Koda Kumi Releases Two Music Videos from Her New Albums

On March 8, Koda Kumi will release two new albums, “W FACE ~inside~” and “W FACE ~outside~.” Two special collaborators have been revealed, one of each album. Chara will be in charge of the sound production of “My Fun”, the closing track on “W FACE ~inside~.” AKLO will make an appearance on “Cupcake”, the closing track on “W FACE ~outside~.”

Kumi also released two new music videos today! The first one is for “BRIDGET SONG”, the opening track on “W FACE ~inside~.” The song is a simplistic midtempo pop number, with a video to match. In the clip, Kuu is clad in a simple blouse and jeans combination, on a bare set. Things get more upbeat with the next video, “Ultraviolet.” This is the second song on “W FACE ~outside~” Clad in crop tops and denim, Kumi and her team of dancers gyrate their way through the urban track.

Check out both video below, along with more information on both albums!

W FACE ~outside~



倖田來未「W FACE ~outside~」CD+Blu-rayジャケット

CD only

2. Ultraviolet
3. Insane
4. Damn real
5. Heartless
6. Bassline
7. Shhh!
8. Bangerang
9. WickedGirls
10. Cupcake feat. AKLO



W FACE ~inside~



CD only

2. Bring It On
3. 喜びのかけら (Yorokobi no Kakera)
4. Stand by you
5. 好きでして (Sukideshite)
6. 君想い (Kimi Omoi)
7. On my way
8. What’s Up
9. Promise you
10. My fun


“W FACE ~inside~” and “W FACE ~outside~” DVD and Blu-ray
1. Ultraviolet -MUSIC VIDEO-
2. Insane -MUSIC VIDEO-
3. Bassline -MUSIC VIDEO-
4. Wicked Girls -MUSIC VIDEO-
6. Promise you -MUSIC VIDEO-


  • Comments

    • annie

      has she been using clip on earrings this entire time??

      and i lowkey love ultraviolet lmao

      • Thomas

        Probably photoshop lol

      • Has she had that big ass mole on the side of her neck this entire time?

        • annie

          the mole has always been there but i don’t remember it being that big lmao

        • M

          It’s probably more noticeable because it’s in black and white. It stands out more.

          Nothing wrong with it tho.

    • Thomas

      So I think it’s admirable that she’s still working hard and delivering a lot of energy when she’s got a husband and child (I mean let’s be honest neither Ayumi, Hikaru nor Namie are trying these days with their music videos) and although Ultraviolet is not my kind of music at all, she really delivered on that song.

      But honestly I can already tell that most of this double album is gonna be forgettable. Her ballads never impress me except for maybe Moon crying? and this is gonna have a whole bunch of them…

      And as for her upbeat songs, is it just me or is the production really… bad except for maybe what we’ve heard from “W FACE” (the song) so far? It just sounds as if they’ve used already-recorded demos by western producers and put her voice on top to me…

      So maybe I’ll end up lowkey liking one or two songs from these albums but I doubt it tbh.

      • Ran

        That’s unfortunately what Avex do: they use stock productions licensed from western publishers / production teams that make “pop songs” like McDonalds makes burgers. She had some really good songs in her last albums though, but yes those 2 albums will probably be stacked with fillers. They could probably cut those songs to one good album, but selling 2 overpriced “first press” to hardcore fans is where the money is.

        • JJ

          They didn’t start doing this with Koda Kumi until Japonesque. You can tell the shift in her music when she went from primarily Japanese producers to foreign ones.

      • yacchaitai

        i liked her ballads from 2002-2005, maybe like 3 after that.

        • Thomas

          oh right, forgot about 1000 no kotoba, hands and you!

      • doublethumb

        Thomas (and Ran) – I don’t discuss the quality of the album because I haven’t heard most of the tracks, but let me clarify that most releases in pop music use (and have always used) already recorded demos with the artist recording her vocals following the vocal leads on the demo. You can find the original demos on Youtube even in some cases. That’s just how the industry works and that has nothing to do with the quality of the final release.
        Labels send leads around looking for songs and publishers send songs in. This is how for example “Shape of you” was originally written for Rihanna, but then Ed Sheeran kept it for himself cause it suited him better. This is how Rihanna cut “Diamonds”, written by Sia. And how Beyonce’ cut “Halo” written by Tedder.
        There is the rare chance where the artist is in the room automatically with a producer and they write on the spot, if the artist is a writer. But many artists don’t write.

        • Thomas

          You’re right about what you said, but sorry, I may have been a bit vague with my statement. Namie’s _genic and FEEL had a lot of songs that were flying around on SoundCloud etc. but the production sounds ok to me. What I meant to say about the Kumi album is that to me, it sounds like she recorded the vocals at home with GarageBand on a Macbook (over instrumentals that avex bought for cheap from abroad). I don’t mean to diss her with that but something about the production sounds off/cheap to me.

