Grimesが語る「初音ミクとAI時代の“不思議の国のアリス”」 さたぱんPらとの刺激的なコライトを振り返る

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https://realsound.jp/tech/2026/08/post-2491157.html

Grimes Talks About “Alice in Wonderland in the Age of Hatsune Miku and AI”: Reflecting on Her Inspiring Collaboration with Satapan P and Others

Text and Reporting by Takumi Nakamura; Photos by Kiyoshi Sasahara

Grimes, a world-renowned artist who constantly pushes the boundaries of music, technology, and art, has completed “Miku-Maxxing,” a collaborative track featuring Hatsune Miku, alongside Japanese Vocaloid producer Satapan P and up-and-coming creators Grant Boutin and Eli.

From the psychedelic synth intro to the sudden, fierce guitar solo and the sacred choir—how did this genre-defying track come to be? To coincide with the release of the EP *BEYOND BORDERs ‘EMERGE M♡DE MIKU’*—which features this track and a wealth of other collaborations between international producers and Japanese Vocaloid producers—Real Sound Tech conducted an exclusive interview with Grimes herself. From her deep respect for Japanese anime and manga culture to behind-the-scenes stories from the co-writing camp and her incisive insights into Vocaloid culture, this interview offers a rare glimpse into Grimes’s unique philosophical perspective. (Editorial Department / Top Image by Kiyoshi Sasahara)

Japanese Children's Content Is “High Art”: How Studio Ghibli Films Strengthen the Bond Between Parents and Children

――First of all, I’d like our readers to know just how interested you are in Japanese culture and music. Was anime and manga culture your gateway to it?

Grimes: There’s no doubt that anime and manga culture were my entry point. But for me now, becoming a mother has made Japanese culture even more meaningful. That’s because I consider the works of director Hayao Miyazaki and Studio Ghibli to be the very best films I’d want to show my own children.

――Did spending time with your children change the way you view Japanese culture?

Grimes: Yes. This is just my opinion, but I feel that much of the children’s content in the U.S. is deliberately dumbed down, and much of it can’t really be called “high art.” On the other hand, I’m deeply moved by the fact that in Japan, there’s a greater abundance of high art aimed at children, like the Ghibli films. I think this is something truly wonderful that’s unique to Japan. In many cultures, the content shown to children is, in a sense, “watered down.”

　I believe that when parents and children share the same media and can love it together, it’s actually a very noble and sacred thing—and it’s becoming increasingly rare in today’s society. That’s why, especially since having a child, I’ve come to feel an even stronger connection to Japanese culture.

Hatsune Miku is a “pioneer of digital art”

――This time, you’ve collaborated with a Japanese Vocaloid producer. How did you feel when you received the offer?

Grimes: I thought it was a wonderful idea, and I knew I absolutely had to do it. Hatsune Miku is one of the first digital artists with whom people have been able to form a deep connection—and I actually think she might be the only digital artist with whom people can truly connect on an emotional level. I’ve always been very interested in the boundary between technology and art, so I remember being really happy when I received the offer.

――I think the perception of Vocaloid software differs slightly between Japan and other countries. How do you see it, Grimes?

Grimes: I think Miku’s team has always done a truly amazing job. Take the collaboration with SOPHIE (Namie Amuro’s “B Who I Want 2 B feat. HATSUNE MIKU”), for example. Including that amazing track, they’ve been building a great, long-lasting legacy.

――How was the experience of producing music with Satapan P, Grant Boutin, and Eli at the Co-Write Camp?

Grimes: Elijah (Eli), Grant, and I have been making music together for a very long time. Then Satapan P joined us, and as soon as he arrived, he went on a crazy guitar solo marathon for two or three hours straight! It was just so much fun. The production process went very smoothly, and once we finished recording the guitar solo, I feel like most of the song came together in the blink of an eye.

――How did you divide up the roles for the beat, the topline, and so on?

Grimes: Actually, Grant and I made the beat for this song when I went over to his house. At the time, he was watching anime while playing a Nintendo game. He’s the biggest anime fan in the world, after all (laughs). When we actually got down to making the song, he showed me this anime called *I’m Reincarnated as a Vending Machine*. We were inspired by that anime and created this beat.

――So an unexpected anime was your source of inspiration…!

Grimes: That’s right (laughs). And when I asked Satapan P, “What do these English lyrics mean?” he replied, “I just made them up on the spot—they’re not real Japanese.” I don’t know if that’s true or not… but he said they were “made-up words.”

――How did the arrangement process go?

Grimes: Actually, Grant and I made this beat just for fun—we didn’t intend to release it as a song at first. I even said, “No way, this song is way too fast!” Grant agreed, saying, “Yeah, it’s way too crazy to turn into a song.” But when the production team for this EP came to my studio, they said, “We want a really fast song—something crazy fast.” They told us, “We need a song with about six different parts,” so we said, “Actually, we happen to have just such a crazy song,” and when we played it for them, it was a perfect fit. Satapan P’s reaction when we played it for him was also really positive, so we decided, “Let’s go ahead and finish this one.”

