#interview translations

[aois-amaterasu-painting]

DOGMA book: member interview translations

Interviewer: The keywords associated with "PROJECT: DARK AGE" and "THE OMINOUS YEAR," leading up to the release of "DOGMA," have all been gloomy, exuding a sense of despair rather than hope. Does this mean that the GazettE has been dwelling in darkness for a while?

Ruki: Rather than darkness...how should I put it? By the time the flow of time associated with our previous work "BEAUTIFUL DEFORMITY" had ended, we became aware of our standing and began thinking about what to do next. We weren't in the mood to create happy music (laughs), but we also weren't feeling gloomy. It was more like a sense of anger—a bundle of frustration. We are genuinely rebellious at heart, yet there were circumstances where we couldn't rebel, living as cogs in society.

Interviewer: You mean the absurdity of knowing that something is wrong but still having to comply with it?

Ruki: Exactly. As we continued our band activities, we encountered various people's thoughts—those of other bands and people from record companies. This made us reflect on how we should live. For instance, to achieve various successes, I had countless responsibilities and no time for leisure. My focus shifted more towards cramming in various tasks rather than having fun. But then, I'd wonder, "How does everyone else manage?" and consider if others might be neglecting such details. This made me realize that our meticulousness might actually be one of our strengths.

Interviewer: Even at the cost of sacrificing your own time?

Ruki: Instead of living a wealthy life with lots of money, it's more important for us to see how much we can dedicate to the band. Of course, this applies to when we are performing live as well, but it's crucial to show that we are betting everything on this lifestyle. I hate doing things half-heartedly. Even if we were a popular band performing in large stadiums, I'd still want to maintain an aggressive stance. Although I can't speak for the feelings of bands in that situation.

Interviewer: The opposite of aggressive is defensive. Do you have a sense of crisis about becoming complacent in your activities as your career progresses?

Ruki: There's a part of me that thinks we might eventually become more relaxed about these aspects. In that sense, I try not to think of myself as absolute. However, I do everything to feel that "we're the best!" and I don't want to spare any effort to achieve that. I don't know how others perceive it, but the image of the GazettE has grown significantly in my mind, and I have been thinking a lot about how to shape it in the future. Having time to think about it was very significant.

Interviewer: Indeed. In 2014, you were busy with a tour themed "redefinition," without releasing any new material.

Ruki: Having a whole year without a release was unusual. We were always moving forward and didn't have much time to look back. But during that tour, we could think about many things. There was a sense that when we released our next work, we had to come back changed. Therefore, we needed to think carefully about what we wanted to do and how we should be. Eventually, I realized that our core lies in live performances. The essence of our live shows is built upon something unique to us. While searching for that answer, I felt like we were seeking something akin to religiosity—not resembling any specific religion but perhaps related to the fervor of our fan unity.

Interviewer: Do you mean the degree of empathy and collective feeling beyond normal bounds?

Ruki: There might be some of that, but I also want to delve deeper into it. I wanted to redefine and present it anew. Even the sight of the audience during "Kantou Dogeza Kumiai" was extraordinary and special. So, instead of expanding into a gray zone or appealing to a broader general audience, we wanted to be unbeatable within our niche. But we don't intend to remain confined within the existing visual kei boundaries; we aim to elevate everything beyond that. That's one of our conclusions. We don't want to be lax about anything and strive to do everything thoroughly.

Interviewer: In other words, you want to be absolute and definitive.

Ruki: Yes. Rather than creating a religious-like world, we want an absolute feeling that also resonates with religious undertones. We have an absolute worldview that we believe in, and it involves attitudes and ideologies rather than just songs. We then present and share everything with our fans. That overlaps significantly with the word "dogma."

Interviewer: In the dictionary, it means doctrine or creed.

Ruki: I don't particularly love the word "dogma" itself. It's been used in many places before. But instead of being the first band to use the term, we wanted to be the band that expressed "dogma" most profoundly.

Interviewer: Using words like religion and doctrine requires a certain determination, doesn't it? If it were a real religion, the proponents would need to be gods or prophets, presenting something absolute for followers to believe in.

