#Crucial Rhythm interview

[myfavebandfizz]

Crucial Rhythm Interview

FIZZ Released Their Debut Album 'The Secret To Life' On October 27, 2023

Nov 2 2023

Indie-pop supergroup FIZZ released their debut album, The Secret to Life, on Friday, October 27th.

The album has a 12-song tracklist, including their hit single, “High In Brighton.”

What was the inspiration behind the album?

FIZZ: We did it in two separate weeks, the first week we did it in December 2021. We didn't know what was gonna happen but we were excited to be there. Our producer Peter is amazing, he was an amazing facilitator of creativity. He set up the room with all these instruments and most of us were used to working in dimly lit London rooms with not very much in it. We were giddy for that first week, running around and playing the drums, plugging in the guitar and just very noisy chaos. A Lot of the big songs off the album came from that first week. Then we had 6 months in the summer of 2022 and did the second half of it. It was more of the same, we had the best time the first week. We wanted to do the same thing as the first time. Naturally, the giddiness only lasts so long, it's not a sustainable state to be in emotionally. We’d write a couple of really big songs and then go in the kitchen and make dinner and chill. Someone might have a cry because they were stressed out. But then after go into the booth and belt out the song.

What are you most excited about for your upcoming record store tour and headlining tour?

FIZZ: I'm most excited to get energy back from the people who've been listening. We've done so much in the last few months, presenting the band and we've put a lot of energy into it. I'm looking forward to hearing the words sung back at you. It's satisfying and gratifying and all the good things. I'm really excited to bring it into the real world and see their reactions and see what part they laugh at or cry at.

Is there a song you’re excited for people to hear and what song are you excited to perform?

FIZZ: “Grand Finale” it's the most out there. It's the last song of the album. It's 6 minutes of how it feels to not say no to any idea. The spirit of the song feels like that. It doesn't feel like any of us were like should it be shorter, less indulgent, less key changes. That doubt is so far away from that song which is where it belongs. I love how arrogant it is in itself.

What do you hope that listeners take away from this record?

FIZZ: I hope people can take an appreciation of taking stock of their own life and realizing it is enough and it's great and to celebrate it.

How did you know “High In Brighton” was the first single to be released?

FIZZ: It was the first song that we wrote, I don't think there's anything deeper than that. I think that maybe presenting ourselves first with a song that was very everyone. Some of the songs have someone to the front but we wanted it to be clear that the band is a collective with no front person. That is always changing and shifting and being passed around. I think that was maybe a factor of choosing that one first. I just always thought because we wrote it first I like how chronological it felt. Also, it was very convenient that we launched the band at The Great Escape festival in Brighton. So it felt like a nice introduction to the beginning of something.

What has writing and recording this album taught you about finding the secret of life, especially as a group of friends?

FIZZ: We didn't want to put so much weight on writing this album. We didn't want to try and figure out what to say. It's so interesting when you let go of those pressures what comes out. They are some Amazon writers, i always knew that but coming into a room together. I struggled writing with anyone else pre FIZZ but writing with these guys it's so interesting how easily a song can be and how quickly a song can come together. Especially as best friends of all similar ages. It's interesting how a story is kinda written for us, it's already there almost and we shape it to be.

If you could feature any artist on any of the tracks who would it be?

FIZZ: Chet Atkins, the guitarist from the 60’s, we love him, he's great. Also anyone from Queen, ABBA, or The Darkness. That would be sick.

How did you guys determine how to craft the visuals to compliment the music you were making?

FIZZ: I think when we were talking about the trip itself after we came back. We were talking about it as if it was this whirlwind and was made in this dream state. It felt like a retreat from how we had been doing music in the past. It felt like we'd inverted or completely flipped our approach to music-making. Naturally when we started to think of the visual world that would mirror that we kind of referenced films we grew up watching. Like Willy Wonka, Tim Burton films, Alice in Wonderland, and Wizard of Oz, all of these sort of fantastical technicolor films that feel very joyful and exaggerated and triumphant in so many ways. But kind of had this twinge of darkness to it. Something I realized as well is that all of these films start off in normal life and then go off to these whimsical places where people go on a journey to find out more about themselves and their lives and the people they surround themselves with. Which is such a direct reference to how the making of the album was. It was just really nice that we sorta reference those films. We worked with an amazing photographer Jp Bonino who is incredible and helped bring this make-believe land called Fizzvelle that keeps coming up in all the visuals and campaigns that is part theme park part town. If you join our discord you can become a Fizzville resident. In all the artwork you can see Fizzville in the distance and there are loads of easter eggs throughout the campaign. Telling the story of the band behind the music has been really exciting.

[missarchive]

Hi fellow Virgo!! I saw your post about wanting asks on my feed and icl I didn’t check when it was from so I could be old but 🤷‍♀️

This is my first Spencer request ever- I was wondering if you could do a Spencer Reid x bau!reader who is working on a case at the police station but she’s all emotional and soft because she’s tired? Established relationships if possible?

Thank you!!! - 💋

i wrote this one last night but passed out before i could upload it 😭

cw; hurt/comfort, reader has a breakdown, spencer is the sweetest, most perfect boy ever (what's new?)

The police station teemed with activity, phones ringing, voices echoing across the bullpen, and the faint click of keyboards creating an unrelenting rhythm. You sat at your desk, hunched over a case file, your mind fraying at the edges. Every line you read seemed to slip through your grasp, blending into a tangled mess of details that refused to make sense.

It had been a long week—a gruelling mix of late nights and early mornings. The current case was particularly brutal: a string of disappearances with few solid leads and rising pressure from the local authorities to produce results. But what truly gnawed at you was the witness interview earlier that day, a young woman barely out of her teens who’d been found, scared and shaken, after narrowly escaping the unsub.

You’d tried to get her to talk, sitting with her in the interrogation room for hours, coaxing her gently. But the girl had clammed up, her hands trembling as tears streamed down her face.

“You should’ve let Hotch or JJ handle that,” you muttered to yourself now, guilt twisting your stomach. The thought of having failed her, of maybe missing something crucial, weighed heavily on your mind.

"Y/N?"

Spencer’s voice cut through the noise, soft and steady. You blinked, lifting your head to see him standing by your desk, his eyes scanning your face with concern.

“Hey,” you said weakly, trying to muster a smile.

He didn’t return it, his brow furrowing instead. “What’s wrong?”

“Nothing. I’m fine,” you replied quickly, turning back to the file.

“Y/N,” Spencer said again, his voice a gentle but insistent nudge. He crouched down beside you, bringing himself into your line of sight. “Talk to me. Please.”

Your chest tightened. The last thing you wanted was to break down in the middle of the station, but his gaze was so kind, so full of understanding, that you felt the dam begin to crack. “I’m just… tired,” you whispered, but the quiver in your voice gave you away.

Spencer’s hand rested lightly on your knee, grounding you. “It’s more than that. What happened?”

You took a shaky breath, staring at the file in front of you. “I blew it earlier. That girl, the one we found… she wouldn’t talk to me. I tried everything, Spence. I thought I could connect with her, but all I did was make it worse.”

His expression softened, and he gave your knee a gentle squeeze. “You didn’t blow it,” he said firmly. “Sometimes people shut down no matter what we do. It’s not your fault.”

Tears welled up in your eyes, and you quickly looked away, swiping at them with the back of your hand. “It feels like my fault. She was so scared, and I couldn’t…”

Your voice broke, and Spencer didn’t hesitate. He stood and gently tugged you up from your chair, pulling you into his arms. The moment you felt his warmth, the tears came, silent but steady as you buried your face in his chest. His hand moved in slow, soothing circles on your back, and his chin rested lightly on the top of your head.

“You’ve been carrying too much,” he murmured. “You always do. But you don’t have to do it alone.”

You clung to him, his words a balm to your frayed nerves. The sound of his heartbeat, steady and strong, filled your ears, grounding you in the moment.

“I hate feeling like this,” you admitted after a while, your voice muffled against his shirt. “Like I’m not good enough.”

Spencer pulled back just enough to cup your face in his hands, his thumbs brushing away the tears on your cheeks. “You’re more than good enough,” he said, his tone unwavering. “You’re brilliant, compassionate, and one of the strongest people I know. And if you’re feeling overwhelmed, it’s okay to lean on me. That’s what I’m here for.”

After a moment, you sniffled and pulled back just enough to look at him. “I didn’t mean to fall apart like that,” you said, wiping at your cheeks.

Spencer reached out, brushing away a stray tear with his thumb. “You’re allowed to fall apart,” he said softly. “Especially with me. We’re a team, remember?”

His words hit you square in the heart, and you nodded. “Thank you,” you whispered, leaning into his touch.

He smiled, a small, reassuring curve of his lips. “How about this? You take a break—actually eat something and get some rest. I’ll cover for you here.”

You started to protest, but he held up a hand. “No arguments. We can’t solve this case if you’re running on empty. Let me take care of you, okay?”

The tenderness in his voice made your chest ache in the best way. You nodded again, feeling a small smile tug at your lips. “Okay.”

He kept an arm around your shoulders as he guided you toward the break room, insisting that you take a moment to breathe, to rest. And for the first time in days, you let yourself believe that you didn’t have to carry the weight of the world alone.

[aois-amaterasu-painting]

Guitar Magazine (September 2015)

Featured Guitarists 2 - the GazettE

葵&麗

The jet-black mass of sound that reaches into the soul.

Following the release of their previous album, BEAUTIFUL DEFORMITY, in October 2013, the GazettE dedicated the entirety of the past year to what they called a "Redefinition" tour, revisiting their past works. With this time spent reflecting on themselves and recognizing their essence at a deeper level, their new creation, DOGMA, places even greater emphasis on their intense side. This is an ambitious work of art in which powerful sounds come together to stimulate the listener's ears. The key to this heavy sound is, without a doubt, the twin guitars of Aoi and Uruha, the two wings of the band.

Interviewer: Last year, you didn’t release any singles and instead held a fan-club-exclusive live tour featuring songs from past albums as part of your “Redefinition.” What was the intention behind that?

Uruha: Up until then, we had been releasing works regularly, so we wanted to take some time to reevaluate various aspects of ourselves. Additionally, to solidify our foundation as a live band going forward, we wanted to take a year to carefully reflect on our relationship with our fans by engaging with fan club members. This way, we could comfortably move on to the next project and create something that both we and the fans desired.

Aoi: In addition to that, it was also about reflecting on myself. I wanted to revisit how I had approached my role in the GazettE in the past. How had I contributed to the creation of our music? And, considering all of that, what direction should I take in the future? It became a period for contemplating such things, so in that sense, I think it was a necessary time for us.

Interviewer: What was the concept behind your new album, DOGMA?

Uruha: At the start, RUKI (vocals) proposed the title DOGMA (which means "doctrine"). It wasn’t meant to reflect some ordinary "religion"; instead, it symbolizes something absolute that we ourselves created. With that concept in mind, we aim to take it on tour and draw in even more core fans. When deciding what kind of songs to create, we wanted to focus on the intense elements that have always been one of our strengths and pack them into the album.

Interviewer: The title track and other songs prominently feature minimalist riffs and unconventional song structures, don’t they?

Uruha: RUKI intentionally approached it that way, aiming for a flow where the same patterns wouldn’t repeat. For example, in a typical song, you might expect to return to the verse, but we deliberately chose different developments, like structuring it so the chorus appears only once. That unpredictability makes the songs engaging and avoids monotony.

Interviewer: Which tracks did you each compose?

