#for Kyo I think he would have a different list for each of his bands' styles right now hah | Explore Tumblr posts and blogs

thepriceofbeingaroseisloneliness · 4 years ago

Text

Kaoru & Toshiya Rolling Stone Japan 18th May 2021

DIR EN GREY talks about the current unique expression method and fun.

DIR EN GREY has postponed their concert scheduled to be held at Tokyo Garden Theater on May 6th. However, if you read this interview that took place two days before the decision to postpone the live, it's easy to imagine that the band will continue to move forward no matter what.

Using the single "Oboro" released on April 28 as the reason for this interview , we asked leader Kaoru (Gt) and Toshiya (Ba),who makes his first appearance in Rolling Stone Japan, about the current state of the band.

Feel free to correct me if you spot any mistakes or any confusing parts. Links or credits to this post when the content is reposted or captured in other SNS is appreciated : ------------- Original interview: Rolling Stone Japan (includes pictures)

Text: Joe Yokomizo -First of all, please tell us the details of releasing this single at this timing. Kaoru: We've been talking about releasing a single around this time for a long time. But, we were asked by the company to release it sooner (laughs). They told us “Can’t you release it around February?”. But we said we couldn’t record it in such a hurry and pushed the release back (laughs). So, the release was decided at the time it was originally scheduled.

-Is it a song you wrote recently?

Kaoru: We chose it from the ones we had in stock.

-How do you choose a song? Like, is there a discussion among the members? Kaoru: We had a talk about if it’d be good to release a ballad or a melodious song this time. Then, we chose it from the songs we had at that time. Toshiya: That's right. We thought a melodious song or a mellow song would be good, so we chose it from the songs we had in stock. As a result of the discussions we had, we came to the conclusion that “Oboro” was the best choice. I personally thought this song might be able to become a single, but I also thought that it could be a good idea to save it for the album. I thought it could become a song that would be the core of the album even if it was just included in the album. Kaoru: We haven’t released any ballad as a single recently. We did it quite a while ago so we felt like it would be good if we tried it.

-It's true that a ballad as a single is quite fresh for DIR EN GREY, and the arrangements are ... Kaoru: Simple. Pretty simple, but it took us a while to get there. -Do you want to increase the number of notes that are being played at the same time? Kaoru: No. Rather than messing with that, it felt like the notes were gradually confronting each other. There wasn’t a big change, but it took us some time to decide the overall flow, how to do it and the final result. -DIR EN GREY has a strong image as a band that is playing lives often. Until now, you released something and toured, released something, and toured. All over again. The releases haven’t stopped yet but the tours and therefore the lives themselves have stopped because of Corona. How do you feel about the state of the band? Toshiya: Since we couldn’t play lives, I think the part of exploring as a band is big. But personally, at some point, I got over that. The band wants to move, but it’s hard to do it. Even if we think about it, we can’t do anything about the situation so, we haven’t stopped thinking about it, but I think we got over it at some point. Rather, we had no choice but to get over it. -Even if you keep thinking about it, nothing will happen.

Toshiya: That’s right. Even if we just write songs and do the pre-production all the time, if that’s all we are doing, it feels like a pie in the sky all the time. It’s a strange feeling, isn’t it? We didn’t get another answer before but, the process of getting that answer has changed. There was a series of routines like making an album, playing lives, making an album, and doing live performances after that but wasn’t that cut off entirely? Then, we are doing it as usual, but something has changed at some point. And it may just be that kind of era from now on. I think we have no choice but to adapt to this. However, even I think about how it was before, I’m starting to think that it won’t be like that again, and we may just get over it. -Did the production itself change due to the lack of lives? It is often said that a song evolves when it is being playing live, but if you make a song in a situation where it is difficult to imagine playing it live, will the image of the song, how to make it, and the depth of making it change? Kaoru: Even if we are making songs, it feels different from usual. To put it the other way around, as the situation is unique now, maybe it’s a song that can only be done at this moment. But it’s like…. wouldn't it be nice if we could create something interesting? I don't know if we are even thinking about it. I think that the fact that there was always a tour up until now had a big influence. As we always had a tour, until then we’ve limited production time. That's why there was a switch, because now we have infinite time. To be honest, if you take it easy, you’ll space out. After all, it was great to be pushed, force myself into doing it and work hard (laughs). -About making it “the right time” by themselves -Regarding the unlimited production time, how was it for you, Toshiya? Toshiya: I think I'm grateful. However, I want to use it as much as I have. As there were moments I got distracted/ was being lazy, I feel that there are good points and bad points, to be honest. -What's the good thing about this recording? Have you tried something new? Toshiya: After all, in the end time is chasing me (laughs). But this time, I felt that I had a little leeway in my heart. That's why I thought about the single in various ways.Then I wondered if I could release this or that and people would listen to it. It’s common to say this but, when you start thinking about figures, I've even thought about if it's good or bad to release something at this timing. I wondered if it’d be better when this corona situation has settled down a bit more. But well, even if you wait for that time to come, then I would wonder about when that time would come, so in the end, I thought it was unavoidable to think about it. If the right time doesn't come, I think we should make it become the “right time”. Rather than worrying about it, I thought that if such a song was completed and it felt good, we should release it. -It's certainly important to create the right timing. Toshiya: People all over the world are dealing with it now, or more like, we are waiting forever, aren’t we? Personally, I don’t think the situation will return to normal even if we wait. I think it’s more useful to think about how to proceed in a situation like this. I personally came this conclusion, or at least, I’m trying to. -Listening to what you are saying, I remembered Samuel Beckett's play "Waiting for Godot." The two main characters are waiting for Godot, but in fact, no one knows who Mr. Godot is, and I don't know if Godot actually exists. But they are waiting, believing that he will eventually come. Toshiya: Everyone, including myself, is waiting now. But what on earth are you waiting for? If you think about it, it’s like we're just waiting for "that moment”, right? But honestly, I don't think “that” will be back. I think it has changed. Then we have to move towards it. I'm a bit scared to stop waiting any longer, but I think we have to take a step forward. Kaoru: I agree with you. -DIR EN GREY Unique ideas -By the way, the new song "Oboro" is said to be a sequel to a previous song. The lyrics are done by vocalist Kyo but for you two, is it a sequel? Kaoru: I was told that but I wasn’t particularly drawn (by that song). The beats and tempo of the original song of "Oboro" are similar to that song. So maybe he was drawn by that and made the lyrics like this. After hearing that the lyrics would be like that, I've never been aware of it. Toshiya: I wasn't even aware of it at all either. I thought “is this it?”.

-By the way, in Toshiya's words, "Oboro" is a song that can be the core of the next album ... Toshiya: It’s just a song. The talks about the album are making rapid progress but now there are endless possibilities, including how to play the songs live. So, I think it's okay if there are songs that exist just as part of the album, and conversely, there may be songs that are only for playing them live. In other words, from here on, how to add value will become even more important than ever. Kaoru: It's nice to have songs that you can only play live. Toshiya: About that, if you might do that at that time, you might want to play it live? I’m thinking about how to add that value to the song. I want to do a live concert, but we can't, moreover if you even do a concert normally, I’m sure it won’t be interesting. -It looks like broadcasting a regular live is difficult, right? Kaoru: A live that it’s going to be only broadcasted is a bit tough. In that sense, hearing what Toshiya said about songs that only can be played at lives are, in other words, songs that won’t become part of an album are really interesting. Toshiya: I don’t know. I was thinking it to myself and I just said it (laughs). Kaoru: There may be quite a few….songs that are like, “Which one is this?". Moreover, no one mentions those songs in an interview (laughs). Toshiya: Ahahaha. Kaoru: Even among the fans, sometimes it’s like “which song is that one?”, and don’t even know the title. The set list doesn't even have the title of the song. Toshiya: I think it doesn't have to be just the song , but the production. I recently thought about it. In the past there used to be a lot of imaginativeness/ playfulness on the DIR EN GREY’s cds. Recently, I remembered that was pretty normal. But from now on, if we are going to put out the record ourselves, I want to make something that can be enjoyable. On the old DIR EN GREY cds, I remember I was asked to find out where the lyrics were written. When I think about it now, it's quite a prank, but that prank was surprisingly interesting. -How about the leader (laughs)? Kaoru: I put a lot of things into the sound (laughs). -The particularity/commitment in “Oboro” -The “mischievous and eccentric” idea that Toshiya mentioned is swallowed normally before one knows. I think expression itself is a struggle, but in the age of the Internet, the speed at which it is swallowed is accelerating. That’s why, even if that happens, I think it is important to keep fighting, recognizing that "I am not just like this". Kaoru: That's exactly what I do. Because I never thought I have a good taste. Even though I can’t make a song, it feels like I'm doing it just because I have a competitive spirit. -Like you don’t want to be taken into ordinary things, or do you want to do something that has never been seen before? Kaoru: I want to do that, but it takes time. Speaking of gimmicks, in “Oboro” there are a lot of them. -What kind of “gimmicks” are there? Please tell me some. Kaoru: It's not interesting if I told them (laughs). There are many sounds that you can't hear. There are lots of sounds that you can feel. I thought it would be great if you could feel it. And I'm thinking about putting a lot of that into the next album. -There is something I would like to ask about lives. I think we are in a situation where values are conflicting. If you play a live, even among fans there’ll be the conflict of the “Don’t play a live in these circumstances” versus the “Thank you for playing a concert in these circumstances” position. Kaoru: It's difficult, isn't it? Neither of these positions are wrong. However, as a band, we won’t stop. So, if the conditions allow it, the live will go on. I think there are a lot of people who says “"Oh, I'm going to live at a time like this. These people’s views have changed”. But well, I think this is happening in other bands as well. -That’s right. In any band, there is a faction that says to play lives and a faction that wants to stop. How should they come to terms with each other? Kaoru: I don’t think normal life will be back for a while here. If someone says “Yes, it’s nothing in the end”, it may change, but it’s that going to happen? The point is, I think it will be difficult unless the number of infected people goes down. Because Taiwan, where the number of infected people has decreased, there are even festivals taking place. Toshiya: We are choosing a method (against Corona virus) that doesn't work right now, but as it is the government who is doing it, isn’t the situation delicate? I think so. When it comes to what is driving people, I think it’s the number of people getting infected, as Kaoru said. The only way to reduce that number may simply cause damage. If you lock down hard like in the UK, you will suffer tremendous financial damage. I think that's why everyone can get lost on the way. However, although it is extreme, unless you have such a strong will, you will continue to do it subtlety and the number will drop again, “Oh, now it’s ok because the numbers have dropped a little” and then after a while they will surely increase again, won’t them? And then repeat the same process. If that happens, I’m worried the same process will be repeated again and again if you don’t cut it off at some point. Kaoru: Tokyo is under the state of emergency for the third time, but I would like them to stop doing lockdown so suddenly. It’s so hard if there is no warm-up/grace period.

Toshiya: Regarding this state of emergency, I will obey what they say, because I have to obey. But in order to do it, I want something that gives me hope. I feel like suddenly, time was taken from me. -Before the light can be seen, “Oboro” -I want hope. That being said, DIR EN GREY's music always sees light at the end. But in the current situation, we can't see that light. I don't think you can understand the meaning of the lyrics unless you're Kyo, but I'm wondering what "Oboro" means. Like, in this era everything is obscure in an ambiguous sense? Or is it a night with a hazy moon but, you can see the light even faintly because it’s hazy? How do you two interpret it?

*Joe is making a reference to the song title, 朧 (Oboro) means hazy,dim,faint.* Toshiya: If possible, I think I want it to be hazy before you are able to see the light. Before people lose the courage to do their best, being surrounded by fog all the time. - It's true that humans aren't that strong. If there is hope, what is it? What kind of hope are you seeing now? Toshiya: That would be ……the best would be that the Corona situation comes to an end. But before that, I'd like "Oboro" to be released properly. Some CD shops are closed due to a state of emergency, so even if you made a reservation, some people may not be able to get it on the release date. So, I hope that "Oboro" will reach everyone who made a reservation. -Which is Kaoru’s Oboro? Kaoru: I think either of them are interesting. In any situation as well, it’s something that it’s only now. It’s also an expression method that can only be done now. Of course, the band will continue, and I will be writing songs, but I think it would be great if we could express something that can only be done now, or something that is interesting. -Anyway, "Oboro" is an excellent title. Toshiya: When you think about it now, that’s right. It can be interpreted as this uncertain situation, and it can also be interpreted as a situation where a faint light is visible. Kaoru: I want you to listen to it and feel it.

