#hermittranslation

[cyberbrained]

Schwein Interview: Part 1 — Atsushi Sakurai / Rockin'F (June 2001)

There were different troubles, this time it was a fight with myself

Part 1 — Atsushi Sakurai interview Interviewer: Yoshiyuki Oono scans: tigerpal @ dreamwidth/livejournal

I thought everything would work out if I let my natural flavor spill freely in Japanese

Did you write the lyrics based on the compositions? Sakurai: That’s right. First, around last autumn, six compositions written by Sascha and Raymond were completed. The songs’ structure was well done, vocals and chorus were added. Although there were also vocals by Lucia [Cifarelli] in the song Porno, I was told “Please, Atsushi, add melodies and lyrics however you like here.” Generally that was the feeling. So, regarding the recording itself, from starting work on the songs, ideas came in more and more; times when we were told, “I’m entrusting you with everything,” increased. Hence, being given freedom in working, this became a collaboration.

Did you discuss the content of the lyrics with Raymond and co.? Sakurai: I did. Although I was told, “Please do whatever you like,” too many mental images were off so talking about the title and Raymond’s connotations gave me a hint for the lyrics.

This time unusual alcohol and women came up in the lyrics. Are those motifs Raymond held? Sakurai: Perhaps I should say it was simultaneous [between us]…

Like you recorded while drinking? Sakurai: There was that too (laugh). What Raymond said and the things I myself hold were rather close. “What can I do, I wonder?” When it was time to talk seriously, if I thought about what’s coming to mind, it was all things I like. Alcohol and women (laugh). But even though I liked the words that came first, I wondered what my specialty is. When there is time I would sugarcoat [my ideas] but this time around that kind of thing wasn’t needed. Working in a band up to now, sometimes I’d add things to myself that weren’t necessarily there [in me], so returning to myself like this allowed me to be myself.

Has there been an opinion among the members of Buck-Tick that “This Acchan now is very relaxed,” recently? Sakurai: This time, participating in this album, even though third parties could look at me closely, I was never aware of that. Regarding everyday life, I wasn’t thinking stuff like, “Let’s proceed calmly.”

This time there are lyrics coexisting in Japanese, English, and German. Were you worried about the distinction between each word? Sakurai: Frankly, I thought Japanese would be hard to fit in. I sang after Raymond did and there were times when things felt out of place. But if we’d stopped there nothing would have even started. Based on what I'm capable of doing, I thought everything would work out if I let my natural flavor spill freely in Japanese. My own singing, Sascha, Lucia, and Raymond’s vocals too, everyone’s sound would be captured. But it was definitely complicated because Japanese, which comes across direct, appeared suddenly.

What about the parts sung in German and English? Sakurai: Isn’t it brief really? I just did chorus and unison. Initially I didn’t think I’d be doing chorus in English, since there were a lot of people who could be entrusted with it. Symbolically, there were three people who could sing in English.

In Schwein there’s rap-like Japanese, German vocals have entered, that great sense of language is interesting, right? Sakurai: Sascha sang those. Basically, the lyrics he’d written were translated and then fitting lyrics were created [in addition]. I couldn’t get a precise conclusion from the translation, so I asked, “What atmosphere would it be?” and after that I started getting more mental images. That kind of feeling.

I had the conviction to work since “I’ve been given the other members’ compositions”

Isn’t it interesting how Schwein is reaping your style and everything you’ve done with Buck-Tick until now, like with Crown’s equalizing, Spank the Monkey’s part with the stacked double vocals? Sakurai: The engineers were first-timers; I could only give my abilities as a raw ingredient. There was an engineer called Russel [Kearney]; I told him, “Russel, you’re the chef. Handle it as you like[1].” After that we tried out many things, it was fun. There weren’t misses.

I listened to your vocals and there wasn’t anything out of place at all. Sakurai: I wondered if I could deliver in the gaps between the other vocals, but I wasn’t worried at all.

Then, what was your approach with Schwein? Sakurai: I had the conviction to work since “I’ve been given the other members’ compositions,” so there wasn’t any holding back. Raymond and Sascha’s experience and strengths brought out the best in me.

Who created the melody lines? Sakurai: Raymond and Sascha were in charge, Imai’s compositions are his own. With four people the melodies were well considered.

