#ROCKIN'ON March 2000

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Headline - Bright Eyes+Muse interviews [ROCKIN'ON (March 2000)]

The year 2000 starts here! Is the impatience that can only be tolerated by a dazzling youth the birth of the Year Zero generation? Rockin'On fully supports Bright Eyes and Muse, the two passions that run around while showing off the physique of young boys, and offers tickets to support their visit to Japan!

Interview: Mariko SAKAMOTO Photography: JIM NEWBERRY (Bright Eyes) Interpretation: Erika YAMASHITA (Muse)

The noisy days of Y2K! and the bubble era have returned to normal, and the onslaught of millennium visits to Japan has come to an end, but is it time to breathe a sigh of relief? Has anything started to happen? Year 2000 = Year Zero. It's only a matter of time, but we'd like to introduce two newcomers who make you feel that the year 2000 is just around the corner. Bright Eyes is a band centred on Conor Oberst, a home recording poet from Omaha, Nebraska, USA. Their interactions with the Athens scene are also a hot topic, but technically they can't be called newcomers, having released a compilation even before their debut full-length album was released last year. However, the self-denial and (literally) exploding shouts heard on their latest EP 'Every Day and Every Night' show an awakening of the core of expression in a style that has tended to veer towards experimental pop. Already waiting for their second release, it is a unique singing voice that cradles bottomless sadness in their clear eyes. In contrast, Muse are a three-piece from Devon, UK. They first attracted the attention of an American record company and were signed to Maverick. Although there was a feeling that the band was ahead of its time, their single ‘Muscle Museum’ broke through on the UK indie charts last year. The drama is sharply played by a blue, straightforward guitar sound that has been compared to early Radiohead. I'm sure I'm not the only one who is reminded of Jeff Buckley, with vocalist Matt Bellamy's rich expressiveness underpinning the high level of perfection of their debut. Both have very different sounds, but their straightforward voices are tugging at your heartstrings. The voice that started it all was always so vivid. With that voice, the clock starts ticking again.

"Writing songs was like smashing a windowpane."

(BRIGHT EYES/Conor Oberst) ● You started writing songs when you were about 11 years old, what was it like when you ‘discovered’ guitars and four-track recording equipment? 「Yeah, it was like, “I'm glad I found something to do”. It's like keeping a diary. It's a way of expressing your feelings in a more proper way. …… Compared to when I was a smaller kid. It's like writing a song on a four-track or throwing something at a window and smashing it, they're both the same thing.」

● Were there other kids around your age when you started writing songs who were making songs with four-tracks and guitars? 「Not quite the same age, but I had older friends who were writing songs. They were about five or six years older than me. They all encouraged me to write songs too. I'm still hanging out with them and making music with them.」

● I see. So you prefer sitting alone in a dark basement and recording than going out and playing with friends or skateboarding or anything like that? 「Haha (laughs). No, there are two sides to me, I guess. I like having fun too. I like to have fun, I like to throw parties, but…… But I always end up going home and spending time alone (laughs).」

● Yes, yes (laughs)…… Well, I believe you're 19 (20 this year), you're attending university, aren't you? 「Yeah…… Um, I'm actually going to take a leave of absence from next semester. I'm thinking of doing a lot of touring and stuff.」

● So you're planning to concentrate on your music? 「Yeah, hopefully. I'm going to take this semester off, and if it goes well, then I can continue with music. So I'm putting off my studies for a while (bursts out laughing). No, it's not that I don't like university, but I don't know exactly what I want to do……」

● That's unreliable. I have the impression that you write and record songs almost every day, but when do you feel the strongest urge to write songs? 「Well…… It's a bit of a strange feeling. Sometimes songs come out of a depressed mood. In that case, I just run to the guitar and play it straight away. But if I try to force myself to sit down and say, "Come on, I've got to write", I feel like it's never going to work. So I guess you have to wait for the ‘moment’ to come. And those moments are when I don't feel very good, like when I'm sad. That's why my songs sound like that. But I'm thinking that I need to get out of that. I want to write happier songs. Because …… I don't want to just make the listener sad all the time.」