Ruki: We actually tried to create that. So, we're very confident in ourselves. Of course, we've always been confident, but this is more about a comprehensive confidence. The title "DOGMA" is very symbolic. And the pursuit of what we think "DOGMA" should be is not limited to just one CD. We planned to take our time to carry out various things associated with this album. At the same time, regarding the album's composition, we used to aim for a balanced inclusion of various elements, like "let's include this type of song" or "we need a song like this," but we decided to stop that. Previously, each album had at least one "good song," but for an album named "DOGMA," we decided not to include anything that didn't fit. Of course, it's not that there are no melodic or catchy elements at all...

Ruki: We have included songs with depth, but it's more like we deliberately set a 'rigidness' to it.

Interviewer: So, instead of maintaining balance within the work, you focused on thoroughly expressing the core element?

Ruki: Yes. There's always a balance in our live performances, like having a song come in at a certain point, or placing a specific type of song before another. We started by breaking away from that.

Interviewer: And when it came to embodying "this is what the GazettE is," anger and darkness were indeed essential elements?

Ruki: In reality, part of the reason we started doing this was because we were drawn to emotions like anger. Somehow, I don't have the option in myself to turn happy things or enjoyable things into songs. Of course, if something makes me happy, my heart moves, but it's not a deep emotional movement, you know? You don't stay joyful for days over one thing. Instead, anger, fear of the current world, and anxiety tend to root themselves deeply and linger. As these emotions amplify, they naturally emerge in the music, not because I consciously decided to push them to the forefront, but because it just naturally turned out that way.

Interviewer: There are tragic incidents and accidents occurring daily. Some of your lyrics seem inspired by such realities.

Ruki: Yes. For example, juvenile crime. Apparently, juvenile crime itself is relatively declining. However, regardless of that, there's a part of me that can't help but be concerned about things like the relationship between victims and perpetrators, or the incidents where family members are affected afterwards... Even though such aspects aren't often highlighted on TV, they catch my attention. Even in cases where there should absolutely be severe punishment, there are perpetrators who manage to evade responsibility, or there are systems in society that allow such things to happen... Such contradictions and hidden aspects move me emotionally because there are likely feelings involved that I can't even imagine.

Interviewer: Because you can't imagine them, you want to understand them?

Ruki: Yes. I want to express that depth of emotion through sound and words. It's not about the incident or the emotion itself, but the depth of it. Therefore, I'm not singing about specific incidents directly. While I can't understand the sadness faced by those affected, imagining it happening to me makes me want to express that depth of emotion and translate it into music.

Interviewer: And the fact that such incidents don't stop means it could happen to anyone, including yourself.

Ruki: Exactly. It can happen to anyone. Everyone must think, "It would be great if these things didn't happen, but they don't stop."

Interviewer: Indeed, those lingering feelings are easier to use as a starting point for expression compared to joy or pleasure.

Ruki: We rarely feel joy so intense it's hard to imagine in our lives. Such feelings are often momentarily released and don't go beyond that. On the opposite, anger and sadness that can't be directed anywhere are feelings everyone tries to hide. You can't burst into tears on the spot, and crying doesn't necessarily make you feel better.

Interviewer: Similarly, even if you harbor feelings of intense anger, you can't go around breaking things or shouting loudly.

Ruki: That's right. The anger towards the perpetrator or the criminal is not something trivial. For example, if my son were killed by a juvenile, I can't even imagine what kind of feelings I'd have.

I think there would be a feeling of needing to kill the perpetrator myself to feel satisfied. Even if that meant breaking the law, the feeling of needing to take matters into my own hands. However, while I might desperately want to kill the criminal in my heart, that's not something allowed for a human. Therefore, these dark feelings have to be hidden and can't be shared with anyone. Unless they're expressed through a song.

In short, that's what it is. For example, I don't think it's appropriate to write about such feelings on Twitter. I'm not trying to share those feelings with others; instead, from my position, I wanted to express those dark feelings through lyrics and sound. And by doing so, I can also expel the murkiness within myself. It's similar to how someone who writes novels might feel. For instance, I have my own thoughts on politics, but I'm not deeply knowledgeable about it, so I don't think it would be right to write about it half-heartedly on Twitter or a blog. Rather, I have a lot of things I want to say that wouldn't fit in such places.

Interviewer: RUKI-san's lyrics aren't explicitly advocating any particular ideology; sometimes it's about the world of imagery. However, that's where those emotions are being expelled, right?