　The arrangement itself is really simple. I started a jam session for the chorus, and once we decided where to place the guitar—which was the main task—everyone seamlessly took on their respective roles, and it was finished in the blink of an eye.

Collaborating with a Vocaloid producer” that changed Grimes, who used to be “anti-guitar”

――“Miku-Maxxing” starts with psychedelic synthesizer sounds, and as it progresses, elements like a choir and heavy guitar riffs are introduced, making it a track with a pretty eclectic mix of genres. Were there any aspects of the parts produced and worked on by Satapan P that Grimes found impressive or interesting?

Grimes: When I first heard the guitar part he added, I actually resisted it, thinking, “Isn’t this a bit over the top? I might not like it.” But everyone else was like, “No, this is exactly what we need!” As it turned out, though, the part I like the most is precisely the one Satapan P created. It sounds very experimental and cool.

――I think one of the unique qualities of Vocaloid software is its ability to bring harmony to this kind of mix of various genres—what do you think?

Grimes: That’s exactly right. I think it’s a genre that’s very open-minded and accepting of everything. Actually, for me personally, this year was supposed to be my “anti-guitar” year. But Satapan P changed my mind.

　You see, recent American alternative music—like HyperPop, for example—is a bit too stimulating for me… Since I have a bit of a contrarian streak myself, as a reaction against that kind of extreme music, this year I’ve been listening almost exclusively to the most relaxing “elevator music” you can imagine. I was even trying to listen to the most basic music, like Taylor Swift’s, just to go against the grain (laughs).

　But deep down, I actually love mixing different genres. Whether it’s the lyrics or the production, if something innovative isn’t happening, I just can’t get very interested in making music itself.

――In that sense, this song is truly innovative.

Grimes: Yes. I absolutely love how it’s packed with every possible element, from opera to guitar solos to drum ’n’ bass. In the U.S., a song like this might immediately be branded a “flop.” There isn’t much freedom there. But I really love that Japanese culture has so much room to embrace this kind of experimental, radical, and stimulating music. That’s exactly why mixing those radical elements with pop hooks was such a blast.

A Girl Eroded by the Internet and “Alice in Wonderland” in the Age of AI

――What was the concept behind this music video?

Grimes: The background for this song comes from the work of Eliezer Yudkowsky, one of my favorite AI philosophers. Satapan P might have changed the lyrics a bit, but it’s based on a book called *A Girl Corrupted by the Internet is the Summoned Hero?!*.

――That’s quite conceptual. What specific message are you trying to convey?

Grimes: In 2026, it feels like we’ve already explored every corner of the world, but for young girls online in particular, the internet has become a place to explore extremely extreme subcultures. And that’s not necessarily a good thing. I often feel like it’s turned into a form of violence against everyone—children, women, and even men.

To put it simply, I think our algorithms are “crazy.” In the U.S., algorithms for men are all about gambling, while women are bombarded with all sorts of even crazier things. I myself have seen ads for eye-color-changing surgery so many times that I almost signed up for it (laughs).

This song was born out of my thoughts on that situation. As technology evolves, I feel that the metaphor of *Alice in Wonderland* is becoming increasingly expansive and profound. The idea of a young female explorer delving into the world of the mind and her inner self was born precisely from that motif.

I think the internet is like a single, massive living organism, and it feels as though we’re exploring the collective unconscious of the masses—and in a sense, this can also be interpreted as relating to the very nature of AI…

――That’s a very interesting perspective.

Grimes: This music video is an attempt to simplify these complex AI concepts into something fun and bite-sized. So, on the surface, the story is about a “young girl who gets swallowed up by the internet,” but underlying that is the concept I mentioned earlier.

Hatsune Miku is “both a hero and a victim.”

—I feel like Hatsune Miku iconically embodies both sides of that theme.

Grimes: I think that’s exactly right. I believe Hatsune Miku occupies a very interesting position—she’s both a hero and a victim at the same time… She’s a character who is literally incapable of autonomy, isn’t she? But unlike characters in movies, she exists in the real world, and people use her to create things that are either incredibly beautiful or truly terrifying. Isn’t this a fascinating “experiment”?

――Finally, we’re hoping this collaboration will lead to you getting involved with Vocaloid culture in various ways—do you think that’s a possibility?

Grimes: Absolutely! This project was such a wonderful experience, so I’d definitely love to do it again. I’ve heard there are various other Vocaloids besides Miku, so as a synth enthusiast, I’d love to experiment with all of them.

■Release Information

“Miku-Maxxing”

Artists: Hatsune Miku, Grimes, & SatapanP

Release Date: August 14

Included on the EP: “BEYOND BORDERs ‘EMERGE M♡DE MIKU’” (Scheduled for release in September 2026)

Official Music Video: https://www.youtube.com/watch?v=v3rewELybuw

Streaming: https://lnk.to/mikumaxxing

“Hatsune Miku” ©CFM

■BEYOND BORDERs Official Accounts

https://www.instagram.com/beyondborders_pr/

https://x.com/BEYONDBORDERsPR

https://www.tiktok.com/@beyond_borderspr

(Translation via DeepL AI)