● I see. And your debut album as an original, "Letting Off the Happiness", seemed a bit scattered. It was more like a collection of songs rather than an album. 「No, it was meant to be a single album. But because of the way we recorded it, the result was kind of…… It's a bit of a jagged, cut-and-paste, patched-together kind of sound. Because the album was recorded partly in my parents' basement, partly at a friend's house, and partly at Ascend in a completely different environment, so it's got that kind of disjointed sound. It ended up being a kind of collage of different sound qualities. In terms of the songs, I think thematically it's like an album, but maybe in terms of the way it sounds, there's a lot of ebb and flow to it.」

● Are you satisfied with the results? I got the impression that you weren't really interested in the cohesion of an album. 「No, not at all. I've just finished a new album, and it's more…… smooth and unified. I'm trying to work in that direction now, but when I was making ‘Letting~’…… I wasn't so concerned about cohesion (laughs). What can I say, I just…… I wanted it to sound intuitive, like I was reacting to something. I didn't want it to be a nice, well-proportioned piece of work.」

● Is that so? So, when I listen to your EP ‘Everyday and Every Night’, I feel that your songwriting is becoming more straightforward. 「Yeah, I think that's right. I always hope I'm growing as a writer (laughs). But you can't tell if you're growing or not, can you? But I feel like I'm more in control of what I'm doing than I used to be. It's not like I'm just waiting for something to happen. I'm starting to understand what I'm doing. I used to be, how should I put it…… I was trying to feel something in the darkness, or rather, I was searching for what to do in the darkness. I think cool sounds and cool songs came out of that. But now…… Everything is much more direct and well intentioned.」

● I love the song ‘Perfect Sonnet’ on that EP. Especially the part where your voice shakes and turns inside out and explodes into a shout - I've never heard such an intense expression of emotion. 「Oh…… I try not to rely too much on that kind of singing…… No, I think that a tiny whisper, for example, can convey just as much emotion as a loud, broken shout can. There are definitely some shouting on this album, but I think emotions are a very broad thing, and I think that up until now I've only been able to capture very, very extreme emotions. I've been able to shake off a lot of extreme emotions, such as despair, burnout, joy, and so on. But there are a lot of emotions in between. You can be perfectly depressed or insanely happy, and there are days when you don't feel either. People's emotions are more subtle, and that's what we're aiming for with the new songs we're writing. Of course, I like the feeling of being able to scream and let all the emotions out. But I want to be able to do more than that. I don't want to be able to express only one emotion. …… I want to be able to convey all sorts of grey emotions, not simply black and white.」

● Yeah, yeah. I think your songs express a strong longing for perfect love, happiness and joy, but at the same time, I feel like there is a fear of losing such joy and happiness. 「Ah…… You know, you're exactly right! That's the problem I have with myself, or…… That's a great description of the problems that come from my depression. I see things. I notice that there's something beautiful, and already at that moment I'm like, that beauty is going away, it's gone, it's turned into something ugly! That's how I feel. When I see something wonderful, the moment I see it, I think about the end. Everything seems like that…… I can't help thinking that, all my favourite friends, they're all lovely, but one day they're going to get old. I know that's the fate of all things, but everything changes…… But that's a great insight to realise that!」

● No…… (chuckles). 「Even though I've never met them (laughs).」

● Certainly (laughs). The words ‘Bright Eyes’ appear several times in your songs. What do these words symbolise? 「Yeah. Well, I can't remember the name…… Um, I used to watch an old film channel at my parents' house. It was a very long time ago, way before the first CD came out. Yeah, I really don't even remember the title of the film, but it was an old film with, like, Humphrey Bogart in it or something. And the main character calls out to a pretty girl, ‘Bright Eyes’. "Don't worry, pretty girl. You'll be on time for the train" or something like that. And I thought that was a nice way of expressing my fondness for the girl. So I wrote a song about it. I think it was the second song on an early compilation…… I wrote a couple of other songs using the words ‘Bright Eyes’ before I decided on the band name. I think that word has everything I love in it, like beauty, youth and…… When you look into someone's eyes, they are full of life…… I think that's the image. I think it's the most wonderful thing in the world. I think that's where it comes from.」

"I think everyone is thinking, I want to leave my mark on something."

