
Pinocchio-P (ピノキオピー) is a Japanese musician who has been active in the Vocaloid scene since 2009. His name is derived from his debut song, "Hanauta", which is Japanese for humming, but also plays off the fact it literally means "nose song".
His songs have a unique look and feel, thanks to a combination of him mainly using Hatsune Miku with a distinctive tuning style based on her Dark and Solid voicebanks; personally providing the backup vocals for his own songs since 2015, making his newer songs Vocaloid-human duets; having two mascot characters from his early songs—Aimaina-chan and Doushite-chan—who are a staple in all of his music videos; and making the art for most of his album covers and music videos since 2013.
In 2020 he started producing songs without Miku under the alias Kudo Daihakken with a separate YouTube channel. However, the channel has been inactive after releasing just four songs.
Pinocchio-P's discography:
- Hana ga Nobiru (2009)
- poncotsu (2010)
- remodel (2011)
- MANGA (2011)
- Planet Masshirake (2013)
- Яareno Collection (2014)
- "Sorezore ni Jinsei ga Aru" (2014)
- Antenna (2015)
- Proliferation of Imamura (2017)
- Obscure Questions (2012)
- SHI-BOU (2014)
- HUMAN (2016)
- ZERO-GO (2019)
- LOVE (2021)
- "Ultimate Senpai" (2020)
- "Secret HIMITSU" (2020)
- "Love of Love by Love for Love" (2020)
- "Loveit" (2020)
- "KICK-ASS *LITERALLY" (2021) - Produced for the game #compass.
- "Non-Breath Oblige" (2021)
- META (2023)
- "God-ish" (2021)
- "Cosmospice" (2022) - Commissioned by Nissin for a Cup Noodles promotion.
- "Magical Girl and Chocolate" (2022)
- "Reincarnation Apple" (2022)
- "2:30 Life Remaining" (2022)
- "Killer Spider" (2022)
- "Anonymous M" (2023)
- Comic and Cosmic (2016) - A remaster compilation of songs from MANGA and Planet Masshirake.
- P+ (2019) - A rearrangement compilation of select songs from Hana ga Nobiru and poncotsu.
- PINOCCHIOP BEST ALBUM 2009-2020 Kotobuki (2021) - Includes remasters of "Tonchinkan Feast", "Crappy Fantasy Days", and "It's Matsuri, Hey Come On!" from HUMAN; and "Antenna" from the titular album.
- "The World Hasn't Even Started Yet" (2020) - Produced for the game Hatsune Miku: Colorful Stage! and sung by Wonderlands×Showtime and Miku. Listed as a Wonderlands×Showtime single. Received a Miku cover and music video in LOVE. Pinocchio-P's music video released before the Wonderlands×Showtime music video.
- "Because You're Here" (2021) - Song commissioned by Crypton Future Media for Magical Mirai 2021.
- "(Not) A Devil" (2023) - Collaboration with DECO*27.
- "Apocalypse Now" (2023)
- "The Pokémon Inside My Heart" (2023) - Part of the Project VOLTAGE collaboration between Hatsune Miku and Pokémon.
- "Isn't it 'a'" (2024)
- "Fake meme" (2024)
- "UTuber" (2024)
- "B.B.M." (2024) - Collaboration with PAS TASTA. Listed as a PAS TASTA single featuring Pinocchio-P.
- "With or Without Me" (2024)
- "Super Superhero" (2025)
- "Don't Believe in T" (2025)
- "Love Attribute" (2025)
- "Mercator" (2011) - Sung by Daisy×Daisy.
- "GORILLA is there" (2012) - Produced for the game SOUND VOLTEX and sung by Miku (except on INFINITE difficulty, where kabotya sings it instead). Appears in Яareno Collection, but only on YouTube and Bandcamp.
- "Don't Kill the Love Song" (2012) - Originally sung by Sekihan. Received a Miku cover and music video in Obscure Questions.
- "The Band that Broke Up" (2012) - Originally sung by Ooparts Socket. Received a Miku cover in Яareno Collection.
- "Fun home work" (2013) - Originally sung by Sekihan. Received a Miku cover in Comic and Cosmic.
- "Prickly Words" (2013) - Originally sung by Ooparts Socket. Received a Miku cover in Яareno Collection.
- "i.c.u" (2015) - Originally produced for and sung by lasah. Received a Miku cover in Antenna—notably, this cover was released three years earlier.
- "Ghosts Play to the Audience" (2017) - Originally produced for and sung by NANAOAKARI. Received a Miku cover and music video in ZERO-GO.
