Utada Hikaru Releases New Single “Oozora de Dakishimete”, Tops Digital Charts in 7 Countries

Today marks the release of Utada Hikaru’s brand new single “Oozora de Dakishimete”. The song is currently serving as the promotional song for Suntory Tennensui, a brand of clear mineral water. In March 2017, Utada Hikaru signed with EPIC Records Japan, a subsidiary of the Sony Music label. Oozora de Dakishimete is her very first single from EPIC Records Japan.

Oozora de Dakishimete has already hit #1 in 7 countries/regions (Taiwan, Hong Kong, Thailand, Singapore, Malaysia, Philippines, and Japan). In celebration of the new single and positive global response, a special webpage extension has been created on Utada’s official website.

The website’s design was created to visualize the lyrics of Oozora de Dakishimete. The page design fluctuates according to what lyric has been tweeted the most on Twitter! So if you’re unhappy with the current design, start tweeting your favorite lyrics from the song to change things up a bit! Click here to view the special website

Utada’s next digital single titled Forevermore will be released on July 20th, 2017. The simple but sleek black and white cover has been said to give fans from 90s vibes from it.

Forevermore is currently being used to promote the TBS drama Gomen, Aishiteru. The song features drumming by the world famous musician Chris Dave who has worked with Adele and Justin Beiber.

Oozora de Dakishimete can be purchased worldwide on iTunes, click here to listen to a preview of the song.

  • Comments

    • Dayse

      oh my, my, she looks so classy in the cover for Forevermore. Luv it.
      As for oozora de dakishimete, I like it, don´t love it, althought I found the chorus and the final verses very pleasing. However, I´ve caught myself humming it´s melody all day long today LOL it´s glued to my mind.

      • PigeonPop

        How she set up Oozara was very interesting. I’d dare say the latter half of it almost works better for Gomen, Aishiteru (in terms of sound) than Forevermore, at least for the first episode.

        • Dayse

          Since I didn’t watch the drama I can’t opine, but indeed, the way she develops the song is interesting, I love the little vocalizations near the end, the strings and the chorus.

    • HyperMoot .

      My two cents on this, err…actually it’s pretty long so let’s say that’s two dollars plus due apologies for the rant and the possible English mistakes. Some sort of review plus various thoughts on Utada’s career.

      I like the song, very much. The first audio previews didn’t impress me, I thought it just sounded ok nothing more but listening to the whole track several times on a good sound system really worked. It’s even better with headphones as you pay more attention to details.

      Is it groundbreaking? No. Is it spectacular? No. Is it new or different? Yes and no. Is it good? Well for me yes, I really enjoy it, the ending is really intoxicating. First, I can’t think of a single track that resembles this in her entire discography though the recipe, the matrix is absolutely familiar. It has a structure that is similar to the one used in many a track such as Sakura Drops or Manatsu no tooriame: stanza/chorus/stanza/chorus/bridge or transition/finale.

      The track starts slowly, it sounds casual even a tad silly like it’s some commercial for noodles or raspberry shortcakes (my neighbor tells me it’s for mineral water hence the Little Light Blue Riding Hood in the forest clip) then instruments pile up and give it flesh till a somewhat poignant finale in which you get your little gift of sound niceties -strings and synths- and the habitual sentence which is repeated ad lib with –this time- a transformation to a strange sound effect, sort of eerie. In about four minutes you move from a light-hearted premise to a rather touching ending with lyrics about stars soaring that mustn’t leave or disappear. This is so much her.

      Surely people had greater expectations, as Utada Hikaru moved from Universal to Sony and alluded to the fact that her mindset had changed since Fantôme, “Oozora de dakishimete” might disappoint some who were hoping for either some mega hit machine or something close to experiment. What you have is just quality pop.

      Utada Hikaru is a popular –immensely popular- artist, at least the biggest female solo act in Japan, possibly the biggest solo act, dot. She’s got an adventurous mind though, if it weren’t the case she wouldn’t have released a record like Deep River (a solid departure from her debut), a mixed bag of experiments like Exodus –a record that offered gems and complete misfires, ‘easy cheezy’ anyone?- or put songs like Ore no Kanojo or Boukyaku in her come-back collection of songs by the name of Fantôme. Yet, she’s mainstream, quality mainstream, and though she’s culturally quite open-minded and known for listening to many things, styles and genres, she’s not a rocker and she’s not avant-garde. She’s simply one of the very best melodists that have graced the music scene since Brian Wilson and Paul McCartney to name a few.

      With Oozora de dakishimete, you have all the ingredients that made her successful and cherished by so many people. From that little quiver, the warbling in her voice which annoy some and that eternal mood and sense of nostalgia, of something that is lost to the subtle climax of the finale, you have the very essence of her music.

      The next single sounds even more interesting and what is next is pure guess but maybe we’ll have an album before the end of 2017

      • shiryukun

        Good point. People forget that she’s a POP, mainstream artist, and not an alternative act. Like you said, she’s always changing and trying new things. She started as a R&B/Soul artist, and then started trying new things like pop-rock, synthpop, EDM, latin, etc.

        We have to remind it’s a song for a water company, she couldn’t do an agressive song like Kremlim Dusk or Take 5. And her most experimental songs are usually album tracks, so they’re done for fans and not the general public.

        And I love the fact shes bringing back the light R&B/synthpop mix from Distance and Deep River eras. This song has her usual signature style, like Hypermoot said before, so I don’t understand why people are complaining now, since it was the main complaining about Hanataba wo Kimini last year.

        And Forevermore also sounds her usual quality pop/R&B ballad with strings, melismas and all, and even an English chorus, so I believe she’s doing it well. I hope there’s an album coming by the end of the year and she makes a new English album or EP by next year or 2019.

      • please tell me you have a blog bC I WANNA READ IT

    • gerol

      GODTADA INDEED! slay!

    • Guest

      I find myself not liking most of her songs that received a tie-in before release.