#dir en grey #kaoru #toshiya #translation #toshiyatranslations

146 notes · View notes

katierosefun · 3 years ago

Text

i originally had a september wrap-up post queued but then tumblr fucking ate it, which made me very angry because i didn’t want to re-type the whole thing, but i’m procrastinating, so here i am, re-typing the whole thing of all the things i watched/consumed over the month of september, even if it’s a little late: (it’s fine, i didn’t watch a whole ton of stuff except...a lot of kdramas lmao. oh, and visions.)

k-dramas:

beyond evil

okay, so i think this has been on my rec list for literally forever now, but...besties, i’m on my fifth watch of this goddamn show in the span of maybe two months, so if that doesn’t tell you how much this show has been a comfort/eating my brain lately, idk what will.

i literally never shut up about this show, but if you’ve somehow been missing from my blog for a little bit, a quick summary: lee dong sik (played by the ever-wonderful shin ha kyun) was accused of murder + kidnapping a few young women, including his own twin sister 20 years ago. he’s lived a pretty quiet life on his own, and now 20 years later, his whole world is turned upside down again when hotshot new inspector han joo won (played by the talented yeo jin goo) comes into this little town. when the murders start up again, these two are thrown into a hellishly complex mystery. will throw you in for a hellish loop. i think my thoughts best summarize this show as come for the murder mystery, stay for whatever the hell joo won and dong sik have.

okay, but all joking aside about how much i love joo won and dong sik (because...i truly do love them), this show was incredibly healing. once again: this show has quickly become a comfort show, basically to the point where i just watch it whenever i feel down (which happens to be a lot these days). idk man. humans aren’t meant to carry burdens on their own and all that stuff. sometimes u just need to remind yourself that.

the crowned clown

so, after watching beyond evil the fourth time, i realized that maybe i wanted to watch some of the actors’ other works. that was how i found myself watching the crowned clown, which...is an excellent kdrama now available on netflix (also on viki for free, just as beyond evil is). honestly, it’s been a hot second since i’ve watched historical dramas (saeguks), so i was a little unsure what to expect, but this show. bro. this show reminded me just how much i love historical dramas, because the court politics? the costumes? the music? the acting? fantastic.

basically, this show is about the young clown (ie. performer) ha seon (played by yeo jin goo) who now has to replace the king, who might be like...two seconds away from snapping (if he hasn’t already). the reason they’re able to do this is because they look exactly identical despite not being related.

this story is honestly wonderful. i loved it, and it’s an interesting way to look at the story behind the actual king (because. apparently this king was a real person, and i think his story has inspired quite a few other korean movies/shows). i thought yeo jin goo was brilliant in this show, and it’s really no surprise he became the youngest person ever nominated for a baeksang award because of this series. i was truly blown away by just how versatile he proved to be of an actor, and his dynamics with the other characters (the queen, the secretary being my fave, as well as the old eunuch jo), i just...bro. i’ll admit i wasn’t the biggest fan of the romance (don’t get me wrong! it was sweet!), but i think that might have been because this was so court politics heavy, and i adored it for that. if you’ve never watched a historical drama but want to and just don’t know where to start, i highly recommend this.

d.p.

bro....this show was dark. i watched it all in 2 days (pretty easy to do, considering it’s 6 episodes and maybe 40-50 minutes long per episode), and i needed to lie down. this is just one of those shows that i feel is...very important to watch, even if the content matter isn’t very bright.

basically, dp is about two deserter pursuit officers: ahn jun ho (played by jung hae in) and han ho yul (played by koo kyo hwan). deserter pursuit officers are basically people who chase after people who deserted their military post--and for those who don’t know, being in the military is mandatory for men in south korea. this is the result of the armistice between the north and the south--basically, since north korea never agreed to an actual peace treaty, south korea is constantly under threat of war, which is why men need to serve at least a few years. (this is why a lot of actors + kpop band members often take breaks from their careers--to fulfill their military service time. because yup, even celebrities aren’t exempt from service!)

anyways, this show really doesn’t pull back their punches. major trigger warnings for things like intense harrassment, suicide, domestic violence...it really does capture just how dark life can be, and also how toxic the military can be for men. because of that, i felt this show was incredibly well-crafted, incredibly nuanced, and in the end, i just felt sad. that said though, there was a hopeful ending, and i’m glad that this show was renewed for a second season, as i think this show is just...really important.

squid game

okay, so i don’t want to be that person, but your girl was watching squid game right after it came out, so i was here before the hype train--but okay, okay, i digress. (i am glad that this show is getting hype. i feel it’s very important that people watch this show.)

if you haven’t noticed how squid game’s climbed to #1 on netflix worldwide (i think, anyways), well, then...buddy. squid game is about a bunch of people who have the chance to earn lots of money by playing what seems like innocent children’s games. (spoilers: they are far from innocent.)

this show scarred me, to be honest. i needed to watch something lighthearted after this, just because it was so intense. lots of trigger warnings for blood and gore, as well as just. losing faith in humanity. but also, like dp, i felt this show was necessary. it was incredibly well-constructed in that it showed just what desperate people will do in order to survive, as well as exactly what a terrible capitalistic society will do to the working class. it’s depressing and sad, but also incredibly chilling because like. you can’t help but watch the characters and think, but would i do the same thing? i just want to pay off my own debt and take care of my family. wouldn’t i do the same thing?

i won’t say more of this show for fear of spoilers, but. let me just say. that i really am glad this show exists. i hope people actually notice what the fuck it’s saying about our current system too, because hm, maybe i just want to suck the fun out of things, but there’s something very disturbing about how people are already cute-ifying this show (ie. “this is what i would wear to the squid games! :D” and “look at these squid-game inspired cookies! :D”, as if this show didn’t just deliver a heart-crushing message about capitalism + how the wealthy fuck over anyone who isn’t the 1% BUT ANYWAYS)

star wars: visions

lately i’ve been feeling weird about star wars for lots of different reasons which i don’t particularly feel like addressing today, but. visions really reminded me why i fell in love with star wars in the first place. i think for starters, well. it’s no surprise when i say that i felt an intense amount of joy of seeing east asian cultures so beautifully incorporated and respected in this show (no surprise seeing that this show was literally crafted by japanese anime studios), but like. it really was. a beautiful thing. i cried at least once per episode, either because i was so in awe of the animation and the themes or because i was just in awe that this thing exists.

i think my favorite episode had to be the village bride--there was something so incredibly powerful about seeing someone who looked a bit like me say i am a jedi. what an iconic line. what an iconic story about a sad traumatized gal deciding to step up and fight, actually. peak star wars.

but besides all that...i really did feel like...this show captured the beauty and essence of what makes star wars actually good. the themes of good versus evil, a lot of stuff between siblings (bro....the twins and lop and ocho FUCKED ME UP), choosing to have brighter and better days ahead (the village bride, the ninth jedi, the duel, tatooine rhapsody)...like, i really loved how each episode really took everything that was good about star wars and just turned it into something even more beautiful. this series will stay with me for a long time, i think--and i am very grateful for the people involved in this project for reminding me why i fell in love with this universe in the first place. :”)

#caroline recs #a few days late but here it is!

16 notes · View notes

shoewave · 6 years ago

Text

Canjam Jams

Canjam is a one of a kind experience. Organised by Head-fi, these annual events are a unique space where audiophiles and their favourite manufacturers gather from all over the world to see, touch and hear the latest and coolest gear. For just those two days, you’ll be able to find yourself talking to the Japanese amp engineers one minute, and trying out Polish custom earphones the next. It’s a feast for the ears. But that raises the question - as we look for gear to listen with, what do we listen to?

Even in the very lively public space of Canjam, the act of listening to a track remains quite individual. I couldn’t help but wonder, what are the songs flowing through cables and drivers all over the room? For us audiophiles, what is the song we choose to press play on? So I went around Canjam Singapore 2019 and asked:

“When you have your favourite setup, what’s the first, go-to, favourite song you play?”

Below you’ll find responses from attendees, engineers, brand reps and distributors. Some interpreted this to mean test tracks, while others shared with me their favourite jams. The question phrasing is admittedly clunky, but I was hoping to get at that feeling where you listen to a song, and something clicks inside your heart. About that feeling when you unbox that latest buy and pick your first song to play for maximum pleasure. It’s not an easy thing to put into words, and after all, everyone has their own version of it. Nonetheless, I hope you’ll find this insightful in some way, and my heartfelt thanks goes to all those below who were kind enough to talk with me. In no particular order:

(Spotify playlist here)

Marco, Focal/Absolute Sound: Soulwax - Is it Always Binary. “And Queens of the Stone Age is good too.” With a background in producing electronic music, the pacing and beats on this Soulwax cut are something he really digs and listens for.

Megane, Focal: Diana Krall - Temptation, for the vocals, and Jennifer Warnes - Rock You Gently for that deep bass.

Kenneth, Focal/Absolute Sound: The Reddings - The Awakening Part 1. “Especially that bass slap.” He’s not one to pigeonhole himself into a single genre, but if he had to pick one this would be it. They usually leave the album on a loop for demo, so it’s one the whole crew’s gotten pretty familiar with, and for good reason - it’s an absolute banger. He also recommends the subsequent songs on the record: Doin’ It which has vocals, and I Want It for a slower mood. “But ultimately,” he adds, “if you don’t enjoy the song, what’s the point right?”

Lovin, Wired for Sound: Nobuo Uematsu - The Man with the Machine Gun (Distant Worlds Orchestral Version) “If the headphone can play this song without any problems, I’ll buy it.” He likes how the song takes you through the whole spectrum. Fast, slow, quiet, loud - all in 3 and a half minutes. He was kind enough to let me listen to it on his player, and it really gave my IEMs a workout. A very dynamic, energetic piece.

Takatoshi Seto, Acoustune: He responded instantly - ONE OK ROCK. Asked which song exactly, he had to think for a bit, then decided on one of their latest releases, Stand Out Fit In.

Andreas Schmitt, InEar: He paused, deep in thought. “Ok, you know what are...classics?” Then looked me deliberately in the eyes as he listed each of the following:��Adele - Hello, Yello - Limbo, Klaus Bedelt - He’s A Pirate, Tchaikovsky - Swan Lake (Berliner Philharmoniker), Herbie Hancock - Cantaloupe Island.

Antony, Music Sanctuary: At first he took it to mean test tracks, but when I rephrased and asked him what puts a smile on his face, what he jams out to, he just lit up and responded with Twenty One Pilots - Fairly Local. Such bass power.

Ito-san, Kumitate Lab’s engineer: He truly had a tough time deciding, as he will have a set of as many as 20 to 30 songs for tuning each IEM model he makes, and that each set is unique and diverse with songs stretching across decades and genres. I then asked if there’s a song that shows up more than most, or that he keeps coming back to, and after much thought and some banter with his colleagues in Japanese, he replied that there is one song he likes to use to test dynamic driver bass specifically - Yonezu Kenshi’s 打上花火 (Uchiage Hanabi). “If the bass is not tuned correctly, you can hear it in the rumbling.” For bass-treble balance, he listens to BUMP OF CHICKEN - ファイター (Fighter). Just a note, this song isn’t available on Spotify for me, so it isn’t in the playlist, but it is uploaded on youtube here .

Kyo, Final Audio: “Ah...hmm...I think you may not know this singer...she is not really famous outside Japan.” He really enjoys female vocals - no surprise that he’s with Final then - and his first pick is MACO - Love for enjoyment, but also for testing because it’s usually on the top of his recently played list anyway.

Chingan, Final Audio: Lady Gaga - Always Remember Us This Way. This song is what’s on rotation for now, he likes to listen to the wide soundstage and fine details within.

Albert, fellow attendee: Hailing from Indonesia, Albert shared that Hoff Ensemble - Hva Skal Hende Nå is one of his Top 3 songs to listen to. They’re a Norwegian band, and this album is aptly titled Quiet Winter Night.

Piotr Granicki, Custom Art: FIBAE Black, the single-BA-that-does-not sound-like-one, went through over 20 iterations, and I decided to ask if there was a go-to song Piotr would use through that long tuning process. Like Ito-san, he had a tough time settling on one, saying that he tries to keep a big variation so that you know the IEM will handle a wide variety of things well. But, he kept coming back to Cane Hill - Singing in the Swamp. He would listen out for “this point about 30s in, where with just a drum beat, everything changes, and it becomes really loud.” Interestingly, unlike Ito-san, Piotr keeps more or less the same set of tracks in rotation across his models, so he can compare across his lineup more easily. I do wish I’d asked him though, whether listening to Singing in the Swamp gives him flashbacks of late nights at his workshop tuning up the FIBAE Black. Oh well, maybe next Canjam.