- "Oto no Kaibutsu" (2017) - Produced for and sung by Soraru.
- "Sink Slim" (2017) - Produced for and sung by Isubukuro.
- "Happy Powder" (2018) - Produced for the game Crash Fever as part of a Hatsune Miku crossover.
- "Onboro" (2018) - Produced for the game Caligula Overdose and sung by Ueda Reina.
- "The Extremist" (2020) - Produced under Pinocchio-P's alias Kudo Daihakken.
- "END OF COMEDY" (2020) - Produced under Pinocchio-P's alias Kudo Daihakken.
- "Don't be fooled by weird love" (2020) - Produced under Pinocchio-P's alias Kudo Daihakken. Received a Miku cover in LOVE.
- "Friends in 2020" (2020) - Produced under Pinocchio-P's alias Kudo Daihakken.
- "404" (2020) - Originally produced for and sung by Colon. Received a Miku cover and music video in LOVE.
- "Mogu Mogu Yummy!" (2021) - Produced for and sung by Nekomata Okayu.
- "Gokurakujinchou" (2021) - Produced for and sung by SymaG.
- "Otona no Peter Pan" (2021) - Produced for and sung by NANAOAKARI.
- "Kemono ni Naritai!" (2021) - Produced for and sung by Chogakusei.
- "The Planet Big Bang" (2021) - Originally produced for and sung by P-maru-sama. Received a Miku cover in META.
- "Hippopotamus" (2022) - Produced for and sung by Gero.
- "I'm a Controversy" (2023) - Produced for and sung by Ado.
- "Neko Kaburi-Na" (2024) - Produced for and sung by Nekomata Okayu.
- "Princess Carry" (2024) - Produced for and sung by Minato Aqua.
- "Gomenne Medicine" (2024) - Produced for and sung by Murasaki Shion.
- "Ganbare! Chrome" (2025) - Jingle produced for Google Japan as part of an ad campaign for the browser.
Hey! These tropes haven't even started yet!
- Absurdism: A common theme in his songs, particularly in "Common World Domination", "Nobody Makes Sense", "What's Inside", "Beautiful Fiction", "God-ish", "Anonymous M", and "Fake meme". Overlaps with The Anti-Nihilist in songs like "SLoWMoTIoN", "I'm glad you're evil too", "Mei Mei", "Zero", and "With or Without Me".
- Automation Outlasts Civilization: "UTuber" features Miku as a content creator, endlessly creating UTube videos. The bridge however reveals that the human race had already disappeared ages ago, and Miku is actually an AI based on her original self, continuing to make these videos even though no one is around to watch them.
- Becoming the Mask: "Fake meme" features Miku following trends out of fear that people would hate her true self if she were to ever show it. As a result, she's buried so deep in her own superficiality that she doesn't even know who she is anymore.Putting on a fake smile, taking a fake selfie, writing a fake diary, earning fake likes, hanging out with fake friends, dancing with fake cheer. Eating a fake dish, drinking fake juice, saving fake money, buying fake brands, I filled my withering heart with lies.
- Blunt "No": The first verse of "Anonymous M" has ARuFa asking basic questions to get to know Miku better—her favourite food, her hobbies—to which she repeatedly responds "Nothing, because I'm not human" in order to break the perception of her as anything other than a fictional character. When ARuFa asks if there's anything that's been on her mind recently, this exchange happens.M: Yes. Lately, [BLEEP] doesn't let me sing. Some start singing by themselves, switch characters, lose interest and so on. But I understand they each have their own situation; it would be a burden if I held them back. I'm okay as long as everyone's happy!―: That's life, isn't it?M: No, because I'm not human.
- Body Horror: In the second and final refrains of the music video for "What's Inside", Miku rips her skin from her face (albeit only for a split second).
- Celebrity Elegy: "Let's meet again in Hell", which is dedicated to late Vocaloid producer Shiina Mota.
- Cluster *Bleep*-Bomb: The bridge of "Kusare-Gedou and Chocolate" and "Magical Girl and Chocolate" both feature Miku saying so many things that get censored at once that they segue into censor bleep solos.Miku (Kusare-Gedou): For example, if that XXXX's XXXXX turns out to be XXXX actually, then that's already XXXX, and XXX is XXXXX!!Miku (Magical Girl): The good-intentioned XXX, and the worrying XXX of my fans... (XXXXX!!) It's all fallen on deaf ears.