Uruha: I wrote "DERACINE" & "PARALYSIS," and Aoi wrote "WASTELAND" & "GRUDGE."

Interviewer: What do you think of each other’s songs?

Uruha: When I listen to Aoi’s songs, they definitely have a signature Aoi quality—there's this emotional, heartfelt quality to them.

Aoi: Uruha’s signature style is his slightly unconventional sense of rhythm. On the other hand, RUKI tends to approach things more straightforwardly, which often becomes a hook for the entire song.

Interviewer: What tunings did you use this time?

Uruha: Drop A and B.

Interviewer: Why did you choose six strings instead of seven for such low tunings?

Aoi: True, you could argue that if you're using low A, it would make sense to use a 7-string. But a 7-string feels like a completely different instrument, doesn’t it?

Uruha: Right. Plus, barring power chords with one finger is essential for us.

Interviewer: So the reason for using drop tuning is the mobility it offers, allowing you to barre power chords with one finger, especially for such intricate riffs?

Uruha: That’s right. The riffs are so complex that it’s almost chaotic (laughs). Plus, there’s a lot of muted playing involved, so maintaining that level of mobility is crucial.

Aoi: Yeah, that’s really what it comes down to. Also, in RUKI’s songs, there are sometimes fingerings or techniques specified that are unusual for a guitarist. In that sense, they have a unique flair.

Interviewer: Do the guitar riffs in RUKI’s songs originate from him?

Uruha: It varies. Sometimes he specifies exactly what he wants, other times he’ll say, “I’d like a riff here,” and we fill it in. There are also parts we add spontaneously.

Interviewer: When non-guitarists create riffs, don’t you find they can be oddly difficult to play?

Uruha: Oh, absolutely. There are plenty of times when I’m left wondering, “Why would you play it like this?”

Aoi: But strangely enough, those parts often end up being must-haves.

Uruha: Exactly (laughs). That’s what makes it challenging, but also interesting.

Uruha: On the flip side, if RUKI were really proficient at playing guitar and presented ideas that strictly adhered to conventional theory, I think that would actually be boring and unappealing. Because he doesn’t know too much about it, it ironically makes things easier for us.

Aoi: But you know, when it comes to RUKI's songs, Uruha tends to make things even more complicated. Like, with those subtle muting nuances… you always add those in, right?

Uruha: For example, even if RUKI is playing a riff with alternate picking, I might think, “At this speed, wouldn’t the sharper feel of down-picking be closer to what RUKI has in mind?” Or, “Wouldn’t it better align with RUKI’s vision if it were played this way?” And before you know it, things start to get a bit more complicated (laughs).

Interviewer: So you’re interpreting RUKI’s original compositions from a guitarist’s perspective as you play them.

Uruha: That's right. If RUKI were to say, “It’s fine if you play it loosely,” then we’d just go, “Oh, okay, got it.” But if he responds with, “Yes, that’s exactly it!” then it validates the extra effort.

Aoi: I tend to be more relaxed about things like muting.

Uruha: And that’s totally valid. So, in the end, it comes down to which approach is better suited for the situation.

Interviewer: Uruha, earlier you mentioned that this album was an exploration of the "essence of twin guitars." Could you elaborate on that?

Uruha: We had more discussions than ever before about how to make each song work with both guitars, carefully crafting the tracks together. It felt risky to just end things with my personal interpretation alone.

Interviewer: So you discussed not just how the phrases interact, but also how to play them and what nuances would be most effective?

Uruha: That’s right. However, since playing styles and nuances can vary widely, we made sure to maintain a basic consistency in technique while still allowing each of our individual personalities to shine through. I’d say Aoi is more meticulous about ensuring everything is perfectly aligned. For instance, before recording, Aoi would suggest things like, “Isn’t there a difference in how we’re playing this?”

Aoi: For example, alternate picking and downstrokes each have their own distinct nuance. Even if those approaches differ slightly, it can still be cool as long as the result works. But knowing about those differences and intentionally making a choice is very different from being unaware of them. This time, we took the time to carefully evaluate each decision as we went along.

Interviewer: What about each other's tones?

Uruha: We had some deep discussions about that this time, too. There’s the tone I want to produce, the tone Aoi wants to create, and then the composer’s image of the sound, so we debated what approach would deliver the best result. Ultimately, there’s no definitive “right answer.” RUKI tends to make broad suggestions about guitar tones, like, “Shouldn’t it be more focused?” From there, it’s up to Aoi and me to fine-tune the details through discussion. Aoi might say, “This is the sound I want to create, and that’s why I’m doing it this way,” and then I’d share my perspective in response.

Aoi: On DAWN, there was a moment where RUKI felt the tone I was using didn’t match his vision, so I ended up using Uruha’s amp to play the part. Even then, I couldn’t fully accept it. After I got home, I messaged RUKI on LINE, saying, “Let me propose another option” (laughs).

Uruha: But going through the process of trying it out once was really important. Normally, it’s something you wouldn’t even want to test out. However, understanding how something takes shape before making a choice is crucial. Sure, if Aoi and I used the same amp head, everything would naturally come together. But that doesn’t necessarily mean it’s the correct answer. In the end, it’s not just about the pros and cons—it's ultimately about spirit (laughs).

Interviewer: When it comes to the stereo effect of twin guitars, there are quite a few unison parts, right?

Uruha: Unison has its pros and cons. It helps establish the riff’s image, but it also has the downside of making things monotonous. So it depends on the song. If there’s no specific instruction for unison, we generally do different things. But for certain songs, unison is necessary. For example, with DOGMA, the original version was unison from start to finish. However, we realized that would be too repetitive, so we changed quite a bit of it.

Interviewer: In RAGE, the unison riff is central, but are you playing it in different positions? A guitar, even when playing the same phrase on sheet music, can produce different nuances depending on the position on the fretboard.

Aoi: For that one, we’re mostly playing in sync. That said, even if we play the same way, there are subtle differences—maybe in the right-hand technique. The peak frequencies of the sound differ between Uruha and me. Even the engineers point out that the tonal bands that stand out for each of us are different.

Interviewer: Aoi’s tone has more of an edge to it, doesn’t it?

Aoi: Saying it has an “edge” makes it sound appealing, but since the highs stand out more, it can sometimes feel like the mids are missing a bit.

Uruha: I think the difference in pickup power also plays a role. I use pickups with relatively strong output, whereas Aoi’s aren’t as powerful—though not quite as low-output as single-coils. But I think it’s better to have differences in how the tones stand out, rather than trying to correct or equalize them. The fact that we’re not occupying the exact same sonic space is what allows the overall sound to work as a cohesive whole. It’s like we’re complementing each other.

Interviewer: In terms of twin-guitar interplay outside of unison, in DERACINE’s A section, initially, the left channel plays a harmonics-based single-note riff, while the right channel plays a muted chugging rhythm. But in the second iteration, the roles switch—the right plays a single-note riff, and the left switches to chords. That’s a very "twin-guitar" arrangement.

Uruha: That single-note riff in the verse is something I was really attached to. At the same time, I was equally fond of the sound playing in the background. I wanted to play both parts (laughs). So, to make that happen, I brought the verse back for a second round and swapped the roles, so we could play both. It’s the kind of thing you can do when you’re the one who wrote the song (laughs).

Interviewer: In the A section of GRUDGE, the clean tones are very distinct—Aoi plays the higher register while Uruha handles the lower register, and together, the two lines merge into one.

Uruha: That part was tricky. Aoi’s phrasing was already established in the original version of the song, and the vibe of the A section was already fully formed. So, I had to think carefully about what kind of guitar part I could add to complement it.

Aoi: It’s true that the song was already playable with just one guitar when I composed it. I feel really bad about it, but I just left it to Uruha to handle (laughs).

Uruha: Aoi basically told me, “Do whatever you want with it,” so initially, I tried creating a part that interacted more with the bassline. But then he said he wanted it to interact more with the guitar instead (laughs). No matter what I tried, it kept feeling like it was clashing. So, after a lot of trial and error, we ended up with the version you hear now.

Interviewer: Aoi’s tone is clearer, while Uruha’s is warmer—it seems like there’s a distinct contrast in direction between the two.

Uruha: With Aoi’s tone as the main focus, I could have taken a backseat or gone in a more effect-heavy direction if that was the approach. However, since the aim was for our parts to intertwine, it was essential to make my sound warmer. While we worked on blending, we also wanted to create a sense of push and pull between the parts.

Interviewer: Twin-guitar interplay involves so many factors—phrases, nuances, tones. The sheer range of choices makes it challenging to decide what’s “right,” doesn’t it?

Uruha: That’s true. But I really enjoyed the process of interpreting things in my own way and coming up with answers. Being handed the responsibility sparked something in me. It became an opportunity to think deeply about what I could contribute, and that was incredibly important.

Interviewer: There seems to be less emphasis on lead playing these days, right?

Uruha: It’s extremely minimal now. But that wasn’t really intentional—it just naturally turned out that way.

Interviewer: The solo in "LUCY" has a bluesy feel to it, which is quite rare for this kind of sound. The structure is also very well thought out.

Uruha: It has a bit of a rustic vibe, doesn’t it? This was completely improvised. I wasn’t thinking about it at all and just naturally played along with the song. The structure has a clear rise, climax, and resolution, which is pretty much my standard.

Interviewer: In "WASTELAND," the transitions from cutting to low-end riffs and single-note melodies stand out. The solo, or rather, the vital and unique playing, leaves a strong impression.

Aoi: Initially, it was more of a typical guitar solo that flowed out of the chorus. But that felt off somehow. I’m not sure how it ended up the way it did, but if you were to play it super fast, it might sound like something Nuno Bettencourt would do. That was kind of the image I had in mind.

Interviewer: The interlude solo in "OMINOUS" has such a smooth tone. Did you use a sustainer for that?

Uruha: At first, I thought about using a sustainer, but I found that it made the tone too thin, so I ended up not using it. For this part, after recording one track, I re-amped it and used the Electro-Harmonix HOG. The HOG lets you manipulate more than ten different key tones, like two octaves below, for instance. I recorded each of those individually on separate tracks, then layered over ten or so tracks to create that sound.

Interviewer: It’s not a solo, but “DERACINE” has a slap-style phrase, doesn’t it?

Uruha: Lately, when I have free time, I’ve been experimenting with playing without a pick and using just my fingers. That led me to think, “Why not try incorporating this?” I’ve always liked Limp Bizkit, and Wes Borland’s tapping is just so cool. I admired that kind of style, so I decided to try adding it in.

Interviewer: Finally, what kind of work has this album turned out to be for you?

Uruha: I approached it with a perspective beyond just being a guitarist, looking at things more broadly and thinking deeply about what the songs were truly asking for. I responded with flexibility, without being bound by my usual style. That’s where this album differs from previous ones, and I feel like it marks significant growth for me.

Aoi: Before we started, I prepared a lot in advance, but in the end, the most enjoyable part was having discussions with everyone and exploring where the GazettE’s music is heading and creating with that in mind. Within that process being appreciated for my sound as a guitarist was incredibly gratifying.

Case of 葵

"Ultimately, it all comes down to you. The guitar only gives back what you put into it."

Aoi has always captivated audiences with his emotionally rich and elegant playing. In recent years, however, his mindset as a guitarist seems to have evolved. This interview delves into the true identity of Aoi as a guitarist.

Interviewer: You've often mentioned Kirk Hammett and Nuno Bettencourt as some of your favorite guitarists, but it seems their playing hasn’t had a direct influence on your style, is that right?