Herbert Zheng, Moondrop: Mozart’s Piano Concerto No. 27, Mitsuko Uchida on piano. “Hey, she was actually very pretty when she was young,” says Herbert as I point to the album cover on Spotify. Classical music is the genre he mainly enjoys, but he chuckles and shares how working in the audio industry has messed with his listening habits. “We try to tune for the general audience, so we will look at everything in a customer’s playlist and just listen through the whole thing.” Which for him meant a lot of mandopop, since in China most western music and streaming platforms aren’t available. After all the pop though classical is still a mainstay in his playlist, alongside some J-pop nowadays (looking through the playlist, he actually recognised Uchiage Hanabi, though he knows it by the chinese pronounciation of the characters - da shang hua huo.) For this concerto he stressed that one has to listen to all three movements - though the first and third are his personal favourite.

Sam Roney, Dekoni Audio: Sam’s was the quickest response on the list, immediately shooting back with Moloko - Sing It Back. “Snare-heavy” in his words, it’s an energetic track that would do well on the dancefloor - the Boris Dlugosch mix is an instant banger.

Tal Kocen, Dekoni Audio: Tal took a bit longer to decide, but eventually said that he would come back to Fleetwood Mac. “Rumours, that whole record, you know?” If he had to pick one song off it, it’d be Fleetwood Mac - The Chain. A classic.

Masuda Masanori, MASS-kobo: It took a couple rounds of translation, but after he understood the question, he immediately replied with Jen Chapin’s Jesus Children of America, pulled out his player, connected it to his model 404, gesturing for me to listen. I do, and it’s gorgeously full and vivid. He uses this song as a tester when he builds each of his amps, but it’s also one he enjoys. It turns out he got the CD with this song from Jen Chapin herself, decades ago when an engineer in LA introduced him to her. “Very rare, that time only released in USA, not in Japan. I also visited the recording studio where they recorded this album, showed them my amps, and the engineers there were very impressed,” he says, grinning.

And that rounds it up...with no Hotel California at all, make of that what you will. Thanks again to the above folks for taking the time to entertain my questions. Even with all the high-end gear on show, one of the most valuable things at Canjam is always the community, the people, the conversations you have. It was wonderful getting all these different perspectives on audio and hearing how people enjoy their music. In the course of all these conversations, unavoidably the age-old question arose from time to time: are you using your gear to listen to your music, or using music to listen to your gear? Maybe even both? In the end we all agreed it’s a personal thing. You listen to what you like, you find tracks that work for you, whether you’re tuning an IEM, testing cans at the store, or just laid back at home. In that sense I admit that asking people to pick just one track is unfair. As many of the people listed above mentioned, one song isn’t going to cover all your moods, all the frequency ranges.

But in this case, it’s not about the perfect track, but rather the perfect moment. It’s that that song or album or band that sticks out in your memory. Maybe it’s only with a specific setup, or it could be any old headphone, whichever. The music that when you first heard, or hear it now, just makes something click inside, you know? Just gives you that feeling of rightness.

I remember fondly what that feels like for me, and I wanted to know how it was for others, hence this playlist. 16 different ‘peak listening experiences’, so to speak. What’s yours?

1 note · View note

hellionbaby · 7 years ago

Text

jrock questions

I was tagged by @cancerianwastelandcat and I didn’t have time to do all the other tag things so at least this one

1. When and how did you get into j-rock?

Oh man, it seems like an ancient history so I’m gonna try to keep it short lol. During high school I knew about Malice Mizer and BLOOD from Vampirefreaks but bcs the lack of internet and my stupidity I never tried to find out more. Then years later I met some friends through my first gf and that one was hardcore into Miyavi, Diru and Gaze. Of course I judged it hard and hated it.. jokes on me. Year later I got into anime a bit and from there Japan obsession slowly started.. and I remembered that one friend and was like hold on there are these bands and artists so I found Miyavi again and fell hard. Then met unrelated friends who all were going to Diru’s show in our city back in 09 (Prague). Of course the even stupider me didn’t go to that show back then. (Trust me I regret it to this day.) Week later I downloaded Uroboros and cried with regret and hopelessly fell in love with Die. And from there few months later I was like “ok give Gaze a chance” so I did but still didn’t like them. Then Invisible Wall PV came out...... and I watched it 4 hours on repeat nonstop. I swear. From there it was a quick and fast road down to hell and thanks to the new internet friend I met who introduced me to basically everything else and became the second half of my mind.

2. List your current most favorite band(s).

the GazettE, Dir en Grey, D’espairsray, Far East Dizain, Vamps, Laruku, Penicillin, Luna Sea, Plasticzooms, GYZE, The Gallo, DECAYS, Alice Nine (do we count the ones I listen to currently or the ones that are not disbanded?? XD I don’t care these are just the ones I listen to the most lately or for years..)

3. How many j-rock concerts have you been to? (If you haven’t been to any, which band would you like to see the most in the future?)

Miyavi (2009 Vienna) D’espairsray (2010 Budapest) Dir en Grey (2011 Budapest&Berlin, 2015 Berlin) the GazettE (2013&2016 Munich) THE MICRO HEAD4N’S (2013 Wroclaw) GUILD, Plasticzooms, Mikaru&GLAMS, Orochi, Gothica (Prague in different years which I don’t remember anymore but some were this year)

4. Which j-rock band do you think is the most underrated?

That’s hard to say.. bcs I don’t actually know what is popular or not and I listen to a lot of old bands. XD but I personally would like Penicillin to get more popular but that might be too late and well I’d also like Far East Dizain to gain more popularity and GO TOUR EUROPE DAMMIT!!! Leda I wanna hug you and tell you that you’re my hero!

5. Which j-rock band do you think is the most overrated?

Don’t hate me but I still don’t like Mejibray and Nocturnal Bloodlust’s music.. like I just can’t. It offends my ears.

6. Who is your ultimate bias in j-rock? Optionally: Post your most favorite picture(s) of them.

*stares confusedly at screen* JUST ONE??? I CANNOT CHOOSE JUST ONE I’M SORRY THEY ARE ALL MY CHILDREN AND I LOVE THEM!!!

this little shit from Mie

this other slightly older and even gayer shit from Mie

and basically this whole band each of them is my bias so..

7. What is your most treasured j-rock related memory?

The whole D’espairsray show. I still don’t even know how to describe that night but I have no words. Ultimate perfection even despite the horrible Hungarian fans.

hanging out before our first Gaze show, I never met friendlier people than at the Munich show and how we all cried together after it ended. Also I met a friend I knew only online and was star struck..

drinking Die’s beer and whiskey after Diru’s show in Budapest and then seeing him giggle after he came out of the club drunk

watching Aoi play his nintendo in the tourbus after the show in ‘13

hugging Tsukasa

8. How do you support and enjoy j-rock the most? Buying CDs? Going to lives? Just full on going to Japan for it?

Buying what I can and going to EU tours.

9. How does your family feel about this hobby of yours?

Mom likes Diru, doesn’t hate Despa and with Gaze she only lately admitted they got good lol

10.What is the craziest j-rock fandom story that you have?

How we got Die drunk and he fucked up half of the show. Then went to throw up during Kyo’s Inward Scream and came back so happy and alive. Then proceeded to glare at me at the encore and at the end of the show basically drenched me in water. I guess I deserved it but we thought he’s an adult and doesn’t have to drink half the bottle of Jameson before the show!! XD

this is it that’s my shit :D I go and tag @skeysesil and @the-damnedest-creature ahaha

#tag yourself #this turned out long omg im sorry #i dont even know if anyone wants to read it but there are fun stories lol

2 notes · View notes

octranslations · 7 years ago

Text

Haiiro no Ginka Volume 40

September 2008

Translation Credits:

All translations by Cammie

UROBOROS

Since 21 months after the release of The Marrow of a Bone, Uroboros will appear to the world. You may find this time very long or short depending on your feeling, and the same could be said if you associate this work’s title as “the returning point” or interpret it as “an endless inquisition.” I actually don’t have any answer for this, and maybe the band members may not have a clear answer either. Yet, Dir en grey has set foot into a territory they have never reached. In other words, they have always had a proposition to pursue themselves to the limit, and have shaped the ideal that has been exceeding ahead of them. Do you have the courage to dive into the beautifully mad world? Are you ready to place yourself into a loop, which you will never escape?

-Yuichi Masuda

Tour 08 Death Over Blindness

2008 May 4th – They finished appearing on the event and then moving…

After finishing “hide memorial summit,” Dir en grey headed to their next venue in Okayama without having any time to rest. Few hours later after leaving Tokyo, they met with Mr. Takahashi, the event promoter of Candy Promotion in Okayama, and by then, everyone was tired and silent the entire time.

May 5th- Crazymama Kingdom

Osaka-fu: Death Over Blindness tour has begun with three consecutive show at Namba Hatch. Originally, 5/4 was a moving day, but due to their appearance on the event (hide memorial), the show in Okayama became the 5th day of the 6 consecutive shows. Due to the venue’s situation, we could not use the backdrop from Namba Hatch. However, the emblem that was on the tour goods (t-shirts and stickers) appeared behind Shinya’s drumset. It was difficult to create the same impact of a large venue, but because this place was compact, the emblem helped to bring out liveliness.

In backstage, there was no space for many people, and the staff members were taking a break near the hallway where you can see the audience waiting for the door to open. By the way, this venue is on the fourth floor of a nice-looking building. No one would even dream of such an intense show happening on the upper floor. During the show, the audience began to jump with the music’s beat and the floor began to shake. On the last song, The III D Empire, the staff near the stage had to hold up a “no jumping” sign.

May 6th- Crazymama Kingdom

The line for entrance began to move as the time was 6pm, and the sky made us think of summer dusk. People were slowly filling in the venue, and the camera and speakers set up here connected to the band members’ room as they were able feel the excitement of the audience directly. The venue filled with more heat than yesterday, and from the first song, Ryoujoku no Ame, the band members and audience seriously took on each other. Especially with small stages, one can feel the raw and concentrated condition between the staging of 5 members and the reaction of the audience. Near the front stage, the fence could not withhold the push from the back, so the front row audience had their feet up near the front edge of the stage.

During this performance, dead tree left an impression where Kyo sung serenely and eerily as he stared at one spot while the audience stopped their movement and stared back in awe.

May 8th - Club Diamond Hall

It has been a while to come to Aichi Prefecture, Nagoya city, Club Diamond Hall as the red wall is covered with foreign artists’ flyers, and this appearance reminds you of a live house in Europe and the United States. Before, we had more shows at Zepp Nagoya, and because of that, it feels strangely refreshing of having a different Nagoya atmosphere. After 3pm, the stage was not big, but the Tech team took their positions and checked everything carefully. On the floor, there was Toshiya watching them. This tour has 2 new songs included and they were performed at Club Diamond Hall as well. Glass Skin was performed where Kyo had a spot light on him while the overflowing sound of piano resounded. Kyo began to sing with an ecstatic facial expression, and with the guitar parts, the hue of the band’s sound was oozing out. The left-hand side was overlapping with the song, and shakes inside the small amount of light. This song has a smooth texture, and it brought a moment of silence to the heated floor.

May 9th- Club Diamond Hall

We are half-way through the tour. The other new song, Stuck Man was a contrasting song from Glass Skin as it had a vibrant tempo, and shook the ground. During this song, Kyo counted together with the audience and raised their fists into the air, heightening a rush of blood to the head. Toshiya strummed the strings sharply with his slap-bass technique, and from the performances during the tour, his sound seemed to become fuller. Also, the lighting matched with the song as it shined the back drop; and it sometimes changed into a shady form and lured people who watched it into a peculiar world. It felt like Stuck Man during Nagoya’s second date had brought itself together. It was a new song before and had some rawness, but from this day, this new song changed into a combination of maintaining freshness and stability.

May 16th- Zepp Sendai

Heading into summer, the surroundings of the Sendai train station near Zepp Sendai have paper lanterns and pennants hung on street lamps and stands that appear florid because the “Aozora festival” is coming up on the weekend (Apparently, this festival will take place on the day of the second show here). Sendai was infused with energy and the sunny May weather welcomed Dir en grey. In the venue, a large banner was put up on stage as it has not been used since the Namba Hatch shows; once again, one is blown away by its presence. The audience that will gather in front of this banner and create a critical state must be a superb view. A few hours later, on the stage with that banner hung, Kyo’s voice ringed in the air.