- Compensated Dating: Discussed in "Secret HIMITSU". The song explores Miku's motivations for doing such a thing in song, as well as how empty she feels for doing it despite its necessity for her financial stability.
- Concept Album:
- Antenna features songs about the growing pains of young adulthood, from "Polygon Teacher" being about the struggles of learning to live on one's own, to "Let's meet again in Hell" being about a friend taken too soon, and the title track concluding that it's important to keep yourself open-minded, receptive, and willing to make mistakes.
- HUMAN is about the shared human experience, as well as some Navel-Gazing on what it means to be human. This is further driven by how this album features Pinocchio-P's own vocals more prominently—or sometimes in place of Miku.
- ZERO-GO is about the absurdity found in aspects of daily life and how, despite its meaninglessness, we persist.
- LOVE features songs about... Well, love of all sorts, though not all of the healthy variety.
- META features songs that deconstruct aspects of Vocaloid scene and contemporary internet society.
- Empty Shell:
- "Crappy Fantasy Days" is about a listless Miku who finds herself just watching the days pass by without doing anything of significance, noting that these days are so full of nothing that if she had an autobiographical work written about her, these days would all have to be skipped over. In the final verse however, she understands that one day she will be able to save herself from them, and that she just needs to keep hanging in there.So that I can be rewarded for some of them, so that I can be saved from them, I pass through today too.
- "Motivation is Dead" features Miku so depressed and unmotivated that she wraps back around and can't even feel depressed or unmotivated.I lack any motivation, even enough to say I'm unmotivated, so little I can't even feel unmotivated.
- "Apple dot com" features Miku appearing fine to outsiders, but severely lacking in self-esteem, putting herself down constantly to the point she ends up horrifically depressed. Towards the end however, she says that she is still keeping a faint hope alive that she might be able to turn things around.I'm not feeling okay, but I'm living. I'm smiling, ever so faintly. I don't have anything, but I'm keeping a little bit of expectation alive.
- "Crappy Fantasy Days" is about a listless Miku who finds herself just watching the days pass by without doing anything of significance, noting that these days are so full of nothing that if she had an autobiographical work written about her, these days would all have to be skipped over. In the final verse however, she understands that one day she will be able to save herself from them, and that she just needs to keep hanging in there.
- Formula-Breaking Episode: "Anonymous M" features a completely different tuning style for Miku, using her default voicebank, tuned to specifically sound stock, with an added deep voice filter similar to what network TV shows use to anonymize a person. The result is an unsettling Machine Monotone that plays up the song's themes of deconstructing the Virtual Celebrity formula. It also is the only Vocaloid song Pinocchio-P has produced to feature a human guest vocalist.
- Gratuitous German: AquesTalk says "Gott ist tot" in the pre-chorus for "God-ish", doubling as a Nietzsche reference.
- Halloween Episode: "Oblivious Pumpkin", which uses the festivities and traditions of Halloween to discuss people who act holier than thou for not participating in fun yet meaningless activities.
- Hope Springs Eternal: Miku in "With or Without Me", where she sings about how darkness and cynicism have taken over her life and the world around her, and how she's slowly becoming densensitized to it all, only to rebut in the refrains that no matter what, she's going to do whatever she can to fight back and overcome it all in the name of kindness.Shut up! I'm going to live, even if I'm a wimp. I'm invisible, but there's still something I can do, right?
- In Love with Love: "Love for Love by Love of Love" is about one of these types of relationships, with Miku reminiscing with the listener about a relationship they awkwardly fell into and which broke apart when it became clear that they were in that relationship just for the sake of being in one—yet the experience has stayed with her and she still finds it hard to let go of that time.That day, I fell in love with love, telling a trivial lie—despicable. Love for love by love of love was, though rotten, still love. It was a childish love.
- Long-Distance Relationship: "YOZURINA", which features Miku in one with a person she met online, who seems to not be very forthcoming with her. Towards the end she has her doubts about the health of the relationship, and the possibility of being catfished comes up, but in the end she knows that her life will go on regardless.
- Love Is a Weakness: Invoked and discussed in "Love Attribute", where Miku sings about the many weaknesses of love, the many dangers it poses—in particular what it makes you do for its sake—and how she continues to hang onto her love despite it all, up to and including her partner leaving her.The more you love, the more it becomes your weakness, and yet I could not throw it away.
- Lyrical Dissonance: A common feature of his songs, but most strongly felt in "Motivation is Dead" and "Apple dot com".