Ruki: That's right. However, it depends on the theme as well. For example, if the theme of a song's lyrics is love. But love isn't tangible. When you try to write about it, it inevitably becomes abstract. If it's limited to the feeling of liking someone, it might become a bit more concrete, but I feel like there's nothing for me to write about such intangible things. As for anger, it's better not to have such feelings. I don't want to evoke a chain of negative events, and I don't wish for such things to happen around me. But anger doesn't go away, and I find myself feeling it more and more each year.

Interviewer: As a result, fans who listen to your music might find some form of healing through those expressions.

Ruki: I wonder about that. Many of our fans are quite enthusiastic. At our live shows, some don't even look at the stage and just headbang (laughs). That's fine. I'm not the type to shout, "Look at us!" during live performances. Rather, I prefer for the atmosphere to be filled with our worldview. For example, if someone releases their stress by going wild at our concerts, that's fine with me. Of course, I have things I want to convey too. But each fan has their own story. We don't know what emotions they bring with them to our concerts. But I think there's something in my emotions that resonates with each of them. I've only recently started thinking this way. Until a while ago, I thought it was enough to just keep the anger and such feelings within myself. As long as I felt my thinking wasn't wrong, that was enough.

Interviewer: It's not about being right by societal standards, but understanding that they are not wrong as your own feelings, right?

Ruki: Exactly. It might not be correct if you take a majority vote, but these are my feelings. So putting those feelings into lyrics is actually quite a forceful imposition.

Interviewer: It's not a question of "Isn't it like this?" It's more of a definitive statement, like words in a sacred text.

Ruki: That's right. It's because it's absolute. So it's not about "There are various ways of thinking." For me, this is the definitive answer. I'm not saying, "You should feel the same," but rather, "This is how it is for me."

Interviewer: So it's a one-way expression. But if it gathers enough empathy, it could even form a kind of religion.

Ruki: Yes, that's right.

Interviewer: So I'd like to ask again, in the end, what is the most important thing for the GazettE to be the GazettE?

Ruki: That's... it's really difficult to answer clearly... For example, right now, I don't find many bands that I think are cool. I don't mean that in a bad way. Of course, there are many people I respect. But the ideal band I envision, which includes not just the music but also things like the quality of the visuals and the way they dress, those elements combined, that's what I wanted to pursue, which led to the "PROJECT: DARK AGE" approach.

Interviewer: You don't want to idealize someone from the past, you have to create your own ideal form.

Ruki: That's right. I don't want to seek ideals in the past, and I want to focus on what visual kei really means. Visual kei isn't just about looks; it's about the mindset. When I first discovered LUNA SEA, I was drawn to those aspects and felt the "now" of that era in their band style. Moreover, they definitely expressed darkness. That impression was vivid for me, and that's what visual kei means to me. But I don't think we should cling to those past ideals in 2015. Honestly, until recently, I was probably trapped by that. I was trying to preserve the old-school visual kei within myself.

Interviewer: To inherit, deepen, and pass it on to the next generation?

Ruki: Yes. But I felt that I had to devour the visual kei of the past in order to be satisfied within myself. Therefore, I had a strong feeling of embodying the world view and pursuing quality that I hadn't been able to fully realize before. As a result, if you ask whether what we created falls within the bounds of visual kei, it might not. But by embodying those ideals and becoming such a presence ourselves, I felt we might find a unique position. Thinking about why so many people come to see us, I felt the answer was there. There's a traditional idea of what visual kei is supposed to be. For me, that's also the standard. When you think of visual kei, there's an image. But we can't remain kids chasing that image forever. This realization hit me while we were on the "Redefinition" tour.

Interviewer: So the pursuit of ideals so far was based on the classic model of the past. But now, you have to create your own ideal path and present yourselves to the generations who don't know your past. You can't stay in an old, balanced, or vague state.

Ruki: That's right. And it's not about wanting to be popular with younger audiences. We want to emphasize "now" in our own way and proceed with everything based on that. I think that's what we should be doing. We don't want to stop evolving. We're not trying to revitalize the visual kei industry. It's not about that; we want to be individuals. We want to maintain a stance of not blending in. We want to continue evolving without forgetting the respect we have for those who influenced us. Only by being like that can we be a truly current band. The goal is not to uplift this genre of music for the world. Instead, we want to become an indispensable and absolute presence for those who need us.