“Sendai, you guys are better than this! Can you do it?”

The voltage of excitement was rather easy on the first day at Sendai, but after being aroused by Kyo’s voice, one does not even have to guess that the show became more intense.

May 17th- Zepp Sendai

On the second day of Sendai, there was a completely different set-list from yesterday. The venue’s spirit was as if it was continuing from yesterday’s encore. Around the middle of the show, there was a special effect with the lighting and backdrop during Conceived Sorrow that was eye-catching. We used a special machine, which makes Kyo’s form appear on the backdrop and change with the song’s style and tempo. One should note that Kyo’s overlapping forms several times was not a projected image, but a creation through special light effects.

“It was all right…”

Kyo spitted out some water and after commenting about today’s show to the audience, he left the stage. After the show, there was news that one band member lost his jewelry he wore during encore as it flew into the audience floor. But few minutes later, an audience came up to the staff asking,

“Does this belong to one of the band member?”

This band member thought that his jewelry would never return, but he was very happy about the miraculous happening. We would like to use this moment again to thank this audience.

May 19th- Aomori Quarter

We were nearby the ocean, and around the venue, one could smell the salt. In front of the venue, a large blue truck with the band name and title awaits sonorously for visitors. Because it’s the beginning of the week, we did not see too many audiences waiting near the venue. However, before entrance time, many Dir en grey fans surrounded the place. Like Okayama, this venue is built compact, so we can anticipate vivacity. In this show, one would feel strongly of how Dir en grey considers the time between songs to be very important. During the time between songs, Kyo’s voice delay would disappear, and you can say that the superb timing from each song determines the live itself. The timing to begin Obscure’s SE after Kodoku ni shisu yueni kodoku was brilliant. As Die’s guitar sound continues to echo, in which timing does the SE begin…? This is possible through the communication and sensory link between the manipulators: Mr. Furuta and Dir en grey.

May 20th- Aomori Quarter

Stormy day. There was no space to have a tour goods booth in the venue, so as the winds were getting stronger, staffs outside had to hold on to the tent that was getting blown away (basically saying they had to sell tour goods outside). Even with the bad weather, fans were coming up to the booth seeking tour goods. Meanwhile, in the band member’s room (which is usually a fancy bar), preproduction for the next album was going on. The tour and music production were happening at the same time, and the members must have been very busy, but their source of power is the view they would see in a few minutes: the live and the audience. When the storm was finally over, the tour’s last regional date, the show in Aomori, began. During Dozing Green, smoke rose up, and it became a creature manipulated by Dir en grey’s music, which changed shape according to the 5 member’s movements and attached onto them. Near the end of the show, behind Kaoru, there was Die reaching his arms to play on Kaoru’s guitar. This was a rare scene that could only be seen in an extra time of encore.

*This date was Manager Inoue’s 36th birthday, and after RH (rehearsal?), birthday song filled up the venue. A cake was brought to Mr. Inoue who seemed somewhat surprised and embarrassed, and a small birthday celebration took place. We weren’t notified at this point, but after 4 shows later at Shinkiba Studio Coast, we celebrated birthdays of Mr. Tomochi (or Tsuchimochi?) who is in charge of flipside and Mr. Yoshida who is in charge of the manipulator. Dir en grey staff team has a lot of people born in May.

May 23rd- Yokohama Blitz

Before the show, Kaoru had a big package, and peeking into it, as we have touched about this topic during vol. 39, Nine Inch Nail’s new material had arrived. Looking happily and checking out what was inside, Kaoru could not help but be amazed by its splendor. During the summer of 2007, Nine Inch Nails and Dir en grey appeared together in the Ankkarock festival. Today’s set list included Shokubeni, Karasu, and with that flow, the nursery rhyme, Kagome appeared. Kyo almost weaves out the melody bringing fear and sadness. Lurking with eeriness, Kagome became a splendid introduction for Karasu. Nursery rhyme and Dir en grey does not seem to go together. Yet, the lyricist and composer are unknown, and this song has many stories due to its mysterious origin (one may check this up on Wikipedia or I can translate Dr. Nemunemu that actually talks about Kagome in the earlier Haiiro no ginka), which may actually link with Dir en grey’s world.

When looking around at fans calling encore, there was one man who left an impression where he held onto his head and looked dazed out.

May 24th- Yokohama Blitz

On the second date, it was unfortunately raining, which may had been signifying tsuyu(rain season) coming up. During Kigan, people were jumping up and down as it shook the floor and vibrated the walls that spread to the projector and the image on the backdrop with many kanji on the screen also swayed heavily. The audiences participated actively, and their action reflected back to the stage, making it a rare occurrence to watch. After the show, people were waiting at the cloak area where rain was pouring onto their heads just like earlier before the show started. However, was that wet and elusive shine emitted from rain or sweat…? These audiences covered the outside of Yokohama Blitz. Finally, the tour only has Shinkiba 3 Days left. What kind of growth would happen within these 3 days?

May 28th- Shinkiba Studio Coast

Today is the first day of Shinkiba Studio Coast 3 days. Shinkiba Studio Coast has a good sound, and at the rehearsal stage, the song and delay had a distinct echo, which was impressive. Before the show opening, we were called by Toshiya.

“I want to give my mic stand as a present for the newsletter (Haiiro no ginka).”

Toshiya’s mic stand has followed his moves and acted with one heart and mind as they shared joys and sorrows together, and next to his bass, it has been a sub-partner existence. It has flown high during The IIID Empire (ex: hide memorial summit) and received Toshiya’s shouts during Agitated Screams of Maggots. Such an important possession will become a present from Toshiya’s sincere courtesy (Please look at the application page [?????] for more information). Mr. Fujiki, the stage director and Manager Inoue could not hide their surprise when they heard Toshiya’s request. Even before the start of the show, this live was filled with air of hunger and crisis. The lights went out, the SE began from darkness, and the members appeared. The show began with this first voice:

“Tokyo??!!!”

Dozing Green began with a ground-shaking rhythm, and guitar riffs gushed out, making the place move along with the music. During Kodoku ni shisu, yueni kodoku, Kyo repeatedly kept saying “Love you,” and the entire place froze. “Love you, love you…” What is Kyo calling for…? These words are emotional yet, as they begin to lap over, they change into something lifeless. A mantra seemed to surround this space while the guitar painfully echoed, leaving an afterglow.

May29th- Shinkiba Studio Coast

As the show is about to start, the atmosphere of the venue began to change. Being the middle of the 3 days, the second day’s show was about to begin. Going downstairs towards the stage, the 5 members with intense ardor huddled up; it’s time. The first song was the new song, Glass Skin, and right after, Grief began. The set list had a smaller dynamic, and it had many medium heavy numbers. And as Kaoru expected, there was a different feeling and slight frustration that seemed strangely new. Due to this set up, Hydra 666 turned into a detonator. In real time, Kyo’s figure was shown through the special effect onto the backdrop, and it showed a subliminal world. Kyo got up onto the standing platform and raised both arms high in the air, and the audience responded by raising their arms, and screamed back “6! 6! 6! ” The 2 lapping figures of Kyo did not only make the audience, but the staff including the one doing the special effect impressed. It was indeed a stunning view. After finishing encore, Die had a clouded expression on his face, and he smashed the guitar head to the ground, stopped moving, and crouched on the floor for some time.

May 30th- Shinkiba Studio Coast

“It’s a fight between each one of you and me.”

The last day has arrived. In Dir en grey’s lives, cozy relationships cease to exist. It is better to say that the members’ and audiences’ life energies collide into each other. During Ryoujoku no Ame, Kyo began to scratch his chest as if something has awakened inside of himself; it is difficult to put in words, but this sense of atmosphere began to eat away the entire space. Kyo uses his body to propose the “meaning of life,” and the depth of these words to the audience. Dead tree sings about human’s frailty, and from Kyo’s wound, the oozing blood mixed with sweat, trickled down to his abdomen. Kyo released everything of himself into this moment without any lies or deceit. Following this, Karasu started with Shinya’s pulse-beating rhythm together with the resonating guitar sounds that make you imagine of amplified spots. The backdrop sometimes had cracks that looked like streaks of lightning. These cracks increased, and when the countless fissures covered up the eye, Kyo got up onto the standing platform and got seated in a kneeling position (Zen meditation), and looked up at the sky. This view was frightening, and it would make a person shiver. There were no use of explosives or weapons, but a sensory fear ran loose. We now witnessed how the 5 members had finally gone into “some territory.” After the show was over, Kyo still had blood and sweat dripping down from his left chest.

Death Over Blindness took place parallel to the music production, and in actuality, the band would have wanted to focus on their song composition as their feelings of weariness, pressure, and impatience are beyond our imagination. However, for the members who have been distant since the last show near the end of 2007, the existence of stage has allowed them to seriously take on the audience that has great meaning, and perhaps they have been able to get new stimulations. In September, the mother body (Dir en grey) would reach its trimester and you will be able to feel the new life’s (new album) heartbeat. From the day of the Glass Skin single release, Tour 08 – The Rose Trims Again will begin. Would the band be able to find a clue in this tour for their 7th album, Uroboros?

Gansonaki Kaoru-ya

How are you guys? This is Kaoru who is exhausted but full of high spirit.

Today (I began writing this on 8/11) at 8am, I finally finished recording my guitar part, and feel relieved… But we’re now onto mixing. We still need to work on synthesizer and some parts we need to record and replace, but we need to keep going because we seriously do not have any time. Five days later, we were no-where near finished with mixing…We might not make it. We slept over at the studio until the last day of mixing, and this time there was a feeling of being finished, but around noon… Koni-young’s Mac was acting strange and had to stop; we started this process again when there was only 18 hours left…

And 45 hours later, Die, Mr. Furuta, the director, and I went to NY for mastering. Until today, we have not been able to sleep for the last 2 weeks, and finished Uroboros. After we finished mastering and listened to the album from start to finish, my eyes became a little watery because all my memories of recording came back… We started making songs at the beginning of this year, and from March we got together, argued about the songs, tweaked them, and began preproduction. Around April, after the songs were ready, we recorded the rhythm parts, made another song and then another preproduction, and repeated that process. All the songs were ready just before July. After that, everyday was intense recording. This past month, I seriously have not gone outside. It was really tough near the end, but I give my appreciation to all the staff who worked very hard! Because of you guys, we were able to make the most insane album!

And if this Uroboros resonates in your heart, that would be great. This work is packed with Dir en grey sound that is not trendy or obsolete. I would like you guys to listen to it carefully, and I hope it becomes an important part of you.

For the people who have always watched us, For the people who have watched us, And for the people that will know us from now,

Here is Dir en grey.

Thank you everyone, I seem to have full of appreciation.

Now, let’s go drinking?!!

I bought a deluxe limited album from a catalogue. I hope it comes soon~.

Kyo's section (Announcement)

We are asking for questions. For the next vol. 41, “Happiness of nothing, the assembled neck” will have Kyo answer to fan’s questions. Please have your fan club number and name (or nickname), write your question down, and send it to “Haiiro no ginka vol. 40 Kyo e no shitsumon.” The deadline is 9/30th.

Music Clip Shooting of Glass Skin

Raining season is near the end, and while the moist air covers the cloudy sky on this day of July, somewhere in Tokyo, the shooting for Glass Skin has begun. Last time for Dozing Green, many screens were set up at the shooting location, but this time, everything was done in the studio. Everything became CG footage, and there were no props or big sets; there was only blue screen that would process the image composition. This was not at a far location and the traveling time was short, but being in the same place for hours, it was a battle against the gradual tiring air circulating and barren background.

While Shinya’s drum set was getting set up, the staff team began to wrap white tape onto the silver parts of the frame of the drums. The basic color of this drum is white, the same with the bass and the surface of the snare that has no problem, but all the frameworks supporting the set is silver. Silver colors is like a mirror, and without taping, when you shoot the drum set, the blue will reflect and make the drum set look like it’s floating. All the artists who use a blue screen do this procedure, but for Visual Trap (Production Company) the amount of work they do is top notch for Dir en grey.

After 12pm, the members arrived. This shooting took place in the midst of their music production when they worked every day until early in the morning. We asked Die who was smoking at the lobby about how they were doing and he mumbled, “My hard disk memory inside my head is so full.” The five member’s desire for the extreme must have brought this suffering…

In the member’s room, Mr. Ohno who is in charge of costumes and Kaoru were discussing what he should wear. Mr. Yamaguchi who is in charge of make-up was observing the two and made a remark. “You look like a cool, modern-looking vagabond Tora-san!” (note: Tora-san is the main character from the Otoko wa Tsuraiyo series) Kaoru’s fashion was coordinated innovatively wearing everything black with black-framed glasses and sandals. Kaoru was trying on a hat, but in the end, he gave up wearing the hat and sandals, and wore his usual black boots and headed for the studio.