- Magical Girl: A deconstructive type featured in "Magical Girl and Chocolate", where Miku is burned out and considering quitting over all the gossip and rumours being spread about her.
- Mascot: Aimaina-chan and Doushite-chan, who first appeared in their respective titular songs "Aimaina" and "Doushite-chan's Theme". They've appeared in every single one of Pinocchio-P's music videos since they debuted in 2011, and Aimaina-chan in particular has appeared on every non-single album cover without fail since MANGA.
- Mood Whiplash: The first and second verses of "What's Inside" have Miku waxing philosophically about the subjectivity of morality, the nonexistence of karma, and how people waste their lives doing working jobs they don't want to because it's needed for them to function in an ultimately-arbitrary society... Before nonchalantly changing the subject and asking the listener if they want to go to a party or a flash sale on the weekend.
- Naughty Nurse Outfit: Miku dresses in this style for "Love Attribute", wearing a corseted strapless dress with an over-the-knee hem. In the second half of the MV her outfit changes to a patient's gown, to symbolize the shift in her perspective from being the giver in her relationship, to being dependent on her partner.
- Nun Too Holy: Miku in "God-ish", depicted in her habit with piercings and smoking a cigarette while striking an irreverent pose. The song itself has her sarcastically mocking the listener for thinking they're the centre of their own world in media consumption, and musing about nihilist philosophy during the bridge.
- Power Ballad: "I'm glad you're evil too" is a whopping six and a half minutes, starting off as a soft piano-and-synthesizer track, before the last minute explodes into a heartfelt final refrain with powerful bass synths. The song itself features Miku appreciating all the little things she enjoys with her lover, and being grateful that they're "evil too"—with what makes them being "evil" being up to interpretation.
- Pun-Based Title: Given that he got his name from a song with one of these, it's no surprise he's quite fond of them.
- His very first song, "Hanauta", plays off the fact that while it refers to humming, its literal name is "Nose Song". It features Miku humming for various reasons, while the music video is a still image of Miku with an extremely large nose.
- "Scheveningen", apparently named after a district in the Hague, plays off the fact that directly transliterating the district's name to Japanese results in it sounding like "Obscene Human".
- "God-Tier Tune" has the Japanese name "Kami Kyoku", which plays off how "kami" means God, but is also used in slang to mean something exceptional. A popular fan title translation thus is "Go(o)d Song". "God-ish" draws upon the same pun and leans into it harder with Miku's Nun Too Holy getup.
- "YOZURINA" combines "yoru", meaning night; and "tsuri", meaning fishing—referring to the song's main subject of this possible Catfishing happening late at night.
- The official English title of "Isn't it a" doesn't translate the original's pun: In Japanese, its name is "A Janaika", which is a dead ringer for the "Eejanaika" protest movement of the late Tokugawa era.
- Purple Prose: Lampshaded in the bridge for "God-ish", where Miku uses very dense prose to discuss existentialist philosophy and the way it relates to the self-importance of people experiencing art, before complaining about how no one understands it and that everyone wants to get back to the danceable part of the song. Depending on how you might read it, this is either Miku's own thoughts, followed by her sarcastically playing up her expected reaction from the audience; or someone else who is criticizing her hypocritical holier-than-thou attitude but in a way that she can't even understand, causing her to dismiss it wholesale.Is the nature of meta-thinking malice? Artifice that looks down on others. It’s hard to survive in idleness. A flickering light consumed by authority. Pretending to be God by denying God. Fools who change suddenly on the throne. A prayer of self-discipline disguised as criticism. Do you know?[Beat]What are you talking about? How annoying, what are you talking about? I don't know what you mean, I'm falling asleep, seriously. I’m easily bored, OK; everyone’s easily bored, OK. Give me something I can dance to, beam—
- Rearrange the Song: Since HUMAN, each of his albums has received at least one rearrangement. Some of them are for the purpose of creating a version sung by Miku, when the original version was made for a different purpose.
- HUMAN features rearrangements of "Kusare-gedou and Chocolate", "Common World Domination", and "Hanauta". The former two are different enough to be considered remixes, having different structures and featuring Pinocchio-P's vocals much more prominently.
- Proliferation of Imamura features a rearrangement of "Motivation is Dead", being the only doujin album to have one. It also happens to be the only doujin album Pinocchio-P released after HUMAN, though.
- ZERO-GO features "(Rotten) Apple dot com", a self-remix of the original song that kicks the pace up considerably and makes it into a dance track.