Conversely, how many songs did you devise the melody for?[2] Sakurai: Well, the one where I did things selfishly however I liked was Fantasia. I did the verse my way and the chorus’ melody came to me too… Then, Spank The Monkey’s chorus, Lard, Lips, Liquor’s melody, and for Organzola’s[3] duet part I was free to do whatever I liked.

How is your approach with Schwein different from that with Buck-Tick? Sakurai: Until now, although the composer had created the melody perfectly, this time whether it was the songs or the album as a whole, I couldn't easily imagine. Also, I wondered how far it would be good to go, how far I could go, but there wasn’t hesitation. That’s why, honestly, the feeling of collaborating and being free to do as I pleased with the melodies were first [in importance]. The singing itself was the same as always but regarding feelings I was able to keep the high tension for a month. There were different troubles and, thinking about it deeply, this time it was a fight with myself.

—

Notes:

[1]He called him コック, which means chef (in this case), because he did a pun on cooking in Japanese. I didn’t keep it in English out of fear it would sound unserious (of me). “Cook it up however you like” is what I would’ve gone with and in that case this note would read “Yes, he really said that.” Also...that word's other meaning had me loling hard at that bit at first glance.

[2]Sakurai isn’t credited with any compositions for Schwein. I suppose what they mean here is more along the lines of where his input was heavier.

[3]Re: Organzola as a title word (because idk when I’ll make it there with my speed): later in this interview (under Sascha’s part, which is the fourth and final part), it’s explained it’s a mashup of Organ, the English word + Gorgonzola, the Italian cheese, which apparently equals...g3n1tal organs. ...well, idk about you but I'm glad to learn this so many years later lmao

[cyberbrained]

Fading Howl | 黄昏のハウリング

Parade of souls at the aurora's grounds Oh Flyaway Standing in a wasteland 3000 years later Oh Memory Rainbow wind Swarm of angels Oh Flyaway Beasts under a rose[1] Oh Oh Howl fading as if singing as if singing Oh Oh Howl fading wailing roaring[2]

Parade of souls at the aurora's grounds Oh Flyaway Standing in a wasteland 3000 years later Oh Memory Rainbow wind Swarm of angels Oh Flyaway Beasts under a rose Oh Oh Howl fading as if singing as if singing Oh Oh Howl fading wailing roaring

Oh Oh as if singing as if singing Oh Oh wailing roaring

—

Notes:

[1] This is to highlight the Japanese pronunciation of 下 in this song. Usually it's shita, but like most kanji it has a bajillion pronunciations and in this case it's moto.

[2] Note the contrast between the lines, moving between a "pretty" and "ugly" thing: aurora into wasteland into angels into beasts into singing into (animal) noises. It's kinda why I went with swarm for angels, it feels ill-fitting, too ugly for angels and yet it's the only word that I felt inside myself. For me it conjures a vibrant violent picture of desperation. (Also 咆える/hoeru is barking/howling too but I've had it with the synonyms in this album lmao)

—

オーロラの地へ 魂のパレード Oh Flyaway 3000年後の荒野に立て Oh Memory エンジェルの群れ　虹色風 Oh Flyaway 薔薇の下　獣たち Oh Oh 黄昏のハウリング 歌うように 歌うように Oh Oh 黄昏のハウリング 哭いている 咆えている

オーロラの地へ 魂のパレード Oh Flyaway 3000年後の 荒野に立て Oh Memory エンジェルの群れ　虹色風 Oh Flyaway 薔薇の下　獣たち Oh Oh 黄昏のハウリング　歌うように 歌うように Oh Oh 黄昏のハウリング　哭いている 咆えている

Oh Oh 歌うように 歌うように Oh Oh 哭いている 咆えている

—

Oorora no chi e tamashii no pareedo Oh Flyaway Sanzen nengo no kouya ni tate Oh Memory Engeru no mure nijiiro kaze Oh Flyaway Bara no moto kemonotachi Oh Oh Tasogare no hauringu utau you ni utau you ni Oh Oh Tasogare no hauringu naiteiru hoeteiru

Oorora no chi e tamashii no pareedo Oh Flyaway Sanzen nengo no kouya ni tate Oh Memory Engeru no mure nijiiro kaze Oh Flyaway Bara no moto kemonotachi Oh Oh Tasogare no hauringu utau you ni utau you ni Oh Oh Tasogare no hauringu naiteiru hoeteiru

Oh Oh utau you ni utau you ni Oh Oh naiteiru hoeteiru