1:30pm Shooting began. Kaoru was first, and a total of 6 cameras were set up left, right, up and down in the middle area in rows. First, the camera shot the member from the front. Because we were using blue screen the entire time, there weren’t anything striking about these photos, and the changes that happened during this shooting were difficult to express. However, using multiple cameras, changing camera angles and positions, and shooting various patterns would definitely result into low-key efforts and long hours. How were these shootings and procedures going to be compounded? After the first shoot, the staff began to composite the shots with the CG they had prepared beforehand. Many staff and Kaoru surrounded Mr. Kondo, the director, and waited nervously. Then, behind Kaoru, the background had a world of white painting spreading before their eyes. Even though this was a rough image, one cannot be amazed by its high quality, and the daily evolution of CG images.

3:00pm Kaoru ->Die have finished and next was Toshiya’s turn. There was something different about Toshiya’s bass. The bass’ body was tattered up, and it was finished with a posh taste and looked like an aged vintage. The band members and staff all focused their attention the bass’ “broken” qualities. While the shooting continued, the taping for the drum set continued. The drum appeared as if everything was white all along. The schedule started to delay due to the adjustments of blue screen and the shoot, and various takes even though there was no actual moving of location.

4:30pm Kyo’s shooting began where his top part of the body was bare, and he wore a purple adidas jersey that had yellow stripes. This time, Kyo did not have a clip where he sings. This time, all 5 members did not shoot together, and they only had separate shootings. Kyo’s shooting was slightly different as he moved his body slowly along with the music you could barely hear. He tried looking up and down, spread his legs, and covered his face with his hands, and expressed himself through body language. At times, when there was the music playing in the studio, you could only hear Mr. Kondo’s direction.

After taping for 5 hours, Shinya’s drum set was finally ready, and it was set up at the blue screen. Checking the monitor, there were some parts that were still silver, and needed adjustments. For complete CG, this detailed work is extremely important. Afterwards, the music video shooting went on by positioning the camera, moving them, and shooting various shots. Each time, it was checked under the monitor for different angles and adjusted them. Mr. Kondo and the staff continued to check whether it was “all right or not” as the angle of the reflecting board (white board) could change the way the shot look. They even used a rotating platform to shoot the band members 360 degrees.

The date had changed and the time was now three in the morning as the grasses and trees were asleep. A thick clear acrylic board was laid down and the drum was being set up. Why a clear acrylic board? This is because we can shoot from beneath. Underneath the acrylic board, a rail was set up so that a pulley would move forward. No shoes were allowed on the acrylic board because although it’s thick, you can see through what’s beneath, that may make one cringe. The band members were amazed by the intricate structure of the acrylic board setting. Seeing the band member’s shoe sole was rather strange… Everyone began to finish one after another. Each time there was a loud applause from the site. Simultaneously, the drum set was getting broken down. All the taping neatly wrapped was getting ripped off. Last was Kyo who sat on top of a boxed cart to shoot him in a perched position, but on top of the acrylic board, he did not use the cart. In order to look like he is sitting on something, subtle leg opening and angle became important. Everyone stopped what they were doing and watched this shooting.

“Okay, that’s a wrap!”

After Mr. Kondo’s approval, the shooting finished. The clock’s needle now points near four in the morning. All the members were getting sleepy due to the long hours of music video shooting and music production. Outside, gusty rain was hitting the concrete ground. There was no time to remember about the shoot as the band members got into the bus and went off. After the main characters were gone from the studio, the staff quickly broke down their equipments.

As for the music video, what kind of image would lapse over their movements? Later on, the footage that was shot today combined with CG would be checked many times and be finished. We yearn for the entire picture. Making of Artistic Photography- Glass Skin

While shooting a music video for Glass Skin, near the studio’s elevator hall, preparation for Glass Skin’s photo shoot began. Ms. Ogata was our camera(wo)man. Her photos maintained a fragile part, a characteristic particular to females, and had a wild manly texture, which established a good reputation from the band members. The elevator hall used to be a normal place to stock big props and equipments for the studio. However, once everything was removed and the concrete floor was exposed and was ready for shooting, it became a lifeless space with roughness, which was extremely off the hook.

The shooting was in the order of Kaoru->Die->Toshiya->Shinya->Kyo. Of course, while the solo photo shooting took place, other members had to be in the next studio and work on the music video concurrently. Die changed his ambient atmosphere from the music video, and tied his hair back, and his exposed skin and expression stirred up even more sharpness. Kyo was shot standing, but he also took shots on a crouching position. His hat and sunglass made a good shadow, and his tattoo on his body stood out from darkness. All five members’ personalities were brought out, an austere elegance ran, and the photos were turning out well. After finishing solo shots, group shots began. Since this place was usually for a transportation company, if one was off from their position, the warning lamp would go on. When this went on, you couldn’t stop the red light reflecting into the photo. Everyone including the staff was careful not to go near the sensor. The width of the space was narrow, and it was difficult to decide on the best alignment for the 5 members. “A little up. A little to the right. Good, good, good…” Ms. Ogata instructed the assistant with the hand-held light. This place had a situation to adjust lighting and shadow, but it turned out to be a good work with atmosphere.

The photo shoot finished and everyone surrounded Ms. Ogata’s computer. The member and staff were looking with intense concentration. A few minutes later, everyone gave an approving look and the artist photography session ended. The photos shot on this day was given to the staff immediately, and later on, after the members looked over, the photos released right now were decided.

Die – Meisho de meishu

Rider – Yukinobu Hasegawa (Interviewer) Chef – Hideaki Shimada *note: I’m not sure whether I got their first names correct.

I got a call from Die during the middle of July when he must have been busy with recording. He asked me for my free days; he is a guy with adult’s manner. But you’re the one who is busy. So, we were able to meet at the end of July. The place was at a bar restaurant where Die went to eat frequently. This place was popular with stocks of many shochu (Japanese vodka) all over from Japan, and appetizers made by the young shopkeeper. Today, we ordered salad, special crab-cream croquette, and a soft fried burdock root as our appetizers, and while we relaxed, we began drinking.

Hasegawa: Wow, it’s been a while.

Die: That’s true. I think it’s important to have this time sometimes. This place has good food. Have you ever been here?

Hasegawa: I have. In the end, there was one musician and mentor who slept on top of the table (laugh).

Die: This place is changing into a hang-out place. This place is so good~.

Hasegawa: But please drink 5% alcohol. I’m not letting you drink the 20% just yet. Well, cheers, Renaissance.

Die: What’s that (laugh)?

Hasegawa:This is Hige-danshaku’s (Japanese comedians) signature phrase. But you haven’t been drinking because of recording right?

Die: I would go home and have one drink. I’ve been in the studio for a long time.

Hasegawa: You had a tour in May, but did you spend the other hours on production?

Die: No, I took a break in January and February. I didn’t do anything music-related on January. From February I was in a music-making mode, so I didn’t go outside of home. I only went out drinking twice a month.

Hasegawa: Song-making pressures you and forces you to develop ideas, so in a way, it becomes a battle against stress right?

Die: Yeah, you don’t know whether it’s good or bad. And you become concerned with something so detailed. Once you distance yourself from a song and listen again, it’s like what is this. Why did I spend so much time with this? Besides, it’s not good (laugh). Song-making is nothing but “against oneself.”

Hasegawa: Did you have good ideas around February?

Die: Rather than idea, I had sounds I wanted to make. I would play the guitar with that thought, but if you make songs with this mentality, it’s not that good.

Hasegawa: Oh, so you would have a goal, and it would only move forward in that direction, and nothing else comes up?

Die: If you try to actualize your idea, it becomes something you can find anywhere (laugh). When I’m playing around with my guitar and think I have a good phrase, I try to put that in. Then I begin to develop from there. If I do it this way, it’s easier to evolve in a good way. Imagining beforehand would make ideas fixed.

Hasegawa: You yearn for unpredictability?

Die: Yes, yes.

Hasegawa: When you have a fixed imagination, you would lose interest in your own work, but if you play guitar without any fixed ideas, do you come up with ideas beyond your imagination?

Die: Yes, yes, if I don’t pre-determine and play randomly, there’s a catalyst born in that moment. There may be 2 sounds, but if you put on an effect, they would sound interesting too. You can make that kind of idea. But where you’re recording, there are too many possibilities, and it’s difficult to decide. You can do it this way or that way, and want to try all of them, but in reality, you don’t have any time. There would be new sound by tuning your guitar differently, distorting acoustic guitar sounds, and think of those ways. At this point, the recordings for drums has finished, but there are so many songs that need decision on arranging or tone, so I’m thinking, for this song here, for that song there, and my mind is scattered everywhere. Every day, I’m always in this situation. It’s probably impossible for me to try out everything during this recording period.

Hasegawa: “It’s probably impossible?” (laugh) But if you try to do everything, you won’t be able to finish your work.

Die: A person once said that you need common sense to decide. It’s important to have this common sense and be able to say this is it and choose quickly.

Hasegawa: It’s nice to take time to create your work, but a work should be exposed to people’s eyes and ears or it won’t provide any significance of existence. Then, the listener’s feelings would be injected and have a new life born again.

Die: For significance of existence, the songs need to be performed live. So after making a song, I think the recording to completion shouldn’t take too long. We would get bored of it (laugh). The songs would become something without any stimulation (laugh).

Hasegawa: Even if the actual people (band) would get bored, we (listeners) wouldn’t be, and not even have the chance to hear it (laugh).

Die: Well, that’s true.

Hasegawa: I think it’s actually better to have deadlines.

Die: Because of deadlines we’re able to exert our power as if we’re at a fire site (laugh) [note: basically saying one can exert their full potential at desperate moments]. For The Marrow of a Bone, we mixed for 36 hours continuously. We kept listening, and we couldn’t make decisions. That was not good. You should decide after listening with rested ears, so I want to avoid mixing for 36 hours straight.

Hasegawa: Engineer overseas record orderly and they never work overtime right. I think they work that way so that they make the right decisions.

Die: That’s partially true. But with Japan, it’s not just with music; there is a cultural aspect for Japanese to work hard. There’s diligence. For people overseas, I think that’s impractical. I think they’re more like we’re done today so let’s party kind of a rouse.

Hasegawa: Are you half-way through your work right now?

Die: No, I’m finished with 90% of guitar packing. I’m using a re-amp method, so I’m recording my parts as much as I can, and then use another time to create sounds. I still have a lot of that left. So even if I finished recording my parts, I’m not done and I actually have more work to do.

Hasegawa: Impressions of sounds change with tone too.

Die: Yes, yes. I’m just putting in the raw materials now. But I think this is a good way to be able to create sounds later. You can decide on the tone after all the guitar phrases are put in.

Hasegawa: If you don’t re-amp, all the recorded sounds remain in the audio source.

Die: In that case, when a different guitar tone comes in after the first guitar part, the phrase you want people to hear recedes back. You won’t have that kind of problem with re-amp.

Hasegawa: You definitely have intricate phrases for this one too right?

Die: Yeah, I’m building them up. I always wonder whether this recording will ever end. I’m in an opposite mode from last year when it was all touring. It’s hot summer right now, but without any sunlight, having air conditioner full blast at the recording studio, I’ve immersed myself in there. After we finish the album, we’re finally going outside.

Hasegawa: With this weather, your skin is fair like Sonoko Suzuki. What are you some skin-lightening researcher (laugh)?

Die: Yeah (laugh). I haven’t been in the sunlight. The only time I feel the hot weather is for a few minutes when I go outside of my home to when I go inside the car. When I go inside the studio, I need to wear a jacket because it’s so cold.

Hasegawa: Everyone must be jittery. Are you guys pretty tense?

Die: Not really. There’s Mr. Konishi, our engineer, who isn’t like that, and it’s easy to tell from his mood. Rather, he makes these small-time jokes. Nothing but oyaji jokes (note: Oyaji refers to older men in their 40s and up; although it varies from people’s perception).

Hasegawa: Then please tell us one of those jokes.

Die: I’m not oyaji. They’re Mr. Konishi’s oyaji jokes too (laugh). Anyways, I don’t feel too stressed.

Hasegawa: Maybe your experience with long tours overseas changed your mindset?