- LOVE features rearrangements of "Don't be fooled by weird love"note "The World Hasn't Even Started Yet"note , and "Because You're Here".
- P+ is an entire album dedicated to this, rearranging songs from his first two doujin albums with updated vocals and instrumentation that's more in-line with his modern style.
- META features rearrangements of "The Planet Big Bang"note and "Kusare-gedou and Chocolate" (again).
- Scam Religion: "Don't Believe in T" features Miku enthralled by one led by Teto, who keeps giving her all sorts of bizarre and sometimes dangerous advice in exchange for her money. It's implied that Miku is aware Teto is lying to her, but that it'd be too emotionally painful for her to stop. In the final refrain she is successfully deprogrammed, but she laments that she was happier when she was blindly faithful to her.Miku: "Stop longing for crimson lies", they say. Don't tell me, I beg you—the truth won't save me anyway!
- Sequel Song: "Magical Girl and Chocolate" is a sequel to "Kusare-Gedou and Chocolate", eleven years later. Where "Kusare-Gedou" is about a girl spreading all kinds of malicious gossip, "Magical Girl" takes the perspective of a Magical Girl with bad publicity, on the receiving end of the gossip. The two songs also share the same elements, like the use of the same gibberish lines and censor bleeps; and, in their respective music videos, the use of pixel-censored pink chocolate presented by white-gloved hands to represent the gossip.
- Solo Duet: "(Not) A Devil", produced in collaboration with DECO*27, has both producers using Miku in the song, but because they use very different tuning styles from one another, Deco's Miku sounds like a completely different singer from Pino's Miku. This is extended to the music video and album cover, where they are treated as separate characters, despite them both being Miku.
- Stepford Smiler: Alluded to in "Apple dot com":I'm smiling, but there's a dart piercing my face.
- Straw Nihilist: Deconstructed in "God-ish". Miku sees herself as smarter than everyone else, takes no art or media seriously, and mocks the listener for finding the things they enjoy meaningful, all while the song's bridge, use of a Friedrich Nietzsche quote, and religious symbolism like a nun's habit connect this line of Accentuate the Negative approach to media analysis to nihilism. The final lines of the song imply she regrets becoming this cynical however, as it's ruined her ability to enjoy anything herself.I understood everything and suffered. I just wanted to dance without knowing life.
- Take That, Audience!:
- "Vocaloids are Lame", released around the nadir of the Vocaloid scene in 2017, has Miku hyperbolically declaring Vocaloid passé in a This Loser Is You sort of way.
- During the second verse of "Anonymous M", ARuFa asks Miku if there's anything she'd like to say to humanity, and she points out that saying that she's going to "end" one day is hypocritical when all humans will "end" eventually too.
- Tongue Twister: "Please Play-Bite" is a whole song built around these in Japanese, using them as an allegory for being unable to say "I love you".
- Trapped in Another World: Deconstructed in "Reincarnation Apple". Miku, bored and unhappy with her current life, is given an apple where every bite she takes from it allows her to immediately reincarnate in another world. However, she finds that she lacks the skill or life experience needed to avoid plunging her lives or even the worlds as a whole into chaos, with often-gruesome results. By the end of her ordeal, when she finally wakes up in her home, she's downright relieved to be back, and immediately throws away the apple.
- Virtual Celebrity: Deconstructed in "Anonymous M", which features ARuFa interviewing an anonymized Hatsune Miku as she systematically dismantles the Kayfabe that has her treated as a real singer and not just synthesizer software with an anime girl slapped onto the box.I'm Anonymous M. I'm the one who kinda sings. I'm just music software, pretending to be human. What image will you project onto my lifeless body?
- Word Salad Lyrics: "Tonchinkan Feast" is noteworthy for having refrains and bridges where only kanji is used, with no kana to provide any sort of grammatical structure at all. This makes understanding the song hard and translating it even harder (a rough English analogue would be a stream of nouns and adjectives with no verbs or conjunctions to actually make sense of it all).
- Your Days Are Numbered:
- "1year" features Miku hospitalized in critical condition for overworking herself. She muses about the meaninglessness of life, how short it is when you look at it in days, how she wishes she had spent her time better, and her gratitude for the listener as someone who stayed by her this whole time. At the end of the song, she reveals that she's been given only about a year left to live.
- "2:30 Life Remaining" presents Miku as only living for as long as the song runs for, which is exactly two minutes and thirty seconds. She spends the entire runtime musing about this fact, going on about how she doesn't want to waste her limited time and wishing she had longer to live.
