The results for the 4th annual Vtuber Music Awards were released at a special event in Tokyo on December 13th.
The main ranking is determined by fan vote (this year’s tally: 4,103). In addition, a select panel of judges also presented what they considered the best for the year. The top 5 from each category are listed below, with the more complete list located here.
#Vtuber楽曲大賞2022 人気投票結果公開！
今年も多数の投票ありがとうございました！
結果はこのような形になりました！皆様の2022年のVtuber音楽シーンを振り返るキッカケになれば幸いです！！https://t.co/7XLUJV85kr pic.twitter.com/y1aqRXwrgo
— Vtuber楽曲大賞公式 (@vmusic_award) December 13, 2022
Top Songs
- Kanae – Hanataba no Yukue
- Hoshimachi Suisei – TEMPLATE
- Nornis – Abyssal Zone
- ROF-MAO – Ichigeki
- ChroNoir – Bloody Groovy
Top MVs
- Kanae – Hanataba no Yukue
- Hoshimachi Suisei – TEMPLATE
- ChroNoir – Bloody Groovy
- Nornis – Abyssal Zone
- Nijisanji – Hurrah!
Commenting on the full list, Moriyama Do*Ro, a Vtuber music critic, pointed out that due to the ubiquity and popularity of using a vtuber avatar for streaming, it was getting much more competitive to enter the market as an independent. In addition, many corporations, he stated, were tightening their stronghold on the market with quantity over quality being their main strategy. Iiyori Yuma, CEO of CAMBR, stated that the variety in the fan vote ranking (particularly ranks 11-30) reaffirmed Moriyama‘s point about competitive nature of vtubing.
The other two judges slightly disagreed with these points. TAKUYA the bringer, a vtuber music DJ, pointed out that now there was a wider variety of music that reflects what the mainstream is listening to, with the possibility that there are songs that the general public would like without knowing that the artist was a vtuber. In addition, Kyan, one of the chief organizers of the event, mentioned that as the corporations were solidifying their grip on the industry the nature of the scene itself was changing, and that more and more people were approaching both creating music and becoming vtubers with a seriousness not seen previously. This, he pointed out, was reflected in the amount of genuinely good music being turned out by the various companies currently in the market, with new technology such as Mocopi (Sony’s new motion capture device) and the popularity of Tiktok likely to bring even more talents into the scene.
Please find the judges’ lists below:
Kyan
- AZKi – Gamen no Naka no Kimi ga Tsuki
- MAISONdes feat KAF, Tsumiki – Tokyo Shandy Rendez-vous
- V.W.P. – Himitsu
- ROF-MAO – Ichigeki
- Azami – Antipop
Iiyori Yuma
- V.W.P. – Kyoune
- Azami – Bacteria
- Bocchi Boromaru – Otose Santa
- Memex – Reality Show
- Panno Mimimi – Take You Higher（Prod. KOTONOHOUSE）
Moriyama Do*Ro
- Nagase Yuka – Orange Scale
- Fuji Aoi – Ame Furu Snowdome
- HACHI – Bath Time Planetarium
- Hakase Fuyuki – Little Humming
- Kasuka Rei – Playback Highlight
TAKUYA the Bringer
- Anne Ruka – Do Do Do
- Hachiya Nia – Sakeyo Stasis
- Tsurigane Fuuri – Play the Campanella
- BOOGEY VOXX – Re:Credits feat. IURA TOI
- TAKU INOUE & Mori Calliope – Yona Yona Journey
Fujiki
- Houshou Marine – I’m Your Treasure Box
- KMNZ – WE ARE BACK（by E TICKET PRODUCTION）
- Kasukabe Tsukushi – Watashino Mahou
- Yoruno Neon – Bousai no Uta
- Peanuts-Kun – Roomrunner!（Prod.nerdwitchkomugichan）
Source: Natalie
Author Comments
While I am a frequent vtuber watcher (and dolphin simp in denial), my thoughts probably lie closest to Moriyama. There were multiple times throughout the year where I thought that a song could have been improved with perhaps a little more time or slightly better mixing, but their quality was sacrificed for the sake of things just getting out at the right time. That being said, there were a couple of glaring omissions, so for that reason I’ve included below my own top 5 list for the year
Luxiem – Hope in the Dark
While the English lyrics in Nijisanji are always quite a joke (when sending one song to a friend to cover, her immediate response to me was – is this Google translate?), this song particularly stands out for how it evokes a feel of an evolved Johnny‘s song. In fact the moment it came out I sent it over to Ronald, whose immediate response was: is this a Karei Naru Gyakushu reference?
One can always trust the now not-so-closeted Johnny’s fan to immediately spot a quality tribute.
The song begins with a jazzy instrumental that cleverly mirrors Sheena Ringo writing for SMAP, but then breaks down into an instrumental chorus reminiscent of quality dubstep without a single missed beat.
Ren Zotto – Blue Sugar
If I had to pick out a subtheme for the year that I did not see coming, it would definitely have to be the return of Porter Robinson in my (musical) life. This song furthers that theme, using synth-pop and electro house elements to induce a feel much like Robinson, and lyrics that directly parallel the artist’s second studio album Nurture, something Zotto has mentioned on stream as well. The song feels deliberately incomplete, as if to ask – so what is next? And for that I guess we have to wait another year.
KMNZ – SKOOL
With a funky 80s/90s hip-hop groove vibe reminiscent of the Beastie Boys, this track adeptly mixes a number of various elements with a production value that does not seem out of place in 2022. The lyrical wordplay is just an added cherry on top. While short, the song packs a powerful punch reminding anyone out there: KMNZ is indeed back.
Omaru Polka – Pastel Tea Time
Returning back to her idol roots from the oeuvre d’art that was last year’s Everblue (written by Haru Nemuri), this song showcases instead the love that Polka has for classic idol music. Sugary sweet bubblegum pop set a BPM with timed tempo shifts, building up to a power chord guitar chorus (hey, AKB48!) this is absolutely a song made for me – right down to the breaks that you know were made for fan calls at a live.
PeanutsKun – PetbottleRocket (Prod. nerdwitchkomugichan)
Anytime Peanuts-Kun releases music is a time to drop everything and pay attention. Having released my favorite vtuber track for last year his music is absolutely phenomenal, and this song does not disappoint. Shedding his usual heavy rap style he instead opts for a more indietronica/synth-pop style that feels like it wouldn’t be out of place on an Owl City album – just infinitely less problematic.