Die: No, that and recording are totally different. Our staffs say that when we go overseas, our personalities change. When we return from overseas, we’ve become American-like or so. I have no idea what exactly changed though (laugh).

Hasegawa: I think you guys aren’t too uptight anymore. Years ago, you guys had this presence that wouldn’t make people go near you. When you guys are on tour and recording, I think your private life becomes tense, and it’s hard to talk to you lightheartedly.

Die: Oh, I guess we do have that kind of change. We did shows with different circumstances and locations last year. We didn’t have any leeway, but we couldn’t be tense all the time. Once we go up on stage, then it’s all right to act that way. We should take a bigger stance.

Hasegawa: I think you’ve changed when you’re on stage too. Before, you were stoic, and only the people who understood you figured out what you guys tried to do, but they would not raise their voice with excitement; they just kept to themselves.

Die: Yeah, I think there was that kind of feeling.

Hasegawa: Now you guys are aggressive and make assertions. You stir up the fans too. That way, people watching you guys can jump into your shows.

Die: I think last year made a huge impact on us. With the number of lives and situations; we had 3 domestic tours, 2 US tours, and 2 European tours, and went on a total of 7 tours. With the US, we had a headlining tour and a supporting-act tour with Deftones. Headlining tour allows you to have your own space, but with support, you’re touring along with Deftones, so there was a team effort involved. At first we were unable to fit in. A lot of American staffs told us stuff. “Why do you do stage shows like that? It’s not appealing.” Stuff like that. For them, having an appealing element is important. “Why aren’t you trying to attract the audience whey you guys are an opening act?” But we’re not that type of band. We’ve been doing our way of stage and because of that we are who we are now. And then they (American staff, etc) would say, “No, that’s not what I mean. Don’t you guys have any MC?” Or “You only look down when you play your guitar; you’re not stirring up the audience at all.” People told these things to us the entire time. We had a discussion within the band, and rather than having any conclusion, each of us changed naturally. Our shows were completely different when you compare the beginning and the end of the Deftones tour.

Hasegawa: That’s not an experience everyone has. It must have influenced you in some ways?

Die: I think we need to have a bigger view. Not “as Japanese” or “because we’re Japanese,” but be who we are no matter where we go.

Hasegawa: By having this experience, you no longer have any adoration for overseas, and you don’t have any border lines right?

Die: Is it? I want to be able to show our stage and communicate in English when I go there.

Hasegawa: Did confidence root in to you unconsciously?

Die: Well~ not really confidence. The mode is different for song-making and recording. I constantly have a sense of “this is seriously not good” when I can’t come up with anything.

Hasegawa: How do you overcome self-resentment?

Die: You have to look at yourself broadly. When you look with a bigger view, some things become trivial. If you feel negative about yourself, it’s a small matter. If you think about life, you want to have a good one. In life, negativity is merely a page. It’s all right to have that page within life. In the end, you should be able to think, “I had a good life” before you die. This age and this time are trifling matters. There’s no need to feel extremely distressed. So if you look at yourself in a broad perspective, then it’s really nothing urgent. But you need to work hard moment to moment, or else you won’t be able to have good life ultimately.

Hasegawa: That’s life philosophy right there. By the way Die-chan, you lost weight. Why?

Die: From this year up to the tour on May, I wanted to have a strenuous time over something. I wanted to do something I determined until I got up on stage. I wanted to be on stage after feeling pressured.

Hasegawa: Sort of like a votive?

Die: Yep. It could have been anything, but I kind of decided of getting rid of all my body fat (laugh).

Hasegawa: Why did you want to pressure yourself?

Die: Last year it was good to have many shows, but when we weren’t doing shows, we became really slack. I felt like being on stage was a given, but I knew that was not the way to think. There should be more depth for each live, each time we get up on stage. So I needed to pressure myself so that I motivate myself to make me yearn to go on stage. I actually wanted to improve my English, and that would have been better, but I’ll start on that once I finish making the album. So I really didn’t need to lose weight (laugh). I’ve witnessed the extreme too. I calculated calories, so during April, I didn’t eat any rice, but you really need sugar for your brain to work. I guess for Japanese, rice is necessary.

Hasegawa: You sound like Hadaka no taisho (note: Originally refers to Kiyoshi Yamashita, a painter. Film and drama series were made based on his life) saying you like to eat rice balls (laugh).

Die: It’s true though. But when you write US in Japanese characters it’s ?? (“rice” and “country”). Why is their main food bread (laugh)? Isn’t it the country of rice?

Hasegawa: If you complain like that I think many bands would envy you.

Die: Would they? Lately many bands go overseas expectedly. But there aren’t too many people who witnessed the actual site. It’s really different from your imagination; we’ve received direct reactions. People would throw stuff at you and I think, “Wow, after doing this many lives we’re still not good enough.” People would throw crushed beer cans with ends sharpened, which fly into our stage, and we once had rocks thrown at us too. That was the time when we were at festivals. It was like that 2 years ago when we attended Rock am Ring where Korn, Deftones, and Guns and Roses were on the same stage. If we would try a medium-tempo song, a lot of stuff would get thrown onto the stage. And it was the World Cup period so these small soccer balls flew in (laugh). You can throw as many as you want; it won’t hurt or scratch me (laugh). When you’re with bands that have travelled around the world, there are many reactions. So you shouldn’t be swayed just because you toured once or twice in the US and Europe.

Hasegawa: Ah, so you shouldn’t call yourself to be “going international” at this level?

Die: I wouldn’t really call it “going international” though (laugh). But I think that experience is very interesting. When you’re shot down, it actually becomes a motivation. This happened when we’ve been together for 10 years, so it felt like we can climb further together as a band.

Hasegawa: You had this ridiculous amount of energy emerging like you did back in your debut?

Die: Yep, yep. You’re able to go without having any fear. I think that’s really important. You record, release an album, and go on tour; when this becomes a rotation, it’s difficult to maintain motivation. Your passion begins to disappear. You begin to wonder whether it’s right to repeat this process every year. We were about to go into that phase, but were given a place to feel inspiration, and the band was able to solidify again. I think 2006 to 2007 was really energetic. We also were able to accomplish many things. You need to have rough times.

Hasegawa: Once you finish recording that would start again?

Die: Yes. The album after the one we’re making now is going to be way ahead. I think this means we’ll be doing a lot of shows. It’s coming up.

Hasegawa: How are you like when you’re on stage?

Die: I can’t understand myself either; when I’m doing a live, I become so energized. I think that’s really natural for me. I want to play guitar in high spirits to the point where I’m about to lose control. I don’t want to be calm on stage. From the beginning, I want to feel carried away. I want to listen what’s around me and get on top, and lose control; this is what I enjoy these days.

Hasegawa: You awaken from your own sounds?

Die: Yes, yes.

Hasegawa: Did your votive bring changes during your tour in May?

Die: It was completely different. I felt joy to be able to go up on stage. It’s been a while since I felt that way. It actually felt refreshing.

Hasegawa: Did your aesthesia sharpen?

Die: I guess so. And I also had this feeling of “I’m at my place.” There’s the audience, the SE begins, and once I was at my position, I felt like “This is the atmosphere. I’m finally here.” But then, a fan said, “Die-san you look languished; and sent sugar rice (note: snack?) to me as a present (laugh). I’m fine you know. .. Well, shouldn’t we start drinking the issho bottle (note: This is a glass bottle measurement. It’s equivalent to 1.8 liters/.476 gallons)? Let’s drink Kirishima.

You’re finally drinking Kirishima Die-chan? And you’re drinking it rock too. You’re drinking shochu like water, and the issho bottle is about to be empty. We’ve been drinking and being drunk for three and a half hours. You said you were all right, but I don’t think that’s the case. He (Die) kept shaking my hands and I thought my fingerprints were going to disappear. Afterwards, I left the restaurant.

Dr. Nemunemu no Daigyakusyu

This month’s Dr. Nemunemu has begun. Right now, I’m in the midst of recording the new album. One day, our studio was very close to Tokyo tower. Dr. Nemunemu visited Tokyo tower when he was 9 years old when he went on a family vacation; that was the first time. Later on, when he was 18, he went there for some magazine series. As people who live near Mount Fuji never climb the mountain, when you live in Tokyo, you don’t want to go to Tokyo tower. However, Tokyo tower has Noppon, mascot characters that have two brothers. They are twin brothers where the older brother wears a blue clothes and the younger one wears red clothes; and the older brother is showing very good character. I would like to quote from Tokyo tower’s message board how this character is.

I went to Disneyland. Many characters were popular. Will Noppon plan to join them in the future?

Noppon: If the charismatic mouse pleads me to join, I will.

Last week, I went to Tokyo tower for my birthday by myself. I was happy to see the older Noppon brother doing a celebration dance. I think I’ll come again alone next year. Older Noppon brother, thank you!

Noppon: Bring someone along with you next year…

So, this older Noppon brother makes these comments that are unlikely of an official Tokyo tower mascot.

Dr. Nemunemu was intrigued by Noppon for a while, so as a topic for my corner, I decided to search for Noppon. I first decided to buy tickets to go to the observatory, but since it was a Sunday, there was a long line. My high spirit fell immediately. I was about to leave when I could care less about Noppon until I saw this poster.

You can actually visit Noppon if you go to Foot town on the first floor. I decided to go there right away, and there he was! The younger Noppon brother! I didn’t expect to find him so easily, and I thought this would end my corner quickly this time, and began to look for older Noppon brother. However, he is nowhere to be found. I asked the person at the information center, but they didn’t know where he was. We looked for him on the other floors of Foot town. He is not found. The staff cameraman K-san had a laptop, so I asked him to go online and go into Tokyo tower’s message board and typed in, “We came here just to see you Noppon. Where are you?”

We waited for a while, but no response. Older Noppon brother is just as I expected. He ignored us.

While we were searching, on the fourth floor, I found a trick art gallery. Dr. Nemunemu loves trick art, so he went inside. Then, I found older Noppon brother!

When I looked closer, it was a trick art painted on the wall. I was tricked. But the trick art gallery was too small, and this was not enough. I need to go to a bigger gallery or else I won’t be satisfied.

Calming myself, I returned to the first floor of Foot town and thought that I needed to come back here and search for the older brother. In the end, I took a purikura (small photo stickers) that has Noppon inside the frame. As I was taking this photo by myself, outside the curtain, K-san was yelling, “The blue one is here!” I thought to myself, “really?” And when I went outside, the older Noppon brother appeared! He’s wearing weird clothes too.

I was glad to see the Noppon brothers.

Now, I would like to give my purikura to one person as a present. If you want it, please write your member number, address, name, age, phone number, and impression on Dr. Nemunemu’s Daigyakushyu corner (longer writings are advantageous), and send it to 106-0032 Tokyo-to Minato-ku Roppongi 4-8-6 Pacific Capital Plaza Building 6F ?aknot?Nemunemu present?. Last winner was No. 18355 Fumi Noguchi-san. Congratulations.

Dr. Nemunemu was not convinced with the size of the trick art gallery, so the next day, he went to a trick art gallery that was known for having may works; and headed for Takaoyama Trick Art Museum. I was very satisfied because there were so many works.

Satisfied, Nemunemu corner will now end. Let us meet again if we have a chance. Good-bye.

Aibiki no Mori

How are you? The newsletters proceed quickly, and we have released our 40th volume. Time indeed passes very quickly. And our 7th album Uroboros will be finished!! I want everyone to listen to this sound soon. I want as many people to listen to it. I am looking forward to it. Also, our tour will begin! This time, we will visit places we have never gone before, so I’m looking forward to them. I am willing to go to places where I’ve never been before. I want more people to watch our shows. We’ll be heading to the US and go into training! It’s intense, but there must be many things to gain. And once I digest everything, I would like to head to Osaka-jo Hall at the end of the year. I’m thinking to end 2008 in a great way. Thank you!!

#haiiro no ginka

0 notes

thepriceofbeingaroseisloneliness · 4 years ago

Text

KAORU PERSONAL INTERVIEW SPECIAL HEADBANG VOL.27 TRANSLATION ½

The ideal figure that the guitarist who leads the band as a leader got while struggling, and the reason for his unstoppable pursuit. “When we released "CLEVER SLEAZOID", we were still chasing an ideal, and I think we didn’t reach it. We didn’t, but I feel that pursuing how we could do that, the power at that time, remains in it as something that could be only be produced at that moment. If you look at it now, I think it’s connected to reality”

Notes before reading: This is the first part of the personal interview of Kaoru from the magazine Headbang Vol.27 released on 18th August 2020. The interview is 11 pages long and this part covers the first 6 pages. As Toshiya and Die’s interviews, 2nd part is focused on his roots as a guitarist and overseas experience. You can read Toshiya’s personal interview here You can read Die’s personal interview here

You can get the magazine at Amazon Japan or CDJapan.