Aoi: Yeah, their playing hasn’t really influenced me. Both of them are known for playing guitar solos, but that’s not something I do much in my own playing. To be honest, I don’t feel like I’ve been directly influenced by anyone in terms of guitar playing.

Interviewer: Did you ever copy their styles or practice their parts?

Aoi: I tried a little, but I’ve always been the kind of person who gives up easily (laughs). For example, I’d just play the intro or stick to riffs that I could manage, and that was enough for me. I wasn’t the type to really push myself to practice difficult parts.

Interviewer: In the interview for DIVISION, you said, "I’ve finally started to actually play the guitar."

Aoi: I’ve always had a bit of a “jack of all trades, master of none” kind of tendency. I could manage most things fairly well without too much effort. When it came to being in a band, there wasn’t a need for super technical playing as part of my self-expression, and it wasn’t really required either. But when you’re like that, you start to see limits in your approach and phrasing. So I decided to start learning—or rediscovering things, whether it was Megadeth, Metallica, or whoever. Listening again with a fresh perspective, I found I could hear them differently than I used to. That made guitar exciting again, and my passion for it reached the same level it had when I was in middle school. That was around the time of DIVISION.

Interviewer: Were there any albums or tours with the GazettE that became turning points for you as a guitarist?

Aoi: There’s something like that every time we create something new. I tend to be influenced by Uruha quite a lot. The reason for that is, if the sounds of the left and right guitars are too far apart, I feel like the band’s ensemble doesn’t quite come together. That’s why I align my style with how Uruha thinks about things. In the early days of the band, we would each say things like, “I’ll play this kind of sound,” and we’d just do whatever we wanted individually. But as the band progressed, I started to feel like I wanted everyone to listen to the packaged worldview of the GazettE. Naturally, my ego started to fade.

Interviewer: So you’re taking a broader view of the band as a whole?

Aoi: Ideally, it might be better to say, “This is my sound,” in a more defined way. But no matter how much Uruha and I work to create similar sounds, they’ll never be identical. No matter which amp I use, it always ends up sounding like me. Even if I use an amp with a different gain or low-end response, my character and tonal image don’t change much. In the end, it all comes down to what my right hand can do. That’s where I feel my self-expression and approach as a guitarist come into play.

Interviewer: What’s your personal favorite type of sound?

Aoi: I like Marshall-like tones. Even though the sound pressure might be different, I think the sound I’m producing now leans in that direction. Marshall’s sound can only come from a Marshall, so ideally, I’d love to record with one. But the band doesn’t necessarily need that sound right now, so there’s a bit of a gap there. That said, I also love the sound I create with the GazettE. Maybe someday, when the GazettE becomes a bit older, there will be a time for that Marshall sound to shine (laughs).

Interviewer: By the way, does the music you personally enjoy listening to link to the band’s musical direction?

Aoi: Not at all. My tastes haven’t changed much over the years—I tend to stick with one thing I like for a long time. I still listen to Nuno, for example. Nuno’s work spans bands and solo projects, so there’s a lot to enjoy. I also don’t usually listen to heavier music with intense shouting or anything like that. Oh, speaking of which, I’ve started listening to Led Zeppelin recently. When you trace back guitarists, you inevitably end up with musicians from that era. I remember reading interviews about them as a kid and thinking the sound was too old-fashioned to enjoy. Now, I can listen to it and appreciate it. That’s one thing that has definitely changed for me.

Interviewer: How has that feedback reflected in your playing?

Aoi: I think it unconsciously shows up in how I construct riffs or add accents. I’m always really curious about how I approach a song. It feels like all the phrases I’ve heard and taken in over time are condensed here. It’s like, “Oh, that’s where that came from” (laughs).

Interviewer: Your guitar setup is known for its “two-way sound variation,” featuring a combination of a single-sized humbucker and a single coil, right?

Aoi: Originally, it was because I didn’t like tapping a humbucker to get a single-coil sound when I needed it. Oh, but my setup will change soon.

Interviewer: At the March Budokan live show, you primarily used an ESP Snapper, right?

Aoi: My guitar preferences have shifted a bit... I’ve started to prefer more conventional designs. I’ve used through-neck and set-neck guitars in the past, but I realized I like bolt-ons best. Also, I prefer minimal finishes—ideally, none at all—on the neck. The neck really makes a big difference. So, my next guitar will probably be quite simple and traditional.

Interviewer: More of a Fender-inspired design?

Aoi: Exactly. The body will be Duo-Sonic-inspired, but with a long scale, which is a departure from what I’ve used before. However, the pickups will be dual humbuckers. Previously, with the two-way setup, they were single-sized humbuckers, so technically, they weren’t true humbuckers. While the mini humbuckers had a nice texture that I liked, as the band’s music has gotten harder, it became clear that full-size humbuckers are essential. For the front pickup, I like something lighter, so I’ll probably go with a Seymour Duncan Jazz. For the rear, I ordered a Wild USA-made L-500.

Interviewer: Is a tremolo arm also essential on your guitars?

Aoi: Honestly, even though I’ve been using guitars with Floyd Rose tremolos for ages, for me, they were basically just tools for making that “whammy dive” sound (laughs). That’s why I had them set so they couldn’t be pulled upward until recently. But as I started using synchronized tremolos, I began to understand their proper use, like for vibrato, and it made me want to incorporate those techniques into my playing and songs more.

Interviewer: The ending solo in "OMINOUS" features some delicate arm vibrato.

Aoi: Honestly, it came out better when I was practicing (laughs). I tensed up a bit during the actual recording. But still, it’s such a satisfying feeling. I was playing while thinking, "Oh, so this is how you’re supposed to use an arm" (laughs).

Interviewer: In live performances, you used to focus on the visual aspect. Do you feel that’s shifted now?

Aoi: These days, I get so absorbed in playing that I’ve started to question it a bit (laughs). That said, I think the overall quality of the band’s performances has improved. When I listen back to our recordings, I find them more polished and satisfying to hear. I feel like now is the time for us to take another step and work on captivating the audience even more. Back when I talked about "showmanship," it was kind of vague and reflective of the trends of that time. But the essence of being a guitarist is in playing. Now, I enjoy playing the guitar so much more, and performing live feels more real to me. I’ve also developed this strong desire for people to really listen to what I’m playing. I’ve come to understand that side of the enjoyment too. So, if I can add something extra to that, whether in terms of presentation or skill, and feel my own abilities improving, that would be ideal.

Interviewer: What is it about the guitar that fascinates you?

Aoi: Ultimately, it all comes down to you. The guitar only gives back what you put into it. And within that, there are moments where playing becomes truly fun—it’s a feeling I think only the guitar can provide. Even if your perspective on the instrument changes, you can rediscover its appeal in new ways. Being in an environment where I can always pick up and play a guitar is something I’m deeply grateful for. I feel that not taking it seriously would be disrespectful to that environment and to the people around me. That makes me more committed to practice. And when I notice myself improving, it’s such a rewarding feeling. That’s why I can’t stop playing the guitar.

Case of 麗

"The guitar, it feels like a partner. Just like with the band members, we’re friends having fun creating music together. My relationship with the guitar isn’t all that different."

With his technically driven guitar playing, Uruha exudes an aura that resonates with guitar enthusiasts. What is it that he, relentlessly pursuing perfection in sound, feels as a guitarist right now?

Interviewer: You’ve often taken the lead role in guitar work for the GazettE, and you seem to enjoy technical elements, don’t you?

Uruha: I mean, I started playing guitar because I admired SUGIZO-san. That desire to become like him drove me. Even when I was covering songs from other bands in my early days, I’d always choose the lead parts or try my hand at the more challenging sections.

Interviewer: SUGIZO’s guitar style isn’t strictly conventional, is it?

Uruha: That’s true. But since I didn’t have much foundational knowledge back then, for me, SUGIZO-san’s style became the baseline for what I considered normal (laughs).

Interviewer: Your guitar playing has evolved significantly over the course of the GazettE’s activity. Early on, there was more cutting and lead playing, but over time, your sound has become denser and more cohesive.

Uruha: Around STACKED RUBBISH, I started to develop—or rather, felt the desire to explore—a sense of density and riff-focused elements inspired by Western music. Even before that, I’d been a fan of bands with strong, riff-driven sounds, like Limp Bizkit, and by then, I started thinking about incorporating that influence into the GazettE.

Interviewer: Do the members discuss the band’s direction with each new album?

Uruha: It’s not a formal discussion; it’s more like casual conversations among friends. Like, “I think this band is really cool right now.” For example, RUKI is always exploring what’s trendy and brings up genres and bands I’ve never even heard of. He’s the type to actively put out ideas rather than absorbing from others. As for me, even if I’m really into something, if I think the others might not relate to it much, I usually won’t bring it up (laughs).

Interviewer: Who’s the artist you’re most into right now?

Uruha: Lately, I haven’t been as into band-type music, which is a bit sad for me. For quite some time now, I’ve been listening to electronic music, like EDM and dubstep. I’ve really gotten into that. One artist I’ve really connected with is Broken Note. Their sound is so sharp and piercing, with a kind of intense, all-in hardness that filled a void I had inside me.

Interviewer: So it wasn’t guitar sounds?

Uruha: Right. But even though I’ve been influenced by it, it’s not about directly reflecting that in my guitar playing. It’s more about appreciating how committed the sound is, even if it’s not mainstream or universally accepted. it made me realize how important it is to chase after that good feeling.

Interviewer: Have your expectations for your guitar sound evolved?

Uruha: This album has really changed things for me. It’s less about the sound I want to create personally and more about pursuing the sound the work itself demands. Before, I had favorite amps and guitars that I thought were perfect, and my approach was to expand from that core combination. For instance, I’d been avoiding using Mesa/Boogie amps because they felt too mainstream, instead favoring high-end heads to craft a gritty sound. But when I tried a Mesa/Boogie, I thought, Oh, this is it after all. By letting go of my ego as a guitarist, I feel like the overall work has been elevated and improved.

Interviewer: Speaking of guitars, around 2006–2007, you used pickups with P-90s, right?

Uruha: That was during the STACKED RUBBISH era. As I focused more on riffs, my perception of string thickness and the low-end resonance evolved, and at the time, P-90 pickups just clicked with me.

Interviewer: Even though P-90s are single-coils?

Uruha: I felt Strat-style single-coils wouldn’t deliver the gritty vibe I was after. The P-90, being somewhere between a single-coil and a humbucker, was said to provide the thick tone I was looking for. But as I kept playing, I started feeling they lacked the power I needed, so I switched back to humbuckers.

Interviewer: Many factors determine a guitar’s tone, like pickups, wood, and parts. Are the specs for your custom models pretty settled now?

Uruha: They’re pretty stable now. The body is a mahogany back with a maple top, the neck is maple, and the fretboard is either rosewood or ebony. Of course, beyond specs, even subtle factors like the angle at which the pick hits the strings, or whether you’re playing closer to the bridge or the neck, can drastically change the sound. When evaluating tone, it’s important to have some baseline to understand those changes. I’ve drawn a line with my equipment to focus on experimenting with technique. When I hit a wall, that’s when I’ll revisit the gear. Otherwise, it’s easy to lose direction.

Interviewer: At the Budokan live show in March, you used Two-Notes' cabinet simulator. Did that mean you weren’t using an actual cabinet?