(MUSE/Matt Bellamy)

● What impact did your first encounter with music have on your life? 「I started playing piano when I was 8 or 9. I liked Ray Charles and that kind of boogie-woogie piano. I didn't learn at first, I just listened to records and imitated what I heard. Then, when I was 12 or 13, I started playing guitar. I was influenced by British indie bands like Sonic Youth and stuff like that. But until I was 16 or 17, I couldn't make up my mind whether I was going to be serious about being in a band or going to university. So I spent four or five months travelling around Europe with my acoustic guitar and I learnt a lot of different guitar playing techniques. Flamenco, traditional Italian, and Greek guitar. It was totally different from what I had been playing. So when I came back from the trip, I had a lot of new ideas. So I think that was probably my biggest musical encounter.」

● I see. This is reflected in the variety of songs on this album. You say that Nirvana's 'Nevermind' and Radiohead's 'The Bends' are your favourite albums, but you must have been 13 or 14 when you listened to those two albums. 「Yeah, that one. Well, I just wanted to say that those two albums are two classics of the 90s. And we're an extension of the succession of bands like that. They were the successors of bands like the [Sex] Pistols and the Smiths and Echo Bunny [aka Echo & the Bunnymen], and even further back, the Beatles and [Elvis] Presley. In R&R [rock n' roll], everything is inherited and evolves, and we are the new generation in that. We're just ten years younger than Nirvana and Radiohead.」

● You can feel the change in the generation. The album was produced by John Leckie. Did working with him bring new inspiration to Muse's music? 「He helped us a lot with setting up the environment and where to record. It's about creating the right atmosphere for each song. He didn't have any input into the songwriting. I think the biggest thing he's given me is the Radiohead comparisons (laughs).」

● (laughs) It's an unavoidable part of the process. What do you yourself think about that comparison? 「Um…… It's fine, isn't it? Hahaha. Because, as I said before, everything originates from somewhere and can be traced all the way back. In the end, I think it all starts from the moment a musician wants to communicate their feelings and their situation. In that sense, we have something in common with Radiohead and the other bands I mentioned earlier. We want to express what we feel as people born and raised in this era.」

● I see. So, the town you grew up in, Teignmouth, seems to be a beautiful seaside town that attracts people in the summer as a resort. Was it ‘dead’ so to speak? 「No, it's not that bad, but it's just a bit boring. There's not much to do. But I'm sure there are many, many, many other towns like that. I'm sure lots of people live a similar life. But when we moved to that town, we were 13 or 14, and of course we looked around for something interesting to do, but there was nothing, except watching TV. That's when we started playing music, and we formed a band and started rehearsing and so on. We're a bit fed up with the town because every time we go into town we get into fights. There were people who didn't like us. All I remember is violence, and I don't like it. At first glance, it looks like a peaceful town, but whenever I go out at night, I get the stink eye.」

● Is it because you're a young guy who thinks he's an artist playing in a band? 「Hahahaha! That's exactly right.」

● (laughs) Muse's music has an excessive amount of emotion and passion. What is it that drives you to create such intense music? 「I think everyone wants to express what they feel, to be understood or misunderstood by others, and in any case to leave some kind of mark. That we are here, and that we are feeling this way. I think it's part of human evolution. Whether it's art, science, or contributing to the maintenance of the system by raising children. So I think what we are doing is talking about the system and how it affects us, for better or for worse. There is a significant element of the absence of religion. Our generation is one that has grown up without a specific religion, and everyone implicitly accepts the media and television as a way of connecting with others. Part of the album is about whether that's a good thing or a bad thing, and whether technological advances are destroying us or liberating us. It's something I myself don't know the answer to.」

● I see. And you have a beautiful falsetto voice— 「Uhuhuhuhu……….」

● You don't have to be so shy (laughs). Despite this, the words you sing are harsh and sometimes even challenging. 「Yeah, yeah.」

● By releasing the darker, self-destructive side of yourself into your music— 「Eheheheheh.」

● (laughs) Do you feel like you're sort of redeemed by letting go? 「Yeah, I think the first album was definitely like that. You go deep into yourself and look at the dark side and the good side and express that. But if you succeed by expressing yourself openly like that, there's a danger. You think that if you don't do that all the time, you won't be able to go on. And then the next work goes deeper and darker. But I don't want to do that. I think it's important to know other people's emotions, not just your own, and sometimes you need to become someone else's character and express yourself from their point of view. It's dangerous to be too focused on yourself, I think it's important to look outside the cocoon that is you.」