Feel free to correct me if you spot any mistake or any confusing parts.

Links or credits to this post when the content is reposted or captured in other SNS is appreciated :) -------- Text by: Yohsuke Hayakawa The first to appear in this magazine is Kaoru, the guitarist who is also the composer of the latest single "Ochita koto ga aru sora”. Starting with the process of making the single, leading up to the completion of this new song, the days of struggling to pursue the ideal sound, the originality that they got from that, and the current band that has not changed from the past intense days. What I saw on him was, the figure of a stoic leader who bet on Dir en grey possibilities and devoted himself to it. Also in the latter half of the interview with the theme of “Albums that inspired you”, he did not only talk about X Japan and national legendary bands that changed his life, but he also talked enthusiastically about the unknown world that he learnt from Hide and Tsuyoshi Nagabuchi, who he is a fan of. “I think there is something that can be challenged now” -First of all, I would like to ask you about the corona outbreak we are currently in, but it was impressive when you, with your own words, announced on SNS a live without audience ‘The World You Live In” that was held in March with the message of "it’s not the things that we can do now , it’s the things that only can be done now”. I thought the movements of DIR EN GREY with these rare activities and projects that entertained fans were summarized in those words. K: Well, that's right. There are things that can be done in the current limited situation, things that we wouldn't normally do, things that we didn't come to, and things that we can challenge now. There were quite a few things that were more like "Let's do it". Regarding lives without audience, we don’t know how long this situation will keep going on but, under these circumstances, it wasn't that much at that point in time for us to perform live. We thought it would be a plus for what we are expressing and what we are going to express in the future. Also, we tried to do it in a moment in which you could feel something. -Including the streaming that came after that, I think there are many people who felt closer to DIR EN GREY. In particular, the livestream of talk between members (DIR EN GREY LIVE ARCHIVE & SPECIAL TALK) is a project that you wouldn’t had think of before, isn’t it? K: (laughs) We don't usually talk much. -(Laughs) Moreover, I thought that it was only now that we could see an appearance of the combination of Kaoru and Shinya acting ‘as usual’. K: Well, that's right (laughs). -Is that something that you could do now, 23 years after your formation as band? K: No (laughs), the main reason is to do it is the situation right now. If this weren't the case, I think the idea wouldn’t even come up. Normally there are live performances, so I'd like people to feel it there, but we can't do that now. Well, it’s just to entertain the fans, but after all we thought it would be nice if they could feel something similar to that, feeling excited by our presence. -I see. So, regarding the status of the announced the Pia Arena MM performances for the tour final "The Insulated World -The Screams of Alienation-" in July, you probably were thinking about what do to about them until the very last minute. K: That's right. It was decided a few days before the announcement that the lives were canceled. Of course, we also made a set list, and the production side was also moving. The entirely staff were informed, and everything was working. I actually went to the venue and talked about how it would be possible to hold the lives in these conditions. However, there may be some people who couldn’t come no matter how much they tried to. There was also the risk of not knowing if you can do it until you start it. -I think it was canceled after assuming the kind of live performance that was possible to be held, but it was a really tough decision. K: Well, it couldn’t be helped. -Oh, in a nutshell. K: Yes, it couldn’t be helped, it couldn’t be helped. What we could do following the rules (the government guidelines) is the reason we couldn't do it. Tickets were sold in advance through the fanclub, but in fact, with the spreading of Corona on the way it already had a significant impact on sales. -Oh, that was what happened? K: Yes. So, in response to that, we even came up with the idea that all the arena would have seats not only the designed areas. We could do that by reducing the capacity in order to keep a social distance. That way, we also thought that we might be able to do it. However, there may still be some people who wouldn’t be able to come, and moreover, there were a lot of things that we couldn’t do in both days. Well, it was a half-way point situation. Therefore, there is no choice but when the situation calms down, to relocate the dates. -Under such circumstances, you said you were producing the single in parallel. K: Yes, we were planning to release it around the Pia Arena performances, so we have been working on it for some time. -And “Ochita koto ga aru sora” was completed. The original melody was composed by you but, the title was announced in May. I wondered if it was going to be a song that brings melancholic elements to the forefront. I was trying to imagine it. K: (Laughs) Ah, the atmosphere of the title. -Yes. The sound that we actually got is bursting with DIR EN GREY-ish aggression that explodes from the beginning including a grooved dragging guitar riff. So, to put it into words, I had the impression the style of DIR EN GREY was contained in a "super condensed" form. It's used in a kind of luxurious way, with the melody refrain being minimal by scraping off the excess. K: That’s right. This shape (final song) is like, we were really worried about it and it felt like it just got here. Along the way, there were elements that would make things more exciting, more piercing. There was more development. However, we made it in that way, but I felt like “Well, I’m tired of it” (laughs). -Hahaha. K: Rather, it doesn’t seem as interesting as usual. This is really…. words may not match…it’s somehow Japanese. I wasn’t satisfied with anything, so it felt more like I was speaking out my mind (laughs) I scraped it off though. -The reason why the song became very condensed is that all the members were looking in the same direction. K: Well, I don't know that. However, as my method, I don’t really decide (the direction) at the beginning. If you do that, the result will be in that shape and I prefer to explore the possibilities. Besides, because I don’t know if the rhythm really matches the melody or if the back-melody matches, there are many things to think about, so I don't want to decide at the beginning. Under such circumstances, I didn’t know what to do in the end. Well, I settled on something that someone said, or something that inspired me, but it was hard to get to the point where I could see it.- -As a result, I feel that the single became very DIR EN GREY-like. K: Yes, that’s right. I was working on it while thinking that there was that “likeness”

-Did you imagine the development of this single with an impressive melody popping out even though it’s aggressive? I wonder if something like this come out naturally.

K: No. I didn’t really imagine that. Even if I try to imagine, there are things that I can’t imagine at all.

-So, how does the completed form of this song look to you?

K: This time I was arranging it all the time based on the data of the tentative/provisional songs recorded at the beginning. So, with that, it was almost brought to this finished form. From that point on, Kyo sang again several times and changed it slightly but along with the melody from the beginning, it was made with that flow. However, there were setlists that each member made during this time, right? (”DIR EN GREY AUDIO LIVE STREAM 5 DAYS" that was broadcasted on YouTube in May). As you could see there, there are various DIR EN GREY, right? On the other hand, I feel that whatever we do, it will probably feel like DIRENGREY-ish.

-Something that can be hidden anymore. There is something that oozes out.

K: Well, very much, as far as you don’t do something different. I was too worried. When I told the members that I didn’t know what to do, I was told ‘You don’t have to think so much about, right?”, so I was like ‘is that so?’. In the end, the song turned out like this (laughs).

“At that time, I kept struggling to find out how to get closer to the sound I envisioned.”

-Oh, that’s what they told you. As for the form of songwriting, you work remotely regardless of the corona, right?

K: Yes, that’s always the way. So, nothing was different than usual for us.

-The change was that you couldn’t go outside between work time.

K: That’s right. I was concentrated on it all the time.

-Always? (laughs) Then, in that situation, that a member told you to not think about too much, did those words make it easier for you?

K: Well, you can open yourself to new options like “well let’s do it this way a little more”. However, it’s something that I do all the time. Year after after, it’s not finished.

-It will take some time to complete the song.

K: It takes some time. After all, if it doesn’t become something interesting, I feel like what should I do. It takes time to move from the first stage, the members listening to it and go to the “let’s do this”.

-What’s that next step?

K: Listen to the demo songs together and decide to try one from the songs that are there.I think it’s necessary to put a song and drop the world view and the atmosphere of the song clearly at some point, but it takes a long time to get there.

-I think it’s difficult to express this stage in words, but it’s the key to make songs.

K: Yes, it’s quite difficult.

-However, this is also one of the traits of DIR EN GREY but, the chorus that enters at the key points is burning with passion. It seems like it’s going to look good live.

K: As I said before, Kyo is the one who puts the chorus, so it’s normal than the rest don’t know where the chorus is until we record it.

-It doesn’t matter how the guitar riff is going…

K: Yes. It doesn’t matter. That’s why we have to practice all the time during the rehearsal before the live performance. I’m the type of person who can’t do different things at the same time, so I skip it quite a bit (laughs)

-Hahaha. You leave it to the other two (Die and Toshiya)

K: Yes (laughs).

-Then there is another retake of the song “Clever Sleazoid”. What made you pick this song again?

K: He said that he wanted to translate the lyrics into Japanese. Kyo said something like he wanted to try it because the lyrics from the original song changed. It was like, “Well, let’s try to do it”.

-Then, how about the completed form after re-recording?

K: Well, it was already released once, so I don’t really care about it(laughs) Some people liked the original, others will like the new version. Except for the lyrics, the tempo is a bit faster but overall, it hasn’t changed much.

-Originally, this song was released in 2005, but when you look back on DIR EN GREY at that time, what do you think is very different from the present of the band?

K: I would say that there is a solid feeling now. Rather than trying to catch up with anything, I think we are proceeding in a somehow calm manner. The same applies to the stage. It was 15 years ago, so we were young….it was like an apprenticeship, now we are old men, that’s what different from that time.

-What do you remember pursuing at that time?

K: At that time, I was struggling to get closer to the sound I was envisioning.

-Do you mean that you haven’t been able to achieve what you were looking for?

K: Yes. It’s the same with the songs. I was thinking about the sound aspect every, like “How can I make a powerful heavy sound” every day.

-Was that a personal thing?

K: It was for the band as well, I often talked to the members about the kind of sound I wanted to do at that time for the CDs but also for the lives as well, I wondered how could I do it. But at that time, I was struggling to understand it like, “I haven’t achieved it, but I can only show the power of pursuing it while looking for the way to reach it”.

“I haven't reached it, I can only show the pursuit and power of" how can I do it?"

-Did you see anything regarding that aspect when you started going overseas?

K: No, what I thought when we started going abroad was the importance of being ourselves. I wonder if that would be the most powerful thing. So, around 2005, I felt like I was still chasing my ideals. Like a way that I could I express them in this way. But since we went abroad… and I started to notice that being ourselves was the best more and more….. how could I say it?,..it seems that the destinations we were looking at have been pinpointed all the time. It’s not about how to do it, if we could express what was in ourselves more and more, we would change it to the consciousness that would create that kind of sound.

-That means, for example, that when you released “CLEVER SLEAZOID”, looking back, you hadn’t reached that point that you are talking about yet.

K: I think we didn’t reach it. We didn’t but I feel that pursuing how we could do that, the power at that time, remains in it as something that could be only be produced at that moment.

-True. It emits an unbelievable power and it was a proof of that struggle.

K: Yes. If I look at it now, I wonder if that it’s linked to its originality.

-Surely. After that it connected with THE MARROW OF A BONE (2007). Around that album, did you feel like you obtained that you were looking for?

K: Well, I think I did, but still at that time, I was wondering how I could do it. So I think it’s only recently that I’m thinking in this way.

-Ah, recently?

K: Yes, about “DUM” (DUM SPIRO SPERO, released in 2011). But “DUM” isn’t recent either (laughs)

-Hahaha you noticed that…that’s right (laughs). In an era when you were struggling to pursuit something, you became solid as a band. Then, the atmosphere in the band would naturally change for the better, because it means that from that moment, along with them and the music, you have reached your goal.

K: I think so. Also, what could I say about our band?..... All the members think that they have a different feeling about their knowledge and ability to imagine but, the reaction will definitely come when the song seems to settle down in a “this is it” form. Some of us will say, “I think it’s better do it this way”, while other will say “if we go in this direction, we should do this”. Therefore, that we can talk about such things has not changed from the past. While my senses are growing, after all there is still an atmosphere of pursuit in the end, in doing more and more interesting things, so I think that’s a good place for us.

-Even if you gained more knowledge and experience, it doesn’t feel strangely calm at all. K: It’s not. If that happens, it wouldn’t be interesting.

“Now I think, do we really want to do that?”

-I see. So, the mastering engineer and mixing-in engineer this time are also talented, but did you proposed the selection of these people to the members after listening to how overseas artists sound?

K: Sometimes I do. As for this engineer,Josh Wilbur, the director said he would like to try to work with him once and asked him to mix “Ochita koto ga aru sora”.He had been trying to get in touch with him for a long time, but he couldn’t, but he was able to communicate with him this time and asked, "Would you like to try it once?".