Interviewer: The GazettE might still be visual kei, but the motivation for being visual kei has changed.

Ruki: For me, it has. My feelings have changed. We're not focusing on continuing as visual kei. Ultimately, it started from wanting to be cool. Looking around, I don't see any bands that I think are cool, so it would be strange to try to blend in. So, we decided to seek our ideals as individuals. Also, when our fans show someone our music and say they like visual kei, I don't want the reaction to be "Wow." Are they still doing this in this era?" For example, and it's an extreme example, but if you compare us to Taylor Swift, I don't want there to be an obvious gap.

Our English lyrics are done by someone in London, and they say that over there, bands need to be unique to be recognized. If the quality and message of a band aren't apparent, there's no place for them. If it's clearly felt that our level is lower, everything will be dismissed as inferior. So we decided to go all out with "PROJECT: DARK AGE," creating something we could be confident in.

Interviewer: So you wanted to present a team that could compete with the world?

Ruki: Yes. Over there, each individual stands out. In Japan, mastering engineers are seen as behind-the-scenes, but in America, names like Ted Jensen are well-known. We work surrounded by people who are on par with them, and we want to show that. Whether we're the best intermediary for that is uncertain, but that's what we wanted to convey.

Interviewer: On the other hand, even if you have a reliable team, if the work itself is mediocre or vague, it means nothing. So, creating something absolute and pushing yourselves to the limit was crucial.

Ruki: Yes. As a result, it became our strength. When a band tries to move forward, obstacles sometimes come from unrelated places. But each time that happened, our rebellious spirit grew, making us want to speed up even more. We need to reach a place where those obstacles are no longer a concern.

Interviewer: The title of your work "DOGMA" is quite striking. How did you feel when you first heard it?

Uruha: I simply thought it was cool. First of all, the sound of the word is good. Simple and impactful words have mostly already been used, right? Although the word "dogma" itself has already been used in many places, we hadn't used it before. The sound of this word links well with musical expression. If we use this title, the work inevitably has a darker tone. That aligns with our strengths. So, from the start, I thought it was a great idea.

Interviewer: It's a word that means creed, doctrine, or principle. Having it as a title implies that the work embodies your essence or what you've always had, rather than exploring unknown music.

Uruha: Yes. The darkness typical of visual kei that we've always pursued is part of it, but expressing the creation of a new religion is something we hadn't tackled before. So, it seemed interesting. Combining religious elements with visual kei. For example, there are quite a few visual kei bands that use Christian imagery as a motif. Instead of an existing religion, creating a brand-new one ourselves has a certain freedom. There are no constraints. If we were to be conscious of an existing religion, there would be limitations and difficulties, but if we create it ourselves, nothing gets in the way.

Interviewer: Indeed. When you describe a work as having a "religious feel," people might think of pipe organ sounds or hymn-like elements. But that's not the case here. Rather, it's an album that redefines what the GazettE is all about.

Uruha: Yes. It's like looking at ourselves from a bird's eye view. It's like, "Yeah, this is who we are." Even at our live shows, there are elements that seem religious. All the fans moving in unison with the music. Sometimes we feel, "You don't have to move like that," or "You could be more free." We feel a bit conflicted about it, but ultimately, we have to accept that this is our way. We think, "Let's present it in a cool way." So, choosing a "religious" presentation was one of the options to make it really cool.

Interviewer: Do you personally follow any religion?

Uruha: No, I don't.

Interviewer: For people who are overly devoted to religion, it can sometimes seem dangerous. We all remember incidents related to new religious movements. For the followers, it's sacred and worship-worthy, but for others, it can appear strange or dirty. Didn't you feel any danger in presenting things in a religious manner?

Uruha: Rather than those real aspects, it’s more about my own perspective since I don't really know much about religion. For example, "Why do so many people gather for this?" It's the pulling power of the sect or the leader. That power to attract people is something we want to have and show during our live performances. Without it, any band would be hopeless.

Interviewer: So, the idea was to create your own religion to strengthen that attraction?

Uruha: Yes. No matter how seriously you pursue music, it's essentially the same thing. It's establishing a religious group and seeing how many people follow it. Even starting a fan club is similar. Recruiting members is like a religion. The only difference is whether music is at the core.

Interviewer: So, there's no need to overreact to the word "religion"?

