FOR IMMEDIATE RELEASE
HAPPY SAD
“Requiem for Dead Flowers”
A Post-Classical Reflection on Time and Memory
Epictronic is pleased to announce the release of the official video for “Requiem for Dead Flowers,” a new track by ambient/folk artist Happy Sad, taken from the album The World Is Grand When We See.
“Requiem for Dead Flowers” reflects on the way seasons fade. As nature moves on, so do the emotional imprints tied to it. The piece draws a parallel between withering flowers and the soft erosion of memory, presenting a restrained and reflective soundscape. Built on subtle orchestration and minimal textures, the composition moves with patience and intent.
Happy Sad describes the track as part of a post-classical lineage shaped by artists such as Jóhann Jóhannsson and Ryuichi Sakamoto.
Watch the video here:
About the Artist: The Architect of Sound
Happy Sad is the solo project of Hiroaki, a Japanese artist and sound professional based in the game industry. He began making music during his student years, playing café bar gigs and recording demos. His influences take in soul, British rock, folk, trip hop, neoclassical, world music, and film scores, alongside a strong connection to literature. His recordings balance live instrumentation with programmed elements. To date, Happy Sad has released seven albums and 19 EPs.
Outside of music, Hiroaki has around 14 years of experience as a Sound Designer and Sound Director in the games industry, having contributed to over 60 projects at companies including NetEase Games, FunPlus, NHN PlayArt, and Noisycroak Inc. His work spans music composition, sound design, audio direction, and promotional video production. In 2013, his track “Everyday” won the domestic DJ category and reached the finals of MTV and Lenovo’s CO:LAB contest.
In recent years, Hiroaki has travelled across ten countries in search of sounds and traditional instruments. Encounters along the way with displaced communities have shaped his approach to music as a form of shared human expression.
The World Is Grand When We See is out now via Epictronic.
Stream the album here: orcd.co/twgwws
Connect with Happy Sad:
Official Website: happysadsong.com
Social Media: Instagram | Facebook | X (Twitter)
Streaming: Spotify
[Comments on the Album]
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○Hiroyasu Yamada / Jeffrey Yamada
(Music Writer, Translator)
Discrepancy and Essentiality.
Happy Sad means cherishing once-in-a-lifetime encounters and moments amidst diverse cultures and temperaments.
There is determination and conviction there.
Hiroaki Kusano is embarking on another journey.
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○Ichiro Ebisu
(Sound Designer)
This best-of album, which can be called the culmination of Happy Sad’s work, is truly a “must-listen.”
Just by listening to the music, vivid images appear before your eyes, and you feel as if you are traveling the world. >From instrumentals to vocal tracks, each song has a different worldview, yet they are all wonderfully brought together as “the world of Happy Sad.”
Happy Sad’s music, infused with a variety of sounds, is a testament to his sound design background. Each listen offers a new discovery, making it truly enjoyable. The exquisite sound, blending the pleasant feel of live instrumentation with a touch of melancholy and wistfulness, is a must-listen for fans and newcomers alike.
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○Atsuhiro Ishizuna
(Sound Designer, Composer)
As both a guitarist and vocalist, his unwavering commitment to his own unique style while traversing a wide range of genres deserves respect. The meticulous scene-defining and construction skills honed as a game creator are evident throughout his music. This depth is the true essence of this work.
As an aside, the contrast between the delicate and sincere worldview of his music and his surprisingly lighthearted personality in person is quite fascinating. The fact that someone who creates such profound music is actually such a lighthearted character makes him an even more appealing artist.
“Lily (2026mix)” is particularly exceptional. The powerful portrayal of moving forward towards the future while grappling with separation is inspiring every time I listen to it.
Happy Sad as an artist, and Happy Sad as a creator—both sides of him are vividly imprinted in this album, making it a truly worthwhile listen. I highly recommend immersing yourself in every detail of the sound.
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○Noboru Mutoh
(Music Producer / Sound Designer)
This album is filled with his life and philosophy on music.
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○Yuji Yahiro
(CG Artist)
As a friend who has listened to Happy Sad’s music for a long time, “The World is Grand When We See” is a very moving work for me.
Early Happy Sad possessed the raw energy and passion of a rock band. Since then, through travel and experience in game sound design, his music has continuously evolved, incorporating diverse influences. This evolution is clearly evident in this album. While expanding his expression into folk, ambient, and post-classical styles, each element remains distinctly Happy Sad, surprising even to long-time listeners.
Furthermore, this album includes numerous 2026 mixes of past tracks. As a long-time listener, this was particularly interesting. Familiar songs reveal new facets through Kusano’s current sensibilities. While there are discoveries like, “I never imagined this song would be reborn like this,” there’s a sense of nostalgia without it feeling dated; rather, it resonates freshly within the current atmosphere.
This flexibility and his constant pursuit of updating his musicality reflect Kusano’s continued dedication to new forms of expression.
However, these changes were not a shift in direction, but rather a process of delving deeper into the theme characteristic of Hiroaki Kusano: “painting memorable landscapes through sound.”
And ‘The World is Grand When We See’ is a work born from that journey. The scenery, atmosphere, and lives of the people encountered during his travels in Dubai, Turkey, Uzbekistan, Vietnam, Malaysia, Greece, and other places quietly blend together, and it feels as if Happy Sad’s music up to that point has culminated in a single landscape.
As the title suggests, the world is vast. But that vastness can only be truly felt when you actually walk through it and see it with your own eyes. This album reminds us of that obvious yet important truth without being preachy.
This is an album that lets us feel the landscapes Kusano has seen, the flow of time he encountered there, and the richness of a world we still don’t know.
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○ExNECol
(Audio Director)
If I had to describe him in one word, it would be “eternal challenger.”
He incorporates new cultural and musical elements from both within Japan and abroad, but these are based on his own experiences.
Beyond simple composition, he has a deep commitment to the instruments he uses, directly purchasing instruments from different cultures and incorporating them into his music.