-Josh Wilbur is a person whose range of work goes from Avil Lavigne to Lamb of God. How was the result?

K: Well, I’m glad we asked for a simple one.

-After all, with that width….

K: It’s better that way. This kind of person will return what you ordered exactly as you ordered it. Sometimes no matter how much we explain it, there are people who don’t understand, so they don’t know what to do. At first, Josh used to put a lot of effects on songs and so on. Listening to that, Kyo said "nothing is good" (laughs). The exchange was interesting, though.

-If you leave the decision to someone else, something that shocks you can come out.

K: Yes. Wow, this person comes quite a bit (laughs)

-(Laughs) At that moment, you understood his way.

K: So, Josh’s first mix was more metal-ish. Also, the sound of the drums….it wasn’t like it was crazy but it felt like bumpy….it was like “mmm, it’s a bit different”, but after several exchanges with him, it went well.

-What about Jens Bogren (who has worked with many famous metal bands such as Arch Enemy and Opeth) who mixed “CLEVER SLEAZOID”?

K: It’s a different type (of mixing) from Josh. Jens has worked with us several times so far so he knows the directions.

-And the mastering engineer for the three songs of the single, including the live version of “Followers”, Brian Gardner (Linkin Park, Michael Jackson, Madonna, Eminen etc..) is the same one than “Ningen wo Kaburu” and “The World of Mercy”.

K: Yes. If you change the mastering too much, it’s hard to predict the finish result. It’s difficult to know how the mix will turn out, so if you want to change the engineer that does the mixing, you should do the mastering with the same person as before.

-I see. Because the song will be created from the scratch again.

K: Well, that’s also interesting but I’m worried about what to do if it fails…

-About the future of DIR EN GREY, of course, I think that you will only do what you can do under these circumstances but, what kind of expectations do you have?

K: We are thinking about moving towards making an album. As for concerts, it can’t be helped that we have to wait until we can do them, so I guess that I have to devote myself to making songs.

-Taking advantage of this situation, you will be able to concentrate in that.

K: Well, that’s right. I have time, so in that sense it’s easy to concentrate.

-In fact, is it time already to move into the album?

K: Yes. After Pia Arena, we were planning to go to production as we don’t have any concerts.

-For example, the single “The World of Mercy” included an acoustic version of “Dozing Green”, was there any talk about trying to do an acoustic live at these times?

K: Sometimes….that’s right. If we do that, I have to think about acoustic arrangements for that so let’s do a normal live performance (laughs). It’s not a bad idea to do a live like that because of this situation but, it’s like “do we really want to do it now?”.

-Ah, I see. Apart from your intentions it doesn’t make sense to you to simply say “We’ll do it because we can do it” in the current situation.

K: Yes, I think so.

“Without “BLUE BLOOD” I wouldn’t really be who I am now” (second part here)

#dir en grey #kaoru #headbang vol 27 #translation #interview

106 notes · View notes

kyotakumrau · 4 years ago

Text

2020.12.21 The World You Live In at Zepp Tokyo, 2nd event report

Fujieda again started with greetings, introduced himself and Takabayashi and then asked for applause for the band members.

And we got quite a surprise!

Kaoru and Toshiya came on stage!

Thus making Tokyo the only place where band members changed for each slot/session. As much as I'd love to see Kyo again I was happy as my friend only went to Tokyo and she's Toshiya's fan😊

F: please introduce yourself.

Kaoru: you already did lol. I'm Kaoru.

T: I'm Toshiya.

F: the last video you just watched was different from other sessions. The trailer for the concert film screenings that will start from February. It's something only you know right now. As you can imagine from the title it will be something similar to this, with the band members coming for the talk after.

K talked a bit about the situation as well.

T: it's still difficult to hold concerts, but this is something we can do. So I hope you will look forward to it.

Next F started the 'merch items introduction corner', he passed the items to the members.

K: I was watching the 1st slot and we talked about them in Osaka, too. (he talked more about the items and what members said)

F: yes, everything can fit in the pouch so it's a very useful item. You can buy all merch items and put then in the pouch and take home like that. Let's look at Toshiya's big pick key chains (he pronunced that very carefully😂)

They talked about members signs and company logos when suddenly K requested to have to lights in the venue set brighter so he could see everyone.

After that F announced they wil start with questions from the fans, passed the part of papers to others, but K gave his to F saying it's better if he chooses.

T: ok, I have a good one! 'It was Die's birthday yesterday, did you send him a birthday message? And are there any memorable presents you've received in the past?'

T: I got a bicycle. I was really happy at first, but then it was stolen from the parking area.

F: when was it?

T (I didn't catch it but from the context it must have been quite early on in their career)

F: during the tour?

T: yeah, we were always giving each other something for our birthdays, every year, but as years passed it got more difficult to choose something good and we then just stopped.

F: how about you, K?

K: I got a Mickey Mouse, about this size (he showed us with his hand, about 1m tall).

F: 'how do you deal with feeling tired?'

K: I go for a massage.

F: only during the tour?

K: anytime.

F: when the most? When writing songs?

K (laughing): but we're always writing songs

T: for me it's sauna.

F: do you often go when just staying at home?

T: for example after the gym

Ta: 'what did you eat most often during the stay at home period?'

K: ...what did I eat, what about you, Tooru?

Ta: sausages.

The whole venue kinda rotfled 🤣🤣🤣

F: that's cute😆

Ta: it's something I can usually only eat at home.

K: ...something I was really into...(still thinking)....(thinking)

F: for me it was Jiro-ken ramen.

T: at home?! So you weren't really staying at home?

F: I gained some weight after the overseas tour. I started to diet then, and one day a week, a cheat day, I could eat whatever I wanted. My cheat choice was Jiro, either at the restaurants or to take away.

K: ...what was it for me...

F: maybe nabe you talked about before? (in Osaka)

K wasn't impressed 😆

T: canned mackerel for me.

F: for when you drink etc? No, just like that?

They all laughed here a bit.

Suddenly K jumped in with a new topic.

K: in Osaka you talked about the theme behind Kyo's outfit, you said it was pink but he pointed his green hair as the main point.

F: that was difficult.

K: tbh I also thought the main idea was pink (he also talked about Kyo's use of Kansai dialect)

T: 'what were you able to do after becoming an adult?'

F: there's a lot of food people start eating when they grow up.

T: food topic again? 😆

F: for example for me it was raisins.

T: as I get older I can drink more. When we just debuted I couldn't drink at all.

F: drinking wine?

T: おっさんだから・'cause I'm an old guy.

K started talking about the food he couldn't handle when he was small but the next question kinda made me forget it 😅

' 'wet cat food is actually quite good, have you ever tried?'

F: I have a cat and sometimes when I give my cat wet food some will get on my fingers. I'd just lick it. You know some of it, the mackerel or tuna, it looks so good.

T: please send me a video when you eat cat food next time.

😂

(but to be fair most of canned cat food in Japan is 100% fish🤷‍♀️)

K: 'when you can tour again what local specialities do you want to eat?'

F: motsunabe in Fukuoka

T: miso type?

F: of course (if not Shinya would kill him)

K: what did you eat in Sendai?

F: bento

K: in Nagoya?

F: nothing special

T: we had normal bento, but it was miso katsu (Nagoya's style cutlet)

F: but if it's not in a restaurant it's not the same. Anything you want to eat, T?

T: Beki soba from Niigata.

F: have you tried it before?

T: when we went there on a tour, I really like soba.

They talked but more about food, tare katsu, okonomiyaki from Hiro and Jiro again.

T: is Jiro really that good?

F: 😍

K: I've tried it before, but it's (just) okay.

F: it's all about how the noodles taste (type of flour etc)

(more food talk, choosing between salt and tare options)

K: 'what's your favorite onigiri (rice ball)?'

F: how about you, K?

K: I don't eat onigiri.

T: Me also, but if I have to choose it's sujiko/salted salmon roe.

K (about not eating onigiri much): right, you only eat soba.

T then told us the story how much he loved salmon roe even as a child. When he was quite small he went shopping to the local supermarket with his grandmother. When he saw salmon roe in the shop he just started eating it directly from the shelf/container. Of course when his grandmother and supermarket staff found out it got very noisy, but because he was so young it was forgiven.

(back to onigiri topic)

Ta: salmon for me.

F: oh that is nice, I love the most tamago-kake-gohan rice ball (TKG is a very simple, traditional Japanese breakfast dish - just rice with a raw egg eaten with soy sauce, sometimes other toppings), the Newdays chain is selling them

K: the chain operates only in this area, no?

F explained that there are Newdays in other places too, fe Sendai. He also really got into explaining all pros incl the tasty gooey filling inside of the rice ball.

K (imitating F) oh that's nice 😂

F: 'it got so cold recently, what's your favourite season?'

T: spring or fall, I don't hate winter but I definitely don't like summer.

K: fall. (he said as this year wasn't too cold he could go out a bit during breaks)

F: so 2~3 weeks ago was your fav time.

K: here in Tokyo at least.

F: 'as we're staying home much more now do you have a recommended tv series or a channel?' (not just a movie)

K: Cobra kai.

F: ah, you tweeted about it.

K: it will be on Netflix next month, the 3rd season.

K talked about The Karate Kid (Japanese title 'Best Kid').

F: I don't know it.

Ta: me too.

K (shocked): you're serious???

T: I know, of course.

F: 'Best Kid'? 'Best Fit?'

T: just stop it🙃

F: how about your recommendation, T?

T: The BOYS on Prime.

K: I haven't seen it, but it seems interesting.

T: it is! I also like BOSCH. I'm just watching like after work and so on.

After that K talked about how cinema with the capacity reduced by half was nice because you could put your bag on the seat next to you etc, but recently came back to the full house (Demon Slayer did that...)

F: 'how do you feel being in front of people first time in a while?'

T: I'm sorry it has to be done this way

F: don't say that😆

(missed K's reply)

T: it's tiring to be in front of people.

F: but we do it in an interesting way.

T: yeah.

T: 'what's your favourite game? Even including older ones like famicon?'

K: games?

T: Spelunker on Amicon😆

T/K in agreement: where you die so quickly

K: PS5 is so popular, I didn't win.

F: it seems Kyo won once but the information he submitted had a mistake.

K: I applied for Sony's lottery and Big Camera's.

F: you don't want PS5, T?

T: recently I don't play.

K: what about the... what was it Tsushima?

They all reacted with 'ah'

F: what kind of game is it?

K: don't ask me😅 but it looks interesting.

T: it seems to be very popular abroad.

F: 'what's your favourite way to eat ozoni?'

(A new year soup with rice cakes)

Ta: the soy sauce based soup, with grilled mochi.

F: but what ingredients do you add?

K: isn't that way too detailed??

Ta (tries): spring onion etc

K listed grilled mochi, spinach, carrot etc. Then he told us about his family tradition to properly make rice cakes for New year, pounding was so loud even if you wanted to watch tv, you couldn't. But then they had enough for a month.

T: soy sauce style.

F: with miso or?

T: I said soy sauce.

F: what ingredients?

T: rice cakes, spinach, and what is that... (he started to make circles with his hand) ...?

F: naruto?

T (yeah that/nods)

F: in my family we do soy sauce, rice cakes, carrot, fish cakes etc.

K (ignoring F comment that they should finish now, in a teasing way): what about osechi, which dishes do you like?

F: konbu maki or kurikinton.

K: how about you, T?

T: that egg dish that is kinda like this (he gestured the shape again)?

Ta: tatemaki?

F: datemaki!

T: I think it's datemaki.

K: I like that beef roll with carrot and green beans inside (its 牛肉の八幡巻き)

F (making very dreamy face): Aaaaaaah that😍 green beans are so good.

F: ok, thank you all.

K: what about Tooru (Ta)?

F: it's time, sorry.

Last comments.

Toshiya: thank you all for gathering here despite the COVID situation. It's difficult to do concerts now so we tried doing film screenings. In difficult times like this it's not only about the band members, there's our staff and also the venues. I'd love to play concerts again, please wait for us.

Kaoru: it is a difficult situation to share my personal opinion... if we can't do the concerts in a way everyone can enjoy... enjoy, it will affect our relationship of mutual trust. I think this (COVID) situation will continue for some time still, so I think it's better to go with the film screening events. But we will keep checking the situation. Please stay healthy and I hope all of you will come to watch it.

#dir en grey #the world you live in #kaoru #toshiya #薫 #zepp tokyo #fujieda #takabayashi

102 notes · View notes