Uruha: Exactly. We're not trying to present any doctrines or teachings (laughs). If there's anything close to that, it would be something like, "You should vent your daily life stress at our live performances!" (laughs). That's really all there is to it. So, the interpretation of the album is up to the listeners. How they perceive each song is up to them. What's more important is the tour. We’ll be touring with this concept, and the key is how many people we can attract and how much we can entertain them. That's everything.

Interviewer: It also means drawing people in more deeply, right?

Uruha: Yes. Just like followers of a religion go through what they call training, producing adrenaline in the process. In a different form, but fundamentally similar. So, when people are going wild at our shows, it might look like training from an outsider's perspective.

Interviewer: I see. It feels like this work and concept will be crucial for the band to aim higher and continue for a long time. What do you think is the most important thing the band must not lose?

Uruha: The things we mustn't lose... there are many. Too many to count. The most important would be the parts that drive us. If we lose our passion, it would be like having our engine taken out of a car. Trust and relationships with those around us are also crucial. If our connection with the fans breaks, that would be really bad. So, there are many things we must not lose.

Interviewer: What do you think is necessary for the GazettE to continue being the GazettE?

Uruha: What could it be? Probably freedom. The freedom to come up with ideas and pursue different concepts is because of the environment we have. Without that environment, we wouldn’t be able to do anything. So, the most important thing might be freedom.

Interviewer: It's interesting that having an environment where you can think freely allowed you to create something very focused.

Uruha: Yes. Because we have that freedom, we could create this. Trying to do everything at once wouldn't work. Freedom allowed us to create a tightly focused world.

Uruha: But this way of thinking has only recently come about. During the previous album, the freedom we had was more in the ordinary sense. Our use of freedom was different. Realizing that change is part of the flow from the last work to this one.

Interviewer: "DOGMA" isn't a balanced album in the usual sense. It's not a collection of diverse songs with a good balance. Instead, you could say that every song is intense and dark from start to finish. Why were you able to create something like this without hesitation?

Uruha: That's probably because our ideals have changed. When we made the previous album, our ideal was to create a well-balanced work with various elements. But after doing that, we realized that it left an empty space. Noticing that gap led to the next ideal. Ideals aren't singular. If you only have one ideal, you'll end up doing the same thing repeatedly.

Interviewer: Continuously refining the same thing can be beautiful...

Uruha: Yes, if that's truly their ideal. But for the GazettE, I don't think that's the case. We're always looking for gaps, something missing. So, after finishing one thing, we always come up with the next thing we want to do. This momentum and constant change is what drives the band.

Interviewer: So, if people were to say, "How was the new album?" and the answer is, "It's the same as before," that would be a crisis.

Uruha: That would be quite bad. However, it's fine for other bands to stay the same. I don't demand change from bands I like. I want them to stay the same. But we don’t want to keep doing the same thing ourselves (laughs).

Interviewer: That’s quite contrary (laughs). As a listener, you listen to what you want to hear. But as a creator, it’s different.

Uruha: Yes. There's definitely a difference between my creator self and listener self. It may seem contradictory, but both coexist within me. Just creating what my listener self wants to hear doesn’t satisfy my creator self.

Interviewer: You mentioned changing ideals. It makes sense that reactions and reflections on the previous work lead to changes. So, after "DOGMA," will you find another gap?

Uruha: Probably. With "PROJECT: DARK AGE," we’ve put in an unprecedented amount of effort, so the reaction might be significant (laughs). I'm sure there will be moments when we think, "I don't want to do intense songs anymore." I can already see that reaction coming. And since we will continue with this concept for a while, we’ll likely feel fed up with it and be thorough to the point of exhaustion (laughs).

Interviewer: I don’t completely understand your future plans yet, but it seems like it won’t just be one album and a tour. You’re planning to take more time and be thorough.

Interviewer: What led you to this idea?

Uruha: As I said earlier, we’re seeking an attraction. We felt that we needed to have the momentum to turn everyone into believers. Looking back, we thought our previous works had a weak pull. We realized that if the work itself didn’t draw people in, it was pointless. We needed to attract our core audience more deeply. And even though we call them the core audience, we wondered if they all truly felt as passionately as we thought. That’s why we felt the need to draw them in thoroughly, at least once. To do that, we needed a concept that could captivate even ourselves. The word “dogma” had the power to do that. It had something that stirred the heart, which was crucial.