Uruha: I was still using a cabinet, but only as my personal monitor. The sound for the audience was sent directly from the Two-Notes line to the PA console. While improving my home production setup, I realized there were limits to what plugins could achieve. I wanted to use an amp for recording at home, so I tried things like using a small cabinet, but I couldn’t get it to work the way I wanted. That’s when I heard from a friend about speaker simulators. While searching for something good, I happened to come across Torpedo. When I tried it out, it was incredibly functional and impressive. That’s when I thought, “Maybe this could work for live performances too.”

Interviewer: What are the benefits of using a direct line?

Uruha: It frees you from a lot of stress. It eliminates variations caused by miking and ensures the sound is stable. It’s not that I don’t trust the PA engineers, but I tend to get overly meticulous about my own sound. At every venue, I’d check things like, “Is the phase okay?” or obsess over various details. Even after all that, there were still days where I’d think, “The sound isn’t cutting through today,” and those worries never seemed to end. Of course, I couldn’t even be sure if mic placement was really the issue. Overthinking those things became a source of stress. Using a speaker simulator freed me from that burden. It’s not about which sound is better; it’s about reducing stress.

Interviewer: When you’re on stage, is there anything specific you’re mindful of?

Uruha: If I’m being boring, I’d say I always focus on succeeding.

Interviewer: By “succeeding,” do you mean playing well?

Uruha: That’s the most basic part of it. But when you’re preoccupied with playing well, it’s usually because you’re losing to the pressure of trying to succeed. On tour, there are moments when your tension is naturally high, and at those times, you’re not even thinking about playing well. You’re relaxed, enjoying the moment, and there’s a certain sense of ease. I wish I could always stay in that state, but it’s not something you can achieve just by focusing your mind—it’s really difficult.

Interviewer: As someone who plays guitar with Aoi closely, do you feel influenced by him?

Uruha: Since I see him the most, I feel like I need to have a sense of rivalry toward him. He’s the kind of guitarist who makes me feel that way. Compared to me, he leans more toward the rocker side. In the past, I didn’t really feel that “rock” quality from his playing—it was more in his presence. But recently, he’s gained this remarkable gravitas, and I think it reflects in the way he plays guitar too. That’s something I don’t have, and it’s inspiring for me.

Interviewer: What does the guitar mean to you?

Uruha: To put it in an odd way, it’s like a partner. Just like with the band members, we’re friends having fun creating music together. My relationship with the guitar isn’t all that different.

Translation of the RECOMMEND DISC segment can be found here:

葵's SELECTION - 麗's SELECTION

Message from...

What role do Aoi and Uruha play within the band? To answer this question, we conducted a survey with the band members who know them best.

Q1: What do you remember about the first time you played with Aoi and Uruha?

RUKI: It was at a studio in Yokohama. I don’t remember the details well, but I think our mindsets matched from the very beginning.

REITA: It felt so natural, like it wasn’t even our first time playing together.

KAI: This might be a stereotype, but I always thought of guitarists in terms of the flashy lead (upper position) and the solid support (lower position). However, with these two, I felt they were both players who each had their unique kind of talents.

Q2: What do you think are the defining characteristics of their guitar playing?

RUKI: Hmm... it’s hard to say since they both have such a wide range of skills and styles.

REITA: For Uruha, he feels like a true virtuoso. That expressive quality comes through his fingertips. For Aoi, his onstage agility and aggressive style are truly impressive.

KAI: Aoi is skilled at absorbing everything, then internalizing it and expressing it through his own genuine sound. Uruha, on the other hand, is constantly challenging and reevaluating himself, always searching for new expressions of his sound. That’s the impression I get.

Q3: How do you think their playing has evolved from the band’s early days to now?

RUKI: I don’t think it’s changed too much. It just feels like their repertoire has been steadily expanding.

REITA: I think they constantly push and inspire each other. Sometimes they start to resemble each other, and other times they go in opposite directions—it’s fascinating to watch.

KAI: The core of their playing hasn’t changed much. From the early days, they’ve always challenged each other to create sounds and phrases they wouldn’t have thought of on their own.

Q4: What are the unchanging aspects of the two of them?

RUKI: They’re both incredibly stubborn and pure (laughs). I don’t think that will ever change.

REITA: I can't put it into words very well, but when I listen to their phrases, it really hits me. Of course, I mean it in a good way.

KAI: Honestly, they both just love the band! (laughs)

Q5: In the new album DOGMA, which guitar parts stood out to you the most?

RUKI: For Uruha, the tapping in "BIZARRE." For Aoi, the guitar solo in "OMINOUS."

REITA: Uruha’s tapping in "BIZARRE" and Aoi’s ending in "OMINOUS."

KAI: In "OMINOUS," they both have guitar solos. I listened to them thinking about how each showcased their unique style and strengths.

Q6: What role does each of them play within the band?

RUKI: Uruha is meticulous and theoretical. Aoi is vibe-oriented but practical.

REITA: Uruha takes ideas and develops them through theory. Aoi is realistic and gets straight to the heart.

KAI: Uruha is stubborn. Aoi absolutely hates anything dishonest.

Q7: What’s the most memorable thing they’ve said or done?

RUKI: The way they don’t agree on anything (laughs). It’s part of what makes the band unique.

REITA: The time they had a fight (laughs).

KAI: Their heartfelt words when they’re drunk.

Q8: Do you have any messages for the two of them?

RUKI: May you both continue to love music forever.

REITA: Keep being yourselves and adding color to the GazettE. I’ll support you so you don’t lose your edge.

KAI: Please always remain the guitarists I admire!

Scans cr: The Archive Translation: ChatGPT

[justforbooks]

Paul Frederic Simon (born October 13, 1941) is an American singer-songwriter known for his solo work and his collaborations with Art Garfunkel. He and his school friend Garfunkel, whom he met in 1953, came to prominence in the 1960s as Simon & Garfunkel. Their blend of folk and rock, including hits such as "The Sound of Silence", "Mrs. Robinson", "America" and "The Boxer", served as a soundtrack to the counterculture movement. Their final album, Bridge Over Troubled Water (1970), is among the bestselling of all time.

As a solo artist, Simon has explored genres including gospel, reggae and soul. His albums Paul Simon (1972), There Goes Rhymin' Simon (1973), and Still Crazy After All These Years (1975) kept him in the public eye and drew acclaim, producing the hits "Mother and Child Reunion", "Me and Julio Down by the Schoolyard", and "50 Ways to Leave Your Lover". Simon reunited with Garfunkel for several tours and the 1981 Concert in Central Park.

In 1986, Simon released his most successful and acclaimed album, Graceland, incorporating South African influences. "You Can Call Me Al" became one of Simon's most successful singles. Graceland was followed by The Rhythm of the Saints (1990), and a second Concert in the Park in 1991, without Garfunkel, which was attended by half a million people. In 1998, Simon wrote a Broadway musical, The Capeman, which was poorly received. In the 21st century, Simon continued to record and tour. His later albums, such as You're the One (2000), So Beautiful or So What (2011) and Stranger to Stranger (2016), introduced him to new generations. Simon retired from touring in 2018, but continued to record music. An album, Seven Psalms, was released in May 2023.

Simon is among the world's best-selling music artists. He has twice been inducted into the Rock and Roll Hall of Fame, and has been the recipient of sixteen Grammy Awards, including three for Album of the Year. Two of his works, Sounds of Silence and Graceland, were inducted into the National Recording Registry for their cultural significance, and in 2007, the Library of Congress voted him the inaugural winner of the Gershwin Prize for Popular Song. He is a co-founder of the Children's Health Fund, a nonprofit organization that provides medical care to children.

In 2012, in an interview reprinted in American Songwriter, Simon discussed the craft of songwriting with music journalist Tom Moon and talked about the basic themes in his songwriting: love, family and social commentary, as well as messages of religion, spirituality and God. Simon explained how he wrote his songs. "The music always precedes the words. The words often come from the sound of the music and eventually evolve into coherent thoughts. Or incoherent thoughts. Rhythm plays a crucial part in the lyric-making as well. It's like a puzzle to find the right words to express what the music is saying."

When Simon moved to England in 1964, he met Kathleen Mary "Kathy" Chitty at the first English folk club he played, the Railway Inn Folk Club in Brentwood, Essex, where Chitty worked part-time selling tickets. She was 16 and he was 22 when they began a relationship. Later that year they visited the U.S. together, mainly touring by bus. Kathy returned to England and Simon followed some weeks later. When he returned to the U.S. with the growing success of "The Sounds of Silence", Kathy, who was quite shy, wanted no part in success and fame and they ended their relationship. She is mentioned by name in at least two of Simon's songs: "Kathy's Song" and "America". She is also referred to in "Homeward Bound" and "The Late Great Johnny Ace". There is a photo of Simon and Kathy together on the cover of Simon's 1965 album The Paul Simon Songbook.

Simon has been married three times, first to Peggy Harper in 1969. They had a son, Harper Simon, in 1972, and divorced in 1975, inspiring the song "50 Ways to Leave Your Lover". Simon wrote about this relationship in the song "Train in the Distance" from his 1983 album Hearts and Bones. In the late 1970s, Simon lived in New York City next door to Saturday Night Live creator Lorne Michaels, who has been described as Simon's "best friend" during the period.

He and Shelley Duvall lived together as a couple for two years until she introduced him to her friend Carrie Fisher. Simon and Fisher became a couple, and his second marriage, from 1983 to 1984, was to Fisher. He proposed to her after a New York Yankees game. The song "Hearts and Bones" was written about their time together, and the song "Graceland" is believed to be about seeking solace from the ending of the relationship by taking a road trip. A year after they divorced, Simon and Fisher resumed their relationship, which lasted for several years.

Simon married singer Edie Brickell on May 30, 1992. Brickell and Simon have three children, Adrian, Lulu, and Gabriel. On April 26, 2014, Simon and Brickell were involved in a domestic dispute. Each was issued a summons to appear in court on disorderly conduct charges.

All four of his children are now adults and are musicians.

Simon and his younger brother, Eddie Simon, founded the Guitar Study Center sometime before 1973. The Guitar Study Center became part of The New School in New York City, sometime before 2002.

Simon is an avid fan of the New York Rangers ice hockey team, the New York Knicks basketball team and the New York Yankees baseball team.

Daily inspiration. Discover more photos at Just for Books…?

[thats-h0w-th3-light-g3ts-in]

International

Women‘s Day 2024

— To my favorite girls in rock —

This international women’s day is for these two incredible ladies. Immensely talented, candidly beautiful, tremendously underrated. They were trailblazers in their profession. At a time where the rock & pop music scene was dominated by male only bands, such as The Beach Boys or The Beatles, and crowds were bowing to rock-gods such as, Jimmy Page or Roger Daltrey, Christine McVie and Stevie Nicks were right up there with them. Women, as anything else than pretty faces and background singers were scarce in 1970s leading bands. Among Grace Slick, Joan Jett, Ann and Nancy Wilson of Heart and of course ABBA‘s leading gals Agnetha and Frida, they were in good company but still leading ladies in rock bands were a rare breed.

Christine Anne Perfect had been in a band called Chicken Shack over in the old country when she married the bassist of Fleetwood Mac and finally joined his band in 1970. After their founding member and frontman had left the band (and in some ways also this universe), the rest of them, consisting of a rhythm section and two guitar players found themselves somewhat lost and in need of a fresh spark. The spark came in the shape of Christine (now McVie) a very talented keyboard player with a soulful, mellow voice who conveniently, had already been living with them, having spattered her talent all over the last album they’d made as an all male blues band. After a while the music scene in Great Britain had developed in a different direction as the Mac, so they decided to try their luck in the land of dreams — the United States. After initially being promised to be back home by christmas, Christine would stay with the band — abroad — for the next 28 years. She would be a driving force and function as the fierce and headstrong but at the same time caring and peacekeeping den mother of the group, captivating countless souls with her love drunken songs.