        • Ran

          I don’t have a problem with artists not being involved in the writing process (some are good at it, some not), I have a problem with how they just pick up songs from stock productions rather than having songwriters writing for the artist. Most big Jpop artists and units from the 90 and early 2000 used to have producers and writers that would specifically produce songs for them. It gave more identity to their repertory and really helped to define the artist. And as I really appreciate Koda Kumi as a performer, I would love to see a tighter involvement with a producer rather than cherry picking songs here and there. Especially when those songs aren’t Sia level of songwriting.

          • doublethumb

            Yes I agree about what you say, but at the same time labels will simply look for the best they can get. Trust me, this was most likely the best they could get for Koda Kumi right now based on budget and predictions. They will always have producers writing directly with a writer and with the artist but sometimes it turns out that those songs aren’t the best songs they can give to the artist. There is also a bigger picture where they spend months analysing how the trends change. Japan does not have the US sound. Lots of the productions may sound a bit dated or “different” to the western ears but they will work in Japan. They sometimes released songs in Japan that I utterly hated, saying they sound like background music from a local theater in 1975 :-) And they ended up selling over a million. So…there are always so many factors, and yes it can be disappointing for some fans (even for the writers involved sometimes! ;) )

            • Ran

              Labels look for what “they think” is the best they can get. In Avex case, they have been wrong most of time for the last 10 years. They used to be ahead of the game, now they just try to follow the market and “be cool”. That’s why they haven’t really debuted any huge name for quite a long time. They should spend less time in analyzing the trends maybe… But I think they make such a shit load of money from their back catalog and activities outside music distribution they just don’t really try anymore.

              • doublethumb

                When I say the best that they can get I mean that if they could have Sia writing for Koda Kumi or Namie Amuro with Greg Kurstin producing they probably would, but they might not be able to afford the fees, as these guys would surely rather have a hit with Rihanna or Zara Larsson than with Japanese acts. I don’t know how well or badly Avex is doing compared to the past but considering in the western world we have gone from 7 major labels to 3, due to the crisis in sales, I’d say Japan as a whole is doing quite well, it seems a rather healthy market.

                • Ran

                  I don’t think that a market so heavily relying on gimmick release can be called “healthy”. Japan will probably go through a transitional period like the west did (and is still doing) as the younger generation doesn’t seem as attracted to collectors editions than the older one. Japan is always slower to adapt so we might see the effects only in a few years though. One thing I’d give credit to Avex for is that they were among the first labels to make most of their catalog available on Apple Music and other streaming services so there is some hope. But I guess we’re now quite out of topic so I’ll leave that for another discussion ! ;)

    • Red LIGHT~ SJN

      Does anybody care about this old try-hard

    • Ash

      It has a link to buy it from Amazon Japan… oh wait. Looks like no sales for Koda Kumi.

      • idi u kurac

        Oricon doesn’t count sales from abroad anyway

    • Michele

      Same old, same old. She’s already done it before.

      I genuinely thought that the one year break she took could have brought new inspiration, new names to works with, new energy to her music.

      Sadly, that was just wishful thinking.
      Ultraviolet fits the ratchet songs she did on her last two albums. BRIDGET SONG, on the other hand, is straight from her 2000s releases.

      I’m afraid it’s time to give up on her and ayu. They’re both releasing new music just to give something to their respective beloved fanbases and nothing more than that.

      The fact that I can no longer buy their music on Amazon Japan suddenly doesn’t bother me so much.

    • OK, I usually like her more recent uptempo songs, but Ultraviolet is just… intolerable. I still really hope we gonna get some decent tracks tho..

    • M

      Positive comment coming through…

      Aside from Arama, I’ve seen tons of positive comments. All the songs have been given teasers and all of them have received positive reviews from most of the fans I’ve seen so far, everyone seems pretty excited for the album. As usual I won’t listen to teasers and I’ll wait for the full album release but, I’m very optimistic based on what other fans are saying so far… I only liked half of her last album but I loved Bon Vayage, and I really liked her last single Shhh!, so I think I’ll definitely like most of the tracks for this one if the amount of positive comments are anything to go by.

      I like to remain optimistic until I’ve heard it for myself, because what one person hates, I could really enjoy.

      On the topic of MVs, I’m not expecting high budgets for most of them – I bet only one song from Inside and one from Outside will get the best quality, if that. No different from past releases. More money goes into single MVs than album MVs.

      • Koda Kumi

        I really love how simple and beautiful she looks on “BRIDGET SONG”. I think her previous album already showed she was moving on to a better image. Many of the songs she is remembered for aren’t really ones to be proud of. She is changing and I love that.

    • yacchaitai

      Both really sound like something from 5 years ago

    • 浜崎あゆみ

      Some of you are too salty and snob-y.