Interviewer: So, the word "dogma" didn't just pop up suddenly, but it came about naturally because you wanted to increase your attraction and become a definitive presence?

Uruha: Exactly. It’s a word with a sound we like and we thought the fans would like it too. We were searching for a word that could reach those sensitive spots, and we came across this word. It wasn’t just a word we liked; it also pointed to something we needed at the time. Everyone who likes visual kei gathered because of that. The band members, the fans, there’s a commonality among us. With “DOGMA,” we want to pull those who gather around the GazettE even deeper. We want to draw them in even more intensely than just within the circle of the GazettE. We want them to get to the core.

Interviewer: Does that mean that music alone isn’t enough to achieve this?

Uruha: Of course, music is the foundation. It must be compelling enough to draw people in on its own. Even before the artwork and accompanying elements were decided, the idea of releasing an album called "DOGMA," which seemed intense, already excited me. At that point, I had already cleared my own hurdle. So, I had high expectations. If it’s something I can look forward to, I’m sure the fans will follow. We have to believe in that. If it’s not accepted, then our tastes must be different...

Interviewer: Yes. it would be disappointing, wouldn't it?

Uruha: Yes. But I think it’s good to clarify any ambiguity. By reaffirming what our music is about, the fans will understand the band better. I believe that will be the result.

Interviewer: You want to deepen the relationship with the fans to the point where it could almost be called religious.

Uruha: Yes. To put it simply, I want to make them unable to escape. Not just strengthening the bond.

Interviewer: And as you mentioned earlier, this is definitely at the core of the GazettE in 2015, however, this doesn't mean it will continue like this musically forever.

Uruha: I think so. It depends on the reaction we get after this album is released and after the tour. It will depend on the reaction within ourselves during that time too. It will determine where we go next. Right now, it's still too early to say.

Uruha: I don't really want to think about it. Right now, I’m focusing completely on this, and when I’m entirely focused, the next reaction should naturally emerge. In the past, I thought I had to see several years into the future. But that can make the present feel insubstantial. While the future is important, I want to focus on the amazing concept in front of us now. We can't go back to who we were at that time. For example, a work is like a child; if I had a child, their early years would never come again. That’s why I want to be fully present at that moment. I think it’s the same thing.

Interviewer: Thinking about the future doesn’t necessarily open the path ahead.

Uruha: I think there's a way to move forward like that, of course. However, I've come to think that focusing on the present will connect to the future better.

Interviewer: Even if you try to think about the future...

Uruha: It doesn’t go as planned (laughs).

Interviewer: Even if you make a plan, it doesn’t go accordingly. But the reason you tried to plan was because of anxiety, right?

Uruha: That might be part of it. I was thinking about how to keep going. Like, since we came this far, what’s next, or considering the state of the world. But looking back, those events don’t end up being that meaningful. Taking that stance can make time pass by unremarkably. I think it’s more important to create something big and focus on it. To tackle each moment as it comes.

Interviewer: And by focusing on the present, some kind of reaction is always born, revealing the next step. It seems that now you can focus on the present because you've gained a solid sense of identity and the anxiety has disappeared.

Uruha: Yes. Simply put, it’s because “I’m interested in this now.” The flow of time up to this point has been important. The “redefinition” tour had a huge impact. That year was significant. From the outside, people might have wondered about it.

Interviewer: Like, “Are you on hiatus?”

Uruha: That was one reaction. People also probably said, “Release a CD!” But having a year without releases was important. At that time, we were convinced that we needed a break.

Interviewer: If you’re stuck in the routine of releasing an album and touring every year, the band might burn out. Taking time off can reveal things you hadn’t seen before. Through the “redefinition” process, you re-experienced your past chronologically and confirmed that your history was a series of reactions.

Uruha: Yes. We needed to review what the GazettE is and take time to think. Everyone has times when they need a break. Continuing in the same cycle indefinitely isn't normal. It was important for people to understand that we’re human.

Interviewer: This ties into whether music alone is enough. Will the band continue to be visual kei in the future?