In 1975 the somewhat unlucky band that was Fleetwood Mac found themselves in need of personell once again. After all of their lead guitarists had either gone insane, joined a cult, were fired for infidelity or left to do their own thing, in particularly that order, the band anew, was missing a crucial part of their lineup leaving them with an uncertain future. Their luck seemed to have turned as a new guitarist was quickly found, only to discover that he came as a package — with a girl.

Stephanie Lynn Nicks was the grand daughter of an understated country singer who took little Stevie on stage when she was only five years old. Having grown up around music, writing songs since she was a teenager, she was trying to make it big with her boyfriend in the city of angels. Her dreamy lyrics and hoarse, rusty voice was a welcome contrast to Christine‘s neat and upbeat love songs and it was soon clear she would fit right in. Even after splitting with the very boyfriend that brought her into the band, she would stay on as the main focalizer and diligent contributor for decades to come.

Both of those women were in their own way unique and oh so contraire but still stuck together, having each others backs. Neither jealousy nor competition seemed to be able to break them apart. They were co-existing in the sometimes toxic but oh so vital eco-system that was Fleetwood Mac forming a symbioses, as friends, keeping each other sane and most importantly alive and kicking — kicking in the glass ceiling that was the male dominated scene of 70s music and thus paving the way for so many talented young girl-singers, songwriters and musicians to come.

Christine once casually stated in an interview upon being asked if she ever felt the got enough credit, that nobody ever really said, ‘thanks for groundbreaking‘, so here it is: Thank you, ladies. Thank you, Christine McVie, queen of the keys and Stevie Nicks, goddess of the stage, for groundbreaking, for being role models in many more ways than just your talent in music. Thanks for sticking up for each other, for lifting each other up instead of taking each other down, for showing us what true and honest sisterhood is all about. Thank you from the bottom of the heart of just another girl out there trying to make it.

[gaijin-fujin-resonance]

冥王星で死ね / Meiosei de Shine

Picking back up where I left off the track-by-track before I left for my holiday... (sorry, I've written so much about Raijin Fujin when it was a single that I'm going to skip it for now)

This was another of the songs I heard first as a radio rip pre-release, played over and over in anticipation. And my first thought was “holy shit, those drums!” Toll has long been the band’s secret weapon, almost criminally underrated among the fandom. Much has been made of the fact that the band started to attract attention when Atsushi vacated the drum stool to become frontman. But far too little attention has been paid to the way Toll’s driving powerhouse drumming propelled the band from the amateur to the professional circuit.

Before the album release, when we were hearing teasers that this was their most “electronic” and “techno” album, I worried that in their rush to explore dancefloor sounds, Buck-Tick might lose sight of their most valuable musical asset. This track completely laid those fears to rest - Toll, by now well into his mid-60s, is still stretching his drumming abilities, exploring new sounds on the kit as enthusiastically as the songwriters are exploring their new synthesisers.

On first listen, I thought it sounded like the thunderous Afrobeat-influenced dance rhythms of CAN, maybe something off Tago Mago or their Ethnological Forgery Series, especially the way Toll works the floor toms. The whipsnap snare rolls in particular sound a lot like Mushroom:

But the crucial difference is that Jaki Liebezeit grooves along at a 70s disco beat of about 118 bpm, while Toll races ahead at a breakneck 136 bpm. This is the key to the energetic momentum that Buck-Tick manage to sustain - their catchiest songs are incredibly fast. Toll admitted in an interview that he found recording the song quite tiring, and compared it to Hurry Up Mode. (Hurry Up Mode is even faster, at a frenetic 146 bpm!)

The first sound besides the drums is an intriguing one - it might be the very lowest A on a piano keyboard, or it might be a bass played with extremely loose flat-wound strings? Hell, it might even be a sample pitch-shifted to get it that low.

Slashing guitars come in next, hard-panned left and right as they see-saw against one another. (Details like this make the album so delightful on headphones!) The tension as twin guitars play off one another before surging together helps build the propulsive momentum of that drumbeat. The vocals follow a similar back and forth, call and response between the two vocalists that gives the whole tune the feel of a playground chant. (It would be a great tune to try to skip rope to!)

The Middle 8 is simplicity itself - again, showing the elegance of Buck-Tick’s ‘to make something stand out, remove the elements around it’ approach to maximalism: at 1:35 everything drops out except the drums and an extremely distorted sawtooth tone see-sawing back and forth in place of a guitar solo. Purring, fizzing drips and squiggles of sound slowly overwhelm it, like the plume of sawdust from a buzzsaw, before the guitars surge back in with the main riff.

Imai does love his guttural ‘Ga! Ga!’ exhortations, doesn’t he? Many folks have already pointed out the chorus’s antecedents in Lucy’s GaGa Disco and Memento Mori’s ‘Ha! Ha!’ Most of Buck-Tick’s songs are about sex or death, but both types have the same theme: don’t forget to truly live before you die.

Best bit: buried really low in the mix at the end of each chorus is a fast, descending cascade of synth notes. It’s so submerged, you really have to be wearing headphones to catch it, but it comes in at 0:57, again at 1:26 and 2:37. Maybe it’s clearest at the end, around 3:05? It took me ages to work out what exactly it reminded me of: the tumbling, burbling synth riff played on a chiming bell-like tone at the start of Yellow Magic Orchestra’s Firecracker! You can hear the descent at about 0:20-0:24 of the live performance.

I’ve long thought that Buck-Tick’s name (based on the Japanese word for ‘firecracker’) came from teenage Hisashi’s obsession with YMO. And he’s well-known for sneaking in tiny homages to the music that inspired him in his youth, so I would be tickled if the similarity was intended!

[maristelina]

What is the "unassuming yet heartfelt expressions of love" included in Mahiru's (CV: Miho Okasaki) first trial song "This Is How To Be In Love With You"? ――『MILGRAM -ミルグラム-』Music Interview｜’This Is How To Be In Love With You’

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Translator Notes:

Mahiru's song title is "Ai Nan Desu Yo!" (It's love!). This is important context later for some of Okasaki's answers.

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DECO*27, a leading creator among Vocaloid artists, and Takuya Yamanaka, known for his style of exploring human psychology, have launched a collaborative music video project called "MILGRAM - ミルグラム -". The project features a joint original story and production, and the music video - which is crucial to uncovering the prisoners' crimes - has now been released.

Animate Times is conducting email interviews with voice actors participating in the project! In the second half of the sixth interview, we spoke with Miho Okasaki, who plays the role of Mahiru. This time, we asked about Mahiru's first trial song "This Is How To Be In Love With You," and the hints and points to uncover Mahiru's feelings in the lyrics when singing.

―― Mahiru's first trial song "This Is How To Be In Love With You" has finally been released. Please tell us your first impression of the song title.

Mahiru’s Actor: Miho Okasaki (Okasaki hereafter): 

In my opinion, Mahiru is a girl who fearlessly uses a straightforward word like "Ainan desu yo! (“It’s love!)" in the title of her song without any reservations, and that's what makes her stand out in a positive way.

―― It’s a song with a strong message. Were there any particular details in the lyrics which were of interest to you? Please also tell us if you have a favorite line.

Okasaki: "I often come across the lyrics '(…shite shimau kedo) ai nan desu yo', and the words 'It's because of Mahiru's love' felt like an expression unique to a girl, which I thought was really cute."

Translator Notes: This requires a bit of explanation.

The phrase 「（……してしまうけど）愛なんですよ」 can be translated as "It's love, even though (I'm doing something I shouldn't be doing)." The ellipsis (…) represents the action that Mahiru is referring to, which is not explicitly stated but implied. The phrase emphasizes that even though the action may be seen as inappropriate or shameful, it is ultimately driven by love.

Let's take this verse here as an example: Giving you love to the point of pulling you down It's just because I still get worried, please forgive me Even when I test you, even the times we do the breakup ritual, Is because I love you

This verse expresses a kind of intense and possessive love, where Mahiru is willing to go to great lengths to show their affection for the other person. They mention giving "love to the point of pulling you down," which suggests that their love is so strong that it may feel overwhelming or suffocating to the other person.

Mahiru also acknowledges that their behavior may not always be rational, and that they may worry excessively about their partner. They apologize for this indicating that they recognize that their actions may not always be healthy for the relationship.

The reference to "testing" the other person and "doing the breakup ritual" could suggest that Mahiru sometimes creates conflict or tension in the relationship, perhaps as a way of seeking reassurance or attention from their partner. However, despite these challenges, Mahiru asserts that their love for the other person is the reason for their behavior.

UNASSUMING YET HEARTFELT EXPRESSIONS OF LOVE

════ ✧⋄⋆⋅⋆⋄✧ •✦• ✧⋄⋆⋅⋆⋄✧ ════

―― Do you have any specific points or aspects that you focused on or paid particular attention to when singing?

Okasaki: During the A melody, the rhythm of the song is fun and exciting. It was a part that I really liked because it was packed with Mahiru's feelings. So, I sang each word with my heart and enjoyed it.

―― Did your impression of the character Mahiru change when you first saw the lyrics or after you finished singing the song?

Okasaki: There are parts where strong expressions of love are included in the lyrics, which might be missed as they sound casual with the cute melody. At first, I thought, "Can I overlook these words?" However, after singing the song, I completely became immersed in Mahiru's feelings of "It's love, you know?" (laughs).

―― The viewer’s votes will affect next season’s songs. Please share your enthusiasm for the next song with us.

Okasaki: I am really excited to see what kind of song will be next, as it will depend on the users' votes. Whatever the result may be, I will sing with all my heart, right next to Mahiru-chan.

[sebengineer101]

The Bat-Morning Report

Monty Python, the iconic British comedy group, has a unique nickname for Radio New Zealand (RNZ) National's morning flagship news and current affairs program, Morning Report. They affectionately refer to it as Bat-Morning Report, drawing inspiration from Nelson Riddle's instrumental soundtracks for the 1960s Batman TV series.

Morning Report is a staple in New Zealand's media landscape, providing listeners with up-to-date news, interviews, and analysis on a wide range of topics. The program airs every weekday morning, helping Kiwis start their day informed and engaged with the world around them.

The nickname Bat-Morning Report is a playful nod to the program's serious and authoritative tone, juxtaposed with the whimsical and adventurous spirit of the 1960s Batman TV series. Nelson Riddle's music, with its catchy melodies and dynamic rhythms, adds a touch of excitement and drama to Morning Report, making it a must-listen for many New Zealanders.

Monty Python's association with Morning Report goes beyond just the nickname. The comedy group has a long history of poking fun at traditional media and news outlets, using satire and absurdity to highlight the absurdities of the world around them. By calling the program Bat-Morning Report, Monty Python adds a touch of irreverence and humor to the serious business of news reporting.

But despite the playful nickname, Morning Report remains a vital source of information for New Zealanders. The program covers a wide range of topics, from politics and economics to culture and entertainment, providing listeners with a comprehensive overview of the day's events. With in-depth interviews, expert analysis, and on-the-ground reporting, Morning Report keeps Kiwis informed and engaged with the world around them.