● Yes, that's very perceptive. I'm really looking forward to the gig in March, as the live show is highly acclaimed. So, do you have a message for Japanese listeners? 「What message? Oh, hahaha… Well, the album alone is only half of us. The other half is our live shows. So if you see us live, you'll get the whole picture. I would also like to say that the message itself is all in the music.」

☆ The weeping acolytes Bright Eyes and the rising star Muse, who twist and turn on the opposite emotions. The magazine's acclaimed Hope are all coming to Japan! Bright Eyes is an in-store gig. It's a free event, so please feel free to attend. Muse's Japan show is a ticket-purchase event! We will be inviting 10 groups of 20 people, so please apply using the enclosed postcard (must arrive no later than Wednesday 16 February). This is your chance to experience first-hand their sound, which marks a moment in time that will never come again. Don't miss it!!!

Translator's Note: Was it necessary for me to translate the Bright Eyes interview? Not really. But since the article was covering both bands and I've already scanned and extracted the texts, I thought I might as well just do it anyways. It gives a nice compare and contrast about Conor and Matt.

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ROCK’N’ROLL PREVIEW 2008! - Coldplay [ROCKIN'ON (May 2008)]

The big release that will determine the fate of UK rock in 2008! Can Coldplay keep winning?

Perhaps the biggest release of the year, both commercially and in terms of buzz, on the UK and US rock scene in 2008 is Coldplay's first new album in three years.

Coldplay's debut album Parachutes (2000) won over the UK, their second album A Rush of Blood to the Head (2002) was their big breakthrough in the US, and their last album X&Y (2005), which sold 12 million copies worldwide, finally ignited the band's fire here in Japan. There is no doubt that they are "the most successful UK band of the 2000s", and their new album is expected to live up to that title with huge success and critical acclaim. It is, metaphorically speaking, the story of U2's flight from local Irish heroes to a global band in the 1980s. The fact that Brian Eno, who produced U2's Joshua Tree and Achtung Baby, was commissioned to produce Coldplay's new album is also a symbolic tag-team. Chris (Vo) said in an interview mid-production. "Up until eight months ago we were finding it difficult. We were in a position where we were very big artists, but we didn't feel like our music was that good. So the last few months were just a series of taking ourselves out of our shackles. We have a lot to prove and a lot to challenge ourselves with."

Coldplay are recording the new album in Spain and at their own private studio in North London. The songs are already in the works, and information is slowly starting to leak out on their official blog, the UK's NME and Rolling Stone magazine. The new songs being discussed at the moment are as follows. However, it is still undecided how many of these songs will actually be included on the new album.

42 YES DEATH AND ALL HIS FRIENDS LIFE IN TECHNICOLOUR CHINESE SLEEP CHANT STRAWBERRY SWING REIGN OF LOVE LOVER IN JAPAN MY FEET DON'T TOUCH THE GROUND FAMOUS OLD PAINTERS GLASS OF WATER LOST! CEMETERIES OF LONDON VIOLET HILL POPPY FIELDS LEFTRIGHTLEFTRIGHTLEFT RAINY DAY PROSPEKT'S MARCH

Jonny (G) says: "I feel like the three albums from 'Parachutes' to 'X&Y' were a trilogy. And we've done that now. So we want to do something different with the next album." His statement is backed up by the bold introduction of distorted guitars and percussion in the sound-making of the new songs, is quite different from the "Coldplay-like" style symbolised by, for example, "Clocks" or "Speed ​​of Sound.", and rumoured to be quite different. The lyrics are also said to be terribly dark, with themes of death and loneliness. "Brian [Eno] opened everything up for us. He made us realise that it's okay to be influenced by something other than Radiohead" (Chris).

However, as mentioned at the beginning of this article, Coldplay's new album should not end up being a 'self-indulgent' work that specialises in experimentation and innovation, and their work will only be recognised when experimentation and innovation are combined with universality on a higher level. The stage is already set for Coldplay to fight in such a tough place.

The release of Coldplay's new album is definitely expected in June. Eight years after their first appearance at Summer Sonic 2000, in a dimly lit junior high school gymnasium in Fujikyu Highland, they will play to 40,000 people at Chiba Marine Stadium this year. It's not often that such a monumental event occurs in the history of UK rock in the 2000s. (Shino Kokawa)

Translator's Note: I thought that this particular magazine wasn't giving me much value for the money that I bought for it in terms of content, even including the sample CD included that was still sealed in its plastic packet. But then I found that it has still more to give...