogues was also prepared. However, once filming began, KAZE immediately improvised and abandoned the script. 😙

In contrast to Kaze’s first romantic ballad, the MV for "Michi Teyu Ku" portrays a love for the mother.

KAZE played the main character at ages 25, 60, and 80, and for the first time, he challenged himself with special effects makeup.

Playing the 10-year-old version of the character was not feasible, so we invited the adorable child actor AKIRA, who lives in New York, to play the role. 🧒🏻

After finalizing the storyline, the urgent task was creating a mask for 80-year-old man. The special makeup team, consisting of Mr. Matsuoka, Mr. Momose, and hair and makeup artist Mr. Yayoi, together to create the various age versions of KAZE.

The MV team was led by TOMO, SANO, and production manager Mr. Masuda. We also had the same dynamic duo from the "Seishun Sick" MV, with Mr. Hyo-go as the cinematographer and Mr. Iwabuchi as the lighting specialist.

Costume design was handled by Oyamada in Japan and Nakanishi in New York. 🇺🇸

Local producer Yuma efficiently managed everything, ensure the overseas MV shooting went smoothly, despite different conditions and regulations compared to Japan. Yuma took great care of the local staff and extras, ensuring four days of safe and smooth shooting. Personally, I thought the bento boxes were delicious! 🤤

The key character in this story, the mother, was played by Mariko Takahashi.

The shooting schedule for the "Seishun sick" MV by Tomo was a bit intense. This time, we were mentally prepared, but after finishing on the third day, we returned to the hotel just past midnight. That's when the enthusiastic update from Tomo came, suggested to film a scene with the young Kaze running towards the morning sun. 🌞 🏃🏼

This led to a 5:30 a.m. gathering in the hotel lobby on the last day. Embracing the same energy and enthusiasm, all of KAZE and the staff worked together to film the final spectacular shot.

This is only a translated passage. If there are anything that need to be corrected, please feel free to let me know.

All rights and reserves are granted to KAZE n team. Thx 🙏🏻

[kazejourney]

(Translated passage. Original please refer to the official website of Fujii KAZE)

Message from Kaze Manager - Zuzu (2024/Dec/23)

The Asian tour has finally ended. With 14 performances across 10 locations, we encountered various issues (either big or small), however, we managed to reach the final without any cancellations or delays. Thanks to the high level of professionalism from our staff that kept everything running smoothly throughout the event. The local promoters and staff in each location were also very enthusiastic. Additionally, I want to thank everyone who attended the tour, those who couldn't come, and those who followed us on social media.

Even though this was an Asian tour, I assure you that no two countries were alike. Some places had temperatures of 33 degrees, while others were at minus 1 degree. Due to the differences in climates, perspectives, and other factors in different countries, mutual respect and being respected are essential. Within these short two months, this journey has taught us a lot. This included everything previously mentioned - climate, food, culture, history - all part of the learning experiences.

I need to make thorough preparations to embark on a new journey once again.

Thank you for your company over the past two months!

There were 9 colorful sets of BOMBER hooded track jackets and track pants during the Asian Tour. The yellow-green set was put on hold, while the black one was saved for the last performance in Seoul.

This hooded tracksuit outfit was inspired during KAZE's concert planning meeting, where stylist Mr. SHIMADA brought reference photo(s) featuring a tracksuit that KAZE liked. They decided to create this outfit from scratch for the live performance, and Mr. SHIMADA requested the apparel brand JULIUS to make the sample.

JULIUS lent us the costumes for early stage performances (for Shibuya Pre-Pres, Shibuya Koukaidou, and Budokan) and the Nan-Nan MV. They also crafted costumes for our first Kohaku performance (Higher Love), establishing a connection at a crucial point.

The black sample looked really cool, so we decided to change the color for each performance. We had them produce 10 different colors. KAZE wore red in Singapore and the last concert. Thus, the yellow-green set never appeared in the concert performance.

We initially didn't plan to sell these outfits. This is the first time we are selling the clothes worn at the concert. Thus, we decided to offer JULIUS team for preorder because there were people who expressed interest in having them.

This is only a translated passage. If there are anything that need to be corrected, please feel free to let me know.