In a world where news can often be overwhelming and confusing, Morning Report stands out as a beacon of clarity and reliability. The program's team of experienced journalists and presenters work tirelessly to bring listeners the most accurate and up-to-date information, helping them make sense of the complex issues facing New Zealand and the world.

And while Monty Python may playfully refer to Morning Report as Bat-Morning Report, the program's impact and importance cannot be understated. With its commitment to quality journalism and public service, Morning Report plays a crucial role in keeping New Zealanders informed and engaged with the world around them.

So the next time you tune in to Morning Report, remember the playful nickname bestowed upon it by Monty Python. Bat-Morning Report may be a lighthearted moniker, but the program's dedication to quality journalism and public service is no joke. Stay informed, stay engaged, and enjoy the unique blend of seriousness and whimsy that makes Morning Report a must-listen for Kiwis everywhere.

[infosecnexus]

Apple CEO Tim Cook Reveals Apple Watch Saved His Father's Life

In an emotional and insightful statement, Apple CEO Tim Cook revealed that his father’s life was saved due to the Apple Watch’s health monitoring features. During a recent interview, Cook shared that his father, who had been using the Apple Watch, received a crucial alert about his heart rate. The watch's advanced sensors, which include heart rate monitoring, an ECG feature, and an irregular rhythm notification, detected a potential issue that led to immediate medical attention.

Cook explained that the Apple Watch alerted his father to an irregular heartbeat, which he hadn’t noticed on his own. This timely alert prompted his father to seek medical care, where doctors confirmed that he was at risk of a serious health complication. Had it not been for the early warning provided by the device, the situation could have been far more severe.

How Apple Watch's Health Features Work

The Apple Watch has long been lauded for its health and fitness tracking capabilities, but Cook’s personal story underscores just how life-saving these features can be. The watch uses a combination of sensors to track heart rate, monitor for irregular rhythms, and even conduct electrocardiograms (ECG), which can detect signs of atrial fibrillation (AFib)—a serious condition that could lead to stroke if left untreated.

In addition to heart-related health features, the Apple Watch is equipped with fall detection, which can automatically contact emergency services if it detects a severe fall. The device’s continuous monitoring has become an essential tool for people seeking to track their health and ensure early intervention when necessary.

A Personal Connection to Apple’s Mission

For Tim Cook, this incident is a poignant reminder of Apple’s mission to enhance users' lives through technology. As someone who has long championed the company’s vision of empowering individuals through innovation, Cook’s personal experience with the Apple Watch underscores the meaningful impact that Apple’s products can have on real-life health outcomes.

Tim Cook's Message on Health and Technology

Cook has often spoken about how Apple’s focus on health technology is central to the company’s future. The Apple Watch, which first launched in 2015, has evolved from a fitness tracker to a comprehensive health monitoring device, and Cook’s revelation about his father is a powerful example of how technology can make a difference in personal well-being.

“Technology has the power to save lives,” Cook said in his interview, reflecting on the pivotal role the Apple Watch has played in his family’s health journey. He also emphasized that the technology behind Apple’s health-focused products, including the Apple Watch, is constantly being refined, with new features and improvements aimed at providing better health insights.

The Future of Health Technology

As wearable tech continues to evolve, Apple’s advancements in health monitoring are expected to play an even greater role in preventive care and medical diagnostics. With continuous updates to its software, including new health features like temperature sensors and mental health tools, Apple is setting the stage for a future where wearable devices can provide deeper health insights and play a key role in healthcare management.

Conclusion

Tim Cook’s revelation about the Apple Watch saving his father’s life is a powerful example of how technology can go beyond convenience and entertainment to provide life-saving capabilities. As the device’s health features continue to evolve, the Apple Watch remains a vital tool for individuals who want to monitor and improve their health, while also providing critical alerts in emergencies. Cook’s personal experience serves as a reminder that wearable technology has the potential to transform lives, making the future of health tech even more promising.

[hypelens]

"Lions Triumph Over 49ers: A Pivotal Win in the Playoff Race"

The Detroit Lions showcased their strength and resilience in a thrilling victory against the San Francisco 49ers, setting the stage for a potentially historic Week 18 showdown. The 2024 NFL season has been a rollercoaster for the Lions, and their recent win keeps their playoff hopes alive, electrifying fans and the league alike.

A Hard-Fought Victory

In a game that tested both teams' endurance, the Lions leaned on their starters to secure a hard-earned victory. Quarterback Jared Goff led the charge with his precision and composure, throwing for 287 yards and two touchdowns. The offense found its rhythm early, with a balanced mix of explosive plays and clock-controlling drives, which ultimately kept the 49ers' formidable defense on its heels.

On the defensive side, the Lions held strong against the 49ers’ potent rushing attack, making critical stops when it mattered most. Detroit’s ability to outlast San Francisco in a game with playoff implications highlighted the team’s growth and determination this season .

Player and Coach Reflections

Jared Goff expressed pride in the team's performance, emphasizing the importance of their unity and focus. "We’re playing for something bigger than ourselves," Goff remarked in his post-game interview. Head coach Dan Campbell also lauded the team’s grit, noting that their resilience has been a defining trait this season .

A Game of Grit and Determination

The Lions came into the matchup against the formidable 49ers knowing that their playoff aspirations hung in the balance. Despite facing one of the league’s most talented defenses, Detroit's offense found ways to adapt and shine under the leadership of quarterback Jared Goff.

Goff, who has been pivotal to the Lions’ success this season, delivered an impressive performance, throwing for 287 yards and two touchdowns. His composure in high-pressure situations allowed the offense to capitalize on opportunities, keeping the 49ers on their heels. Key contributions from wide receivers Amon-Ra St. Brown and Jameson Williams, coupled with a strong running game led by David Montgomery, ensured the Lions stayed ahead in a tightly contested battle.

Defensive Standouts Shine

The Lions’ defense played a crucial role in the victory, stepping up against San Francisco's dynamic offense. Defensive end Aidan Hutchinson led the charge with consistent pressure on the quarterback, while the secondary limited big plays, forcing the 49ers to rely on short gains. Key turnovers and timely stops highlighted the Lions' defensive resilience, a testament to the strategic coaching of Dan Campbell and his staff.

Post-Game Reflections

Following the game, Jared Goff expressed his pride in the team’s unity and determination. "We’ve built something special here," Goff said in a post-game interview. "Every player on this team believes in our mission, and tonight was a testament to our hard work and focus."

Head coach Dan Campbell echoed Goff’s sentiments, praising the team’s mental toughness. "This was a game where every play mattered, and we came out with the intensity needed to win," Campbell stated. "Now, we turn our focus to Week 18 and the incredible opportunity ahead of us."

Looking Ahead to Week 18

The victory against the 49ers positions the Lions for a high-stakes Week 18 matchup, potentially one of the most significant games in franchise history. A win could clinch a playoff spot, marking a milestone for a team that has steadily rebuilt under Campbell’s leadership. Fans and analysts alike are buzzing with anticipation as the Lions prepare to face their final hurdle.

[delivermytuneo6]

Dance Revolution: The Power of Billboard in Shaping Dance Music

The dance music genre has transcended its underground roots to become one of the most celebrated forms of music worldwide. From pulsating beats that dominate nightclubs to chart-topping anthems that play on repeat, dance music has established itself as a cornerstone of modern musical culture. Central to this evolution is Billboard, a platform that has continually highlighted and amplified the best in dance music. By curating charts and celebrating artists, Billboard has become a crucial force in shaping the trajectory of this dynamic genre.

The Intersection of Boy Bands and Dance Music While boy bands are typically associated with pop ballads and catchy choruses, they have also played a significant role in the growth of dance music. For instance, the billboard boy band battle showcases the competitive nature of fan-driven voting that extends into genre experimentation. Groups like BTS and Backstreet Boys have ventured into EDM collaborations, bringing their global fanbases along for the ride. By engaging with electronic beats and high-energy rhythms, these artists have helped dance music reach audiences who might not have explored the genre otherwise. This blend of styles enriches the dance music ecosystem and ensures its continuous evolution.

Karan Aujla’s Influence on Global Dance Music Regional music scenes often serve as the breeding ground for innovation, and artists like Karan Aujla are a testament to this phenomenon. Known for his Punjabi melodies infused with contemporary beats, Aujla has carved a niche for himself on international platforms. His feature on billboard karan aujla highlights how regional genres can merge seamlessly with dance music elements, creating tracks that resonate on a global scale. Aujla's success underscores the importance of cultural diversity in music and how Billboard plays a pivotal role in bringing such talents to the forefront.

The Billboard Dance Chart: A Pulse on Global Trends No conversation about dance music’s evolution would be complete without mentioning the billboard dance chart. This chart acts as a barometer for global dance music trends, spotlighting artists who are setting the dance floor ablaze. From established icons like Calvin Harris to emerging talents experimenting with unique sounds, the chart reflects the ever-evolving nature of the genre. It’s not just about who is popular but also about what’s resonating with audiences across diverse demographics. The chart's influence extends beyond music enthusiasts, shaping playlists, radio rotations, and even festival lineups.

The Broader Impact of Billboard Dance Billboard doesn’t stop at curating charts; its impact permeates every aspect of the dance music scene. Through initiatives like the billboard dance platform, it creates a space for both established and upcoming artists to connect with fans and industry professionals. Coverage of festivals, exclusive interviews, and analytical pieces provide a comprehensive view of the dance music landscape. This ecosystem allows for the discovery of new talents and reinforces the global interconnectedness of dance music communities.

The Role of Indian Music in the Dance Genre India has emerged as a vibrant player in the global music arena, and its contributions to dance music are gaining recognition. The rise of hits like the no 1 trending song in India today showcases how traditional Indian elements can blend with high-energy dance beats to create something uniquely captivating. Artists are increasingly experimenting with electronic music, infusing it with Bollywood-inspired sounds or regional influences. As these tracks gain traction on platforms like Billboard, they introduce Indian music to wider global audiences, fostering cultural exchange and innovation.

Conclusion The dance music revolution is far from over, and platforms like Billboard continue to play a monumental role in its evolution. From charting fan-favorite boy bands who experiment with EDM to highlighting regional artists like Karan Aujla, Billboard ensures that the genre remains diverse and inclusive. The billboard dance chart serves as a touchstone for global trends, while initiatives like billboard dance deepen the genre's reach and impact. Additionally, the rise of Indian music, epitomized by the no 1 trending song in India today, adds another layer of richness to the global dance music scene.

As fans, creators, and industry leaders continue to collaborate and innovate, dance music will undoubtedly evolve further, breaking boundaries and uniting people through rhythm. What’s your favorite dance track right now? Share your thoughts in the comments below—we’d love to hear your take on the genre's most exciting trends!

[musicvalla]

Rising Stars at US Music Festivals: How to Get Your Big Break

Music festivals are more than just celebrations of sound and rhythm—they’re powerful platforms for emerging artists to catapult their careers. US music festivals like Coachella, Bonnaroo, and Lollapalooza attract thousands of fans and industry professionals, making them ideal stages for upcoming musicians to showcase their talent. But how do you, as an independent artist, break into this competitive arena? The answer lies in leveraging opportunities, crafting a unique rapper look, mastering music marketing, and building a strong fanbase through followers promotion. And, of course, it all starts with the confidence to ask yourself, "Can you rap?" or perform in a way that grabs attention.

1. The Importance of US Music Festivals in Artist Development

US music festivals are more than just entertainment; they’re incubators of culture and innovation in the music world. These festivals often scout for fresh talent to bring diversity and novelty to their lineups. Performing at a festival can dramatically increase your exposure, putting you in front of thousands of potential fans, as well as industry executives and media outlets.