Uruha: I think so (laughs). Not because we’re bound by it, but because we like it. We don’t see ourselves as fitting into a category; we just like visual kei and it’s ingrained in us. We use visual kei methods and nuances to realize our ideals. After being in visual kei for so long, we don’t even think of ourselves as playing visual kei music anymore. It doesn’t matter. We do things that don’t seem visual kei naturally. We initially sought that when we started the band, but over time, we’ve experimented with different genres. How people categorize us doesn’t matter anymore.

Interviewer: The ideal stance is that categories don’t matter and aren’t necessary. The band isn’t trying to be visual kei; rather, when the GazettE does what it does best, visual elements and methods are indispensable, right?

Uruha: Yes. So, when people say, “You have visual kei elements,” I don’t deny it. “Oh, really? That shows?” (laughs). But we’re not doing visual kei. There’s no resistance to it, but that’s not the point. I want people to understand that we’re not trying to compete within that framework.

Interviewer: That sentiment must be reflected in this work, too.

Uruha: Yes. What we should create and wanted to create is exactly this. But it doesn’t mean we’ll stay the same forever. While we may not have infinite time, we’ll decide together on the next direction and run towards it. And it feels really freeing.

Interviewer: It’s because of that freedom that you can go deeper. It’s not that this was the only thing you could create, but you chose this among infinite possibilities. That’s important.

Uruha: That’s crucial. No doubt.

Interviewer: The birth of the title “DOGMA” was inevitable, and without it, this work wouldn’t exist.

Uruha: Yes. In reality, it’s about fitting the word and concept to what we wanted to do. It’s not that we had a theme first and created around it, but rather what we wanted to do came first. Then we thought, “What word expresses this?” and that’s how we arrived at the title.

Interviewer: Even if you had thought of the word “dogma” between the previous albums, you were in a period of wanting to create new music and try unknown methods. So, it wouldn’t have been the title then.

Uruha: Yes. If we had finished the previous album and come up with this word, we might have chosen it. But if it had come up before making the previous album, it would’ve been rejected. It really appeared at the right time. I think everything had that kind of inevitability.

Interviewer: It’s often said that a name represents its essence, and I think the same can be said about the album "DOGMA." What kind of image did you have of this title, Aoi-san?

Aoi: You mean as a word, right? At first, I wondered, “What is 'dogma'?” The word itself didn’t feel very real to me. It wasn’t completely disconnected from the band’s image, but it also wasn’t straightforward. It didn’t quite fit comfortably anywhere. Also, while the word was new to us, it had been used in many contexts before.

Interviewer: It's been quite commonly used in the visual kei scene, hasn't it?

Aoi: Yes, exactly. So, initially, I didn’t have a great impression of it. I wondered, “Why use this word now?” There was that feeling. In our past works, we've often embraced somewhat impersonal or coined terms, and this word "dogma" appeared suddenly, with a worldview that seemed too fixed. At first, it was difficult to grasp how to approach it.

Interviewer: The previous two albums had a clear concept in terms of how the music was made, right? But with the word “dogma,” it’s hard to see a specific method or theme.

Aoi: It’s paradoxical. It’s both too clear and too elusive at the same time.

Interviewer: The word has a grandiose feel. Did it feel strange to use such a religious-sounding word now?

Aoi: Yes, but in our discussions, it became clear that it represented an absolute thing for us, something fundamental to the GazettE. Once we understood that, it started to feel doable. Simply creating songs that respond to the word “dogma” wouldn’t have worked. But if it’s about our absolute essence, then we could work with that.

Interviewer: Your own absolute essence. That wouldn’t mean creating completely different music, but rather, focusing on what you’re best at, right?

Aoi: Yes. When we thought of it that way, we started to see the final form of the album. It felt more intense, like there weren’t many sweet elements. We’re not sure how it will affect listeners, but if we believe in it absolutely, then that result is fine. In the past, we might have thought we needed a ballad or a more familiar song. But for this, we didn’t worry about that.

Interviewer: Usually, when striving for an ideal album, you tend to think about the balance of the songs.

Aoi: If we had focused on that balance, it wouldn’t have turned out this way. In that sense, it’s not a balanced album. But making it as “DOGMA” naturally led to this. We couldn’t imagine it any other way. We created many songs and carefully selected from them, which led to this result. This is what we wanted to showcase, with absolute confidence.

Interviewer: That’s an interesting point. Normally, when selecting from many songs, you avoid ones that overlap in impression. But in this case, all the songs feel dark, like they’re all