All rights n reserved granted to Kaze team. Thx

Source

[kazejourney]

Message from Kaze Manager - Zuzu (2025/Jan/10)

**【𝐓𝐨 𝐄𝐯𝐞𝐫𝐲𝐨𝐧𝐞: 𝐓𝐡𝐚𝐧𝐤 𝐘𝐨𝐮 𝐟𝐨𝐫 𝐘𝐨𝐮𝐫 𝐒𝐮𝐩𝐩𝐨𝐫𝐭 𝐢𝐧 𝟐𝟎𝟐𝟒 𝐚𝐧𝐝 𝐍𝐞𝐰 𝐘𝐞𝐚𝐫 𝐆𝐫𝐞𝐞𝐭𝐢𝐧𝐠𝐬】**

“Rolling in 10 minutes. Yellow jacket, ready?”

On December 31 2024, we had a precious opportunity to broadcast live from the streets of New York to Japan.

Everything was unexpected. Kaze's live performance on the final day of the year seemed to encapsulate the essence of the entire year. I was in the van, continuously reflecting on this while watching Kaze’s back on the camera monitor.

Our 2024 began and ended with "満ちてゆく" (Michi Teyu Ku - Overflowing).

"満ちてゆく" was a commissioned piece for the movie "四月になれば彼女は" (When April Comes, She Will...), which Kaze wrote alone in a church. By the end of 2023, the production of the song "満ちてゆく" was already completed. The planning and preparation for the music video started in early 2024.

After finishing the audio for "満ちてゆく" at the end of 2023, Kaze was supposed to record another song with Yaffle. Unfortunately, Kaze caught a cold at the beginning of 2024, and due to time constraints, the recording of that song has been on hold until now.

In 2024, my year actually started with a small New Year’s trip with Mr Yamada Kento, a director. This trip took place before the planned U.S. tour in May-June, the Nissan concert in August, and the Asia tour in October-December. It was a great mental refreshment for me.

Not only did Kento direct the Nissan concert in August 2024, but he also directed Kaze’s performance for the NHK Kohaku Uta Gassen (Red and White). After the successful live broadcast of the Kohaku performance, Kento marveled, “I can’t believe it’s only been two weeks since the end of the Asia tour.”

Of course, he would feel that way, as he took time out of his tight schedule to scout locations in New York and prepare for the Kohaku performance during the latter half of the Asia tour.

One day, we received an official invitation from NHK for Kaze to perform at Kohaku. Then, we asked ourselves: What did Kaze want to showcase at Kohaku? As a team, what kind of support could we provide?

In 2024, we spent only half of the year in Japan and were on an Asia tour for the rest of the time. We hadn't even decided where we would be after the final show in Korea, so it was impossible to predict where we would be on December 31, 2024.

To prepare for Kohaku’s performance, the team had to decide on the location.

Before the New Year period, we considered being in Los Angeles for song production and discussed with the NHK team about broadcasting live from LA.

NHK invited Kaze to sing “満ちてゆく” (Michi Teyu Ku), so we all thought that New York would be a more suitable location for this song.

Since it would be a live performance, there would be time zone issues with synchronizing with Japan. If Kaze performed in LA, it would be midnight there. Conversely, if he performed in New York, it would be morning. Thus, New York seemed like the better choice.

Additionally, we had shot the “満ちてゆく” music video in New York, which was also the location of our first overseas shoot before debuting (the MV for the debut song "Nan-Nan"). Considering the storyline that Kaze envisioned for the performance, New York seemed like a great choice.

From the beginning, Kaze mentioned, "I don't just want to sing with beautiful scenery as the backdrop; I want to express the story of the song as well. Even though it's a live performance, it would be fantastic entertainment if we could make it look like we're creating another MV."

To realize Kaze’s vision, Kento suggested, “How about singing while moving and filming this in one continuous shot?” At that time, Kento also said, “Why not move around in a car?” which now seems like a crazy idea (laughs).

The performance would incorporate the core concept of the song “Letting Go ・ Giving,” with Kaze playing a role in the story, singing live while moving.

Unlike musical theatre performances, there was a sense of awkwardness with the performer holding a microphone in one hand. We decided to embrace this awkwardness as a new form of performance interpretation.