For instance, Billie Eilish made waves at Coachella as an emerging artist, solidifying her place in the mainstream music scene. Similarly, countless rappers and performers have used festivals like Rolling Loud, a haven for hip-hop enthusiasts, to make their mark. By presenting yourself as an artist with a unique vibe and message, you can maximize your chances of being noticed.

2. Crafting Your Rapper Look for Maximum Impact

Your image as an artist plays a critical role in your success. A distinctive rapper look can make you instantly recognizable and memorable. Whether it’s flashy streetwear, luxury brands, or custom outfits, your style should reflect your musical identity.

Artists like Travis Scott, Nicki Minaj, and A$AP Rocky have demonstrated how impactful a well-curated look can be. At festivals, where visuals are just as important as sound, standing out visually can make a huge difference. When planning your rapper look, consider the following tips:

Consistency: Make sure your style aligns with your music and brand.

Accessories: Don’t underestimate the power of chains, hats, and sunglasses to complete your outfit.

Stage Presence: Choose clothing that allows you to perform comfortably while still making a statement.

Your rapper look isn’t just about fashion—it’s a form of music marketing. A strong image helps people associate your music with your personality, making it easier to attract and retain fans.

3. Leveraging Music Marketing to Get Festival Gigs

The road to performing at a US music festival begins with effective music marketing. Festival organizers look for artists who already have a buzz around them, so your goal is to create demand for your performance. Here’s how:

Build Your Brand: Use social media to share your story, music, and unique persona. Platforms like Instagram, TikTok, and YouTube are perfect for showcasing your talent.

Network: Attend industry events, connect with other artists, and reach out to festival organizers or talent scouts.

Releases: Keep your music fresh by regularly dropping singles, mixtapes, or EPs that demonstrate your evolving talent.

Press Coverage: Work with PR professionals or use online tools to generate buzz through interviews, reviews, and features.

Your ability to position yourself as a rising star through savvy music marketing will make festival organizers take notice.

4. Boosting Your Fanbase with Followers Promotion

A strong social media presence is essential for landing a spot at a US music festival. Festival organizers often check an artist’s social media accounts to gauge their popularity and engagement. This is where followers promotion becomes crucial.

To grow your following organically, consider these strategies:

Interactive Content: Use polls, Q&A sessions, and challenges to engage with your audience.

Collaborations: Team up with other artists or influencers to reach a wider audience.

Live Streams: Perform live on platforms like Instagram or TikTok to showcase your talent and connect with fans in real time.

Giveaways: Offer free merch, tickets, or exclusive content in exchange for likes, shares, or follows.

Paid promotions can also amplify your reach. Platforms like Facebook Ads and Instagram Ads allow you to target specific demographics, ensuring your music reaches the right audience.

Remember, a strong follower base not only boosts your chances of getting booked for festivals but also ensures that you’ll have a crowd cheering for you when you perform.

5. Preparing for Your Festival Debut: Can You Rap and Perform Live?

The final step to securing your spot at a US music festival is proving your talent. Whether you’re a rapper or a singer, the question "Can you rap?" (or perform live) is a fundamental one. Festival organizers want artists who can energize the crowd and create unforgettable moments.

Here’s how to prepare for your festival debut:

Polish Your Skills: Practice your setlist repeatedly, ensuring that your performance is flawless.

Stage Presence: Work on your movements, expressions, and interactions with the audience. Confidence is key!

Sound Check: Arrive early to test your equipment and ensure the best possible sound quality.

Engage the Crowd: Use call-and-response techniques, tell a story, or share personal anecdotes to connect with your audience.

If you can prove that you’re not just a studio artist but also a captivating performer, your chances of landing a festival gig will soar.

Conclusion

Breaking into the world of US music festivals is no small feat, but with the right blend of music marketing, a standout rapper look, and strategic followers promotion, it’s entirely possible. Ask yourself, "Can you rap?" or perform live with the energy and charisma that festivals demand. If the answer is yes, start building your brand, growing your fanbase, and reaching out to festival organizers. Remember, every major artist started somewhere—your journey could begin at the next big festival stage.

[ashtonlanger]

The Best Tips for Using Background Music Indonesia in Podcasts

Background music is a powerful tool in podcast production. It helps set the mood, enhances storytelling, and keeps listeners engaged. When it comes to Indonesian music, the unique rhythms and melodies can bring a cultural depth that resonates with audiences around the world. Here are the best tips for incorporating Background Music Indonesia into your podcasts:

1. Understand the Mood You Want to Convey

Choosing the right background music Indonesia depends on the mood you want to create in your podcast. Indonesian music offers a variety of styles, from calming traditional gamelan to upbeat pop tracks. If your podcast is about relaxation, mindfulness, or cultural exploration, opt for traditional Balinese or Javanese gamelan music to evoke calmness and introspection. For energetic discussions or interviews, modern Indonesian pop or indie music can provide a lively and engaging background.

2. Use Music to Enhance Storytelling

Background music plays a crucial role in storytelling. In podcasts that feature personal anecdotes, historical narratives, or cultural discussions, Indonesian music can enhance the emotional connection with your audience. For instance, using soothing instrumental gamelan or suling (bamboo flute) music during reflective moments can help convey emotion, while upbeat tracks like those from Indonesian pop or rock can intensify the excitement during pivotal story arcs or interviews.

3. Keep Music Subtle

While Background Music Indonesia can be a great asset, it’s essential to keep it subtle so that it doesn't overwhelm your content. The music should complement your voice and the topic you're discussing. Use the music as a supporting element rather than the focal point. Low-volume, instrumental tracks work well in this regard, allowing the message to be clear without distracting from the conversation.

4. Match the Tempo to Your Pacing

The tempo of the music should match the pacing of your podcast. If your podcast has a slow, reflective tone, consider using slow-tempo traditional music, like a soft gamelan or angklung piece. On the other hand, if your podcast is fast-paced, such as one featuring interviews or energetic discussions, a lively modern Indonesian pop song might be a better fit. Keeping the music's tempo aligned with the pace of the conversation will create a more harmonious listening experience.

5. Use Music to Transition Between Segments

Music is a great tool for creating smooth transitions between different segments of your podcast. For instance, you can use a short, upbeat Indonesian pop track to introduce a new segment or a calming gamelan piece to transition into a more reflective or emotional discussion. The music will help signal the change to your listeners, making the podcast feel more polished and organized.

6. Create a Signature Sound

Incorporating Background Music Indonesia consistently can help create a signature sound for your podcast. Whether it’s a recurring theme song at the start of each episode or subtle background music woven through segments, having a consistent auditory identity can make your podcast more memorable to listeners. Consider working with a composer or exploring royalty-free Indonesian music that aligns with your podcast’s theme and tone.

7. Be Mindful of Copyrights

When using Background Music Indonesia, make sure you have the proper licenses or permissions to use the music. Many Indonesian artists and composers offer their music through platforms that allow for commercial use, or you can explore royalty-free music options. Be sure to credit the artist or source, as required, to avoid any copyright issues.

8. Consider Cultural Sensitivity

If your podcast is focused on Indonesian culture or uses Indonesian music as a central theme, it's important to approach it with respect and sensitivity. Ensure that the music is being used appropriately, and avoid stereotypes. Take the time to understand the meaning and context behind traditional Indonesian instruments and compositions, as this will help you use them in a way that resonates authentically with your audience.

9. Use Music to Create Atmosphere

Indonesian music can evoke the sounds of nature, history, or cultural celebrations. Whether it’s the tranquil sounds of Bali or the lively beat of Jakarta, Background Music Indonesia can set the tone for your podcast’s atmosphere. For example, traditional music featuring instruments like the gamelan or angklung can bring a sense of calm and spirituality, ideal for podcasts about mindfulness, spirituality, or culture. On the other hand, modern Indonesian pop can bring energy and vibrancy, perfect for podcasts on current events or entertainment.

10. Test Your Mix

Finally, always test your music and voice mix before publishing your podcast. The background music should never overpower your speaking voice. Adjust the volume levels of both the music and voiceover until you strike the perfect balance. Listening to your podcast with fresh ears (or getting feedback from a friend or colleague) can help ensure the sound is clear, professional, and immersive.

Conclusion

Incorporating Background Music Indonesia into your podcasts can elevate the listener experience by adding authenticity, depth, and emotion to your content. By choosing the right music that matches the mood, pacing, and atmosphere of your podcast, you can create a more engaging and memorable show. Remember to keep the music subtle, use it as a tool for transitions, and always ensure you have the appropriate permissions to use the music. With these tips, you'll be able to enhance your podcasts and offer your listeners a more immersive and enjoyable experience.

[tmnikita]

BLOG 8 :- From Struggle to Strength: Managing Bipolar Disorder

Bipolar disorder, often called bipolar depression, is a mental health condition that causes extreme mood swings. These shifts can range from emotional highs (mania or hypomania) to deep lows (depression). Bipolar disorder affects how people think, feel, and act, impacting daily life, relationships, and overall well-being.

This guide provides a simple overview of bipolar disorder, including its symptoms, causes, types, and treatment options.

What is Bipolar Disorder?

Bipolar disorder is a mood disorder marked by episodes of mania (or hypomania) and depression. Unlike regular mood changes, these episodes are intense and can last for days, weeks, or even months.

There are two main types of bipolar disorder:

Bipolar I: Includes at least one manic episode that may be followed by depressive episodes.

Bipolar II: Involves hypomanic episodes (less severe than mania) and depressive episodes.

A less common type, cyclothymic disorder, features milder mood swings over longer periods.

Symptoms of Bipolar Disorder

The symptoms depend on the phase:

1. Mania or Hypomania

Feeling overly happy, energetic, or “on top of the world”

Increased activity or productivity

Talking rapidly or jumping from one idea to another

Reduced need for sleep

Taking risks, such as overspending or reckless behavior

Irritability or aggression when challenged

2. Depression

Feeling sad, hopeless, or empty

Loss of interest in activities once enjoyed

Fatigue or lack of energy

Trouble concentrating or making decisions

Changes in appetite or sleep patterns

Thoughts of death or suicide

Some people may experience mixed episodes, where symptoms of mania and depression occur simultaneously.

What Causes Bipolar Disorder?

The exact cause of bipolar disorder isn’t fully understood, but a combination of factors may contribute:

Genetics: Having a family member with bipolar disorder increases the risk.

Brain Structure and Function: Differences in brain chemistry and activity may play a role.

Environmental Factors: Stressful events, trauma, or major life changes can trigger episodes.

Diagnosing Bipolar Disorder

A mental health professional can diagnose bipolar disorder through:

Interviews: Discussing mood patterns, behaviors, and family history.

Mood Charts: Tracking emotional highs and lows over time.

Ruling Out Other Causes: Checking for physical health issues or substance use that may mimic symptoms.

It’s essential to differentiate bipolar disorder from other conditions, such as unipolar depression or ADHD, for accurate treatment.

Treatment for Bipolar Disorder

Bipolar disorder is a lifelong condition, but effective treatments can help manage symptoms and improve quality of life.

1. Medication

Mood Stabilizers: Such as lithium, help balance mood swings.

Antidepressants: May be used cautiously to treat depressive episodes.

Antipsychotics: Help with severe mania or mixed episodes.

2. Therapy

Cognitive Behavioral Therapy (CBT): Teaches strategies to manage mood swings and identify triggers.

