This celebrity became even more popular after being exposed of having multiple girlfriends-Chapter 602 - 413

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Upon meeting again, the managers of various music platforms were much more enthusiastic than before.

Not only did they constantly praise Wu Mu’s recent live performance, but they also began to actively discuss Wu Mu’s ideas for the new album.

"Wu Mu-san, how many songs are you planning for your new album?" Sony Music’s director Matsuyama Shigeru asked in detail. freewёbn૦νeɭ.com

Wu Mu counted the songs he had on hand, "About seven, give or take."

A mini album’s worth.

In Japan, albums typically contain ten to fourteen songs, anything under ten is considered a mini album.

Line Music’s Atsuta Atsushi was most concerned, "Will today’s ’Loser’ be included in the album?"

The quality of this song was evident from the live performance earlier; if it’s the main track, the quality is assured.

"It will." Wu Mu nodded, "Besides ’Loser,’ there’s another song that can be a main track."

He was referring to "Until the End of the World," the theme song for "Slam Dunk" drawn a long time ago.

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

With Kenshi Yonezu’s signature work and the globally popular "Slam Dunk" theme song, it can be considered as having great strength.

In addition to other songs, none of them fall short in quality.

"A Letter to Fifteen-Year You," a national song from Japan in the past life.

"One More Time, One More Chance," the theme song of "Five Centimeters per Second," originally a classic song from Earth Japan, released on Earth in ’97, later chosen by Makoto Shinkai as the theme for "Five Centimeters per Second," further elevating its fame, covered by Japanese legendary divas like Nakajima Miyuki and Nakamori Akina.

"Forever Together," the theme song of "Spirited Away," although not composed by Joe Hisaishi, as the theme for Hayao Miyazaki’s highest-grossing film, its quality needs no explanation.

Ohashi Tatsuya’s "Thank You," a song brought back home by the Chopsticks Brothers, then exploded in popularity domestically, its melody undoubtedly flawless.

It’s only "Rain" that might seem like filler, but it’s also a classic anime song.

Besides "Rain," all these songs have the potential to be main tracks; putting so many high-quality songs in one album, calling it a massacre wouldn’t be an exaggeration.

Even regardless of sales, just based on quality alone, it would likely rank on major album charts in Japan.

The managers of various music platforms showed hesitant expressions, is it true? It’s remarkable enough for a Hua Country native to write "Loser," and you intend to write many Japanese songs of similar quality?

If there really are that many, their domestic artists would be utterly humiliated, not comparing to a foreigner’s writing skill.

Nevertheless, having just witnessed the live performance, they remained somewhat skeptical.

"Then Wu Mu-san, is your album mainly for physical release or digital release?" Matsuyama Shigeru asked again.

Physical release and digital release are two different strategies.

As mentioned before, compared to other countries where physical records are nearly extinct, Japan’s physical record market peculiarly has a higher market share than digital records.

If focusing on physical records, more visits to offline record stores are needed, along with album signing events, somewhat akin to domestic film release promotion processes.

"I recommend Wu Mu-san focus on physical channels, maximizing Wu Mu-san’s appearance advantages!" The person from RecoChoku platform’s eyes were fervent.

This platform was a leading one in Japan during the distribution era, although in the current streaming era, its market has been declining yearly, unable to compete with new streaming platforms like Apple Music and Sound Body, but despite being a centipede dying yet not stiff, its overall recognition in Japan remains high.

Moreover, they have a unique skill—RecoChoku’s idol support is very well done.

On their platform, various idol handshake tickets and support ticket exchange activities can be connected.

Though it may sound peculiar, this thing has a massive presence in the Japanese market.

The RecoChoku platform’s representative’s eyes sparkled, "With Wu Mu-san’s visual aspect, a few more handshake events could push the first-week sales up."

With this appearance, naturally born for handshake events.

Even for passersby, seeing this appearance, who can resist the temptation to buy an album and shake hands?

Even suggesting to make it larger, hug events, sleep events...

Explosive sales!

Handshake events...

Wu Mu looked at the RC platform person whose eyes were sparkling.

Alright, you can leave now.

Matsuyama Shigeru also recommended Wu Mu prioritize physical album sales.

First, Sony Music has more channels and deeper relationships in physical album sales.

Second, physical album sales have a significant advantage for ranking.

Unlike the somewhat ambiguous domestic music market lacking credible statistical agencies, Japan’s music market in this regard is relatively mature.

Japan’s Oricon chart, a crucial ranking in Japan’s entertainment field, tallies daily, weekly, monthly, and yearly sales charts for various entertainment products.

This ranking is similar to novel platforms’ monthly ticket rankings, with widespread attention and exposure, many rely on these charts to discover new good songs and trending artists; being on this chart outweighs promotion through other ten channels.

Incidentally, this ranking only evaluates physical album sales in the daily chart, while weekly, monthly, and yearly charts consider digital sales, yet digital sales account for only 30% of the weight, physical holds 70%.

Plus, the Japanese market itself is primarily physical albums, so focusing on physical brings significant advantages.

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