The plan was to shoot this performance in one continuous take without any cuts; not in a studio, but outdoors in New York; not pre-recorded, but a live broadcast in one go.

Could we really pull this off? The more we discussed, the more anxious we became about the technical and environmental challenges.

I was amazed by the NHK team's incredible technical abilities during the rehearsal day.

Local producer Yuma from New York, who greatly helped with the "満ちてゆく" music video, assisted us once again. This time, he arranged filming locations, obtained permits from the police and fire departments, coordinated local staff (art design and management), organized extras, and ensured everything was ready for our shoot.

For the music, we had support from band leader and keyboardist Yaffle, drummer Norihide Saiji, bassist Naoki Kobayashi, and guitarist DURAN, who performed with us at Tiny Desk in March. With these four talented musicians, we had nothing to worry about.

Despite these preparations, our team, led by Kento, continued finalizing performance details until the last moment before the official shoot. This included deciding the movements of the camera crew and actors and setting the equipment angles.

Playing an important role in Kaze's story structure and featured in the "満ちてゆく" music video was AKIRA (a child actor). Before the official shoot, Kaze practiced his scenes on set and rehearsed meticulously with AKIRA until the last moment.

During Kento's prior visit to New York for inspection, the question of "How do we get to the roof for the final chorus?" remained unresolved despite thorough preparations.

Climbing the internal building stairs seemed dull, so should we add an external ladder? No, an elevator would be better. But an elevator might make a beeping noise, right? After thorough discussion, Yuma's team found a scissor lift that could mute the beeping sound.

For Kaze, incorporating fantasy elements in the bridge section (the part before the final chorus) of the performance would be better. Therefore, Kaze deeply appreciated the idea of the scissor lift.

Additionally, in Japan, we sought advice from Seishiro-san on how Kaze should move during the filming. Seishiro-san, introduced to the team by Kento, became the final piece of our puzzle.

We are grateful to everyone!

Thus, Kaze, the other performers, and the entire crew overcame all uncertainties and prepared everything possible, leading to the official shooting moment.

Eastern Standard Time in New York: 8:04 AM / Japan Standard Time: 10:04 PM

"𝐂𝐚𝐦𝐞𝐫𝐚 𝐑𝐨𝐥𝐥𝐢𝐧𝐠 𝐀𝐜𝐭𝐢𝐨𝐧!"

At the end of 2024, the weather forecast for New York was rainy.

It rained until we arrived at the filming location and then again in the evening after the live broadcast and clearing the set.

Miraculously, the weather during the live broadcast was clear. Thanks to the local traffic police's cooperation with traffic control, and the unexpected appearance of a dog walker and trucks, everything went smoothly. The slightly rain-wet skyscrapers reflecting the best morning light also contributed to our success!

All these miracles combined even made little Kento say, "Fujii Kaze's luck is incredible, and it's scary." (NB. I’m sorry I laughed when I edited this 😂)

As of now, everything has been successfully completed without any broadcast accidents.

We are very grateful to the NHK Kohaku team for allowing such an extremely challenging project, and thank everyone in the Kohaku team.

Apart from Kohaku, there were also the NHK MUSIC SPECIAL program productions and Tiny Desk performances. We are deeply grateful to the NHK staff for their full cooperation. Thank you very much.

Kaze approached this challenge with the mindset of tackling something new on the grand stage of Kohaku.

As members of the Kaze team, one of our main topics of private discussion, not limited to this Kohaku performance but often considered, is:

* For performers, backstage staff, or any other workers, if our results can touch or inspire people's hearts and encourage some to pursue careers in the entertainment industry, that would be wonderful.

* To achieve this goal, we need outstanding performances, thorough preparation, and perfect execution.

Lastly, whenever there's any action from the Kaze Project, I always feel that despite some difficulties, our staff members have a high level of team work with full understanding and tolerance for projects. Most importantly, the team helped us with positive energy through everything. We are always grateful to everyone involved in the Kaze Project.

We are also very grateful to everyone who has always accompanied Kaze!

With these positive sentiment, we wish to start 2025 in the same manner. Please continue to support us.

P.S.

To everyone affected by the wildfires in Los Angeles (where we have received a lot of care from fans), we sincerely hope you are safe.

This is only a translated passage.

All rights n reserved granted to Kaze team. Thx

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