Psychoeducation: Helps individuals and families understand the disorder.

Interpersonal and Social Rhythm Therapy (IPSRT): Focuses on stabilizing daily routines and sleep patterns.

3. Lifestyle Changes

Maintaining a regular sleep schedule and healthy diet

Reducing stress through relaxation techniques like yoga or meditation

Avoiding alcohol and drugs, which can trigger episodes

4. Support Systems

Joining a support group to connect with others who have bipolar disorder

Involving family and friends for emotional support

Living with Bipolar Disorder

Bipolar disorder can be challenging, but with treatment and self-care, many people lead fulfilling lives. Learning to recognize early signs of mood changes and seeking timely help is crucial. Building a strong support network and staying consistent with treatment can make a significant difference.

Conclusion

Bipolar disorder is a complex condition that affects mood, energy, and daily functioning. Understanding its symptoms, causes, and treatment options is the first step toward managing it. If you or someone you know may have bipolar disorder, reaching out to a mental health professional can open the door to effective treatment and a better quality of life.

[yamuna111]

How to Use Body Language and Voice Modulation to Enhance Your Interview Communication Skills

When it comes to cracking a bank exam interview, effective communication plays a crucial role in leaving a lasting impression on the interviewers. While your academic qualifications and technical skills are essential, how you present yourself through body language and voice modulation can significantly influence the outcome. Candidates often focus solely on answering questions correctly, but paying attention to non-verbal communication can set you apart from others. Here’s how you can use body language and voice modulation to enhance your interview communication skills, with expert guidance from a bank exam coaching center in Coimbatore.

1. The Power of Body Language in Interviews

Your body language speaks volumes about your confidence, attitude, and how serious you are about the interview. Maintaining good body posture is the first step towards presenting yourself as a confident and competent candidate. The bank exam coaching center in Coimbatore emphasizes the importance of sitting straight and avoiding slouching, which gives off a lack of confidence. Sit with your back straight, shoulders relaxed, and hands resting comfortably on your lap or on the table.

Eye Contact is another vital aspect of body language that establishes trust with the interviewer. Looking directly into the interviewer's eyes while speaking shows attentiveness and sincerity. Avoid looking down or around the room, as it might give the impression that you are not confident or interested. A balanced amount of eye contact creates a strong rapport and makes the conversation feel more engaging.

Also, be mindful of your gestures. While speaking, using hand gestures can make your conversation appear more dynamic and expressive. However, excessive hand movement may seem overly animated or distracting. The bank exam coaching center in Coimbatore suggests practicing controlled gestures that align with the tone of your answers. This adds emphasis to your words, making them more impactful.

2. The Role of Voice Modulation in Effective Communication

Voice modulation is one of the most underrated aspects of communication, yet it plays a significant role in keeping the interviewer engaged and interested in what you are saying. A monotonous voice can make your responses sound dull and disengaging. The bank exam coaching center in Coimbatore stresses the importance of varying your pitch, tone, and pace while speaking to convey confidence and enthusiasm.

bank exam coaching center in Coimbatore stresses the importance of varying your pitch, tone, and pace while speaking to convey confidence and enthusiasm.

Varying your pitch is crucial. A higher pitch can convey excitement or eagerness, while a lower pitch reflects confidence and calmness. For example, when discussing your strengths or achievements, use a slightly elevated pitch to reflect passion and enthusiasm. On the other hand, when discussing a serious topic, lowering your pitch can make you sound more authoritative and professional.

In addition to pitch, the tone of your voice can influence how your words are perceived. A warm, friendly tone establishes a connection with the interviewer, while a stern, flat tone may come across as indifferent. The bank exam coaching center in Coimbatore advises candidates to maintain a friendly yet professional tone throughout the interview, making sure their voice sounds clear and pleasant.

Pace is equally important when it comes to voice modulation. Speaking too quickly can make it hard for the interviewer to follow your responses, while speaking too slowly might appear hesitant or unsure. A well-paced delivery allows the interviewer to absorb your words while giving you time to think and articulate your thoughts clearly. Practice controlling your pace to maintain a comfortable rhythm throughout the conversation.

3. Combining Body Language and Voice Modulation for Maximum Impact

When you combine positive body language with effective voice modulation, you present yourself as a confident and capable individual. The bank exam coaching center in Coimbatore advises candidates to synchronize their body language and voice to create a natural flow in their responses.

For instance, if you are explaining a complex concept or answering a question related to your qualifications, match your hand gestures and eye contact with your tone to make the conversation more compelling. When discussing something important, like a career goal or your motivation, lean slightly forward to show enthusiasm and engagement, while keeping your tone steady and confident.

Moreover, maintaining a smiling expression throughout the interview can make you appear approachable and friendly. A genuine smile can make a positive difference in how the interviewer perceives you, helping you seem more personable and confident. The bank exam coaching center in Coimbatore encourages candidates to practice facial expressions in front of a mirror to ensure that their smile comes across naturally and not forced.

4. Tips to Practice and Improve Body Language and Voice Modulation

Improving body language and voice modulation requires consistent practice. The bank exam coaching center in Coimbatore suggests several ways to practice:

Record yourself: Recording your responses to common interview questions and listening to them will help you identify areas where you need to improve. Pay attention to your tone, pitch, and the clarity of your speech.

Practice in front of a mirror: This helps you observe your posture, facial expressions, and gestures. Make adjustments as needed to ensure your body language is open and confident.

Mock Interviews: Participating in mock interviews is an excellent way to refine both your body language and voice modulation. Many bank exam coaching centers in Coimbatore conduct mock interview sessions to help candidates practice in a realistic setting, providing feedback on areas of improvement.

Work on your breathing: Controlled breathing helps you speak more clearly and at a steady pace. Practice breathing exercises to calm your nerves and maintain a balanced, composed voice during the interview.

5. Conclusion

In an interview for a bank exam, effective communication isn’t just about what you say; it’s also about how you present yourself. Mastering your body language and voice modulation can significantly enhance your chances of leaving a positive impression on the interviewers. With guidance from a reputed bank exam coaching center in Coimbatore, you can learn how to synchronize these non-verbal communication techniques to project confidence, authority, and approachability. Practice consistently, stay mindful of your body language and voice, and you’ll be well on your way to cracking your bank exam interview with flying colors.

[kabilanbaskaran]

10 Essential Video Editing Cuts Every Editor Should Know

Whether you're a beginner or a seasoned editor, understanding the different types of cuts is critical to shaping the flow, rhythm, and emotion of a video. Cuts are more than just transitions; they are the invisible stitches that bind a story together, making them one of the most important tools in any video editor’s toolbox. In this article, we’ll break down the 10 essential video editing cuts that every editor should know to create polished, professional, and compelling content.

1. The Standard Cut

The standard cut, also known as a "hard cut," is the most basic and frequently used type of cut. It’s a straightforward transition where one shot ends and another begins. While it seems simple, mastering standard cuts is crucial because they drive the narrative forward without the audience even noticing the transition.

When to Use It: Anytime you need a clean, direct transition between two shots or scenes. The key is timing—don’t let shots drag on longer than necessary, but also avoid cutting too early and losing important context.

2. Jump Cut

The jump cut is a deliberate, jarring cut that creates a sense of discontinuity. It usually involves cutting out portions of a single shot to suggest the passage of time or to remove unnecessary content. Jump cuts are often used in YouTube videos or vlogs to keep the content fast-paced and engaging.

When to Use It: Use jump cuts to quickly cut through dialogue or to show time passing without needing an elaborate transition. Just be cautious—overusing jump cuts can make your video feel choppy or chaotic.

3. Match Cut

A match cut is a transition that ties two scenes together visually or conceptually, creating a seamless connection. For instance, a match cut might transition from a shot of the sun setting to a candle being lit. These cuts help create visual cohesion or metaphorical connections between different parts of the story.

When to Use It: Use match cuts when you want to draw a visual or thematic link between two different shots. It’s great for maintaining continuity or adding a creative element to the storytelling.

4. L-Cut

In an L-cut, the audio from the current shot continues to play as the next shot appears. This type of cut helps create a smooth transition, allowing the audio to lead the viewer into the next scene before the visuals catch up. L-cuts are commonly used in dialogue scenes to maintain flow between shots.

When to Use It: Use L-cuts when you want to keep the conversation flowing naturally between two characters, or when transitioning between scenes where the audio overlaps.

5. J-Cut

The J-cut is the opposite of the L-cut. Here, the audio from the next shot starts before the visual appears. It’s often used to create anticipation or set the tone for the upcoming scene. For example, hearing a knock on the door before cutting to the scene of someone answering it builds suspense.

When to Use It: J-cuts are perfect for creating suspense or setting up the next scene with an audio cue before the visual change happens. This is also useful in interviews or documentary editing to make the transition between talking points smoother.

6. Cross-Cut (Parallel Editing)

Cross-cutting, or parallel editing, involves cutting between two or more scenes that are happening at the same time but in different locations. This technique is often used in action or thriller films to build tension, as it creates a sense of simultaneous events.

When to Use It: Use cross-cutting when you want to show simultaneous action or create a sense of urgency and anticipation by cutting between different locations or storylines.

7. Cutaway

A cutaway shot is used to show something outside of the main action. It briefly interrupts the primary sequence to show relevant details or context, like a character's reaction, an object, or a scene-setting detail. Cutaways help break up the monotony of long scenes and add variety to the visual narrative.

When to Use It: Use cutaways to add information or context to a scene without distracting from the main action. They’re great for providing extra details or enhancing the story by showing things the characters may not notice.

8. Montage Cut

The montage cut is a series of short shots edited together to condense time or depict a process, like a character training for a fight or preparing for a big event. It helps the viewer experience a significant amount of action in a short period, often set to music.

When to Use It: Use a montage when you need to show the passage of time or the completion of a task without slowing down the narrative. Montages are great for compressing action-packed sequences into a few minutes.

9. Smash Cut

A smash cut is an abrupt and often jarring cut that occurs at a crucial moment in a scene. For instance, cutting from a peaceful scene to a loud, intense moment is a typical smash cut. It’s used to surprise the audience or create a sharp emotional contrast.

When to Use It: Use smash cuts when you want to create a shock or a sudden change in mood. They’re often used in horror or thriller genres to create a quick, shocking transition.

10. Invisible Cut

An invisible cut is designed to be imperceptible to the viewer. The goal is to make it seem like there’s no cut at all, often by hiding the transition behind a movement, a camera pan, or a shift in lighting. This technique is frequently used in "one-shot" style sequences, where the action appears continuous.

When to Use It: Use invisible cuts when you want to maintain the illusion of a continuous shot, often to keep the viewer fully immersed in the action without the distraction of noticeable cuts.

Conclusion: Why Knowing These Cuts Is Essential

Understanding these 10 essential cuts is key to becoming a better video editor. Each type of cut serves a different purpose, whether it's to maintain continuity, compress time, or create an emotional impact. By mastering these cuts, you’ll be able to tell stories that flow naturally, keeping your audience engaged from start to finish.

Quick Takeaways:

Practice each type of cut to understand how it affects the pacing and flow of your video.

Experiment with cuts based on the mood and style you want to convey. Not every cut works in every situation, so try different techniques to see what enhances your story.

Pay attention to how cuts are used in films and TV. Learning from professional editors will help you develop an eye for what works and why.

With these cuts in your toolkit, you’ll be well on your way to creating professional-quality videos that not only look great but also tell compelling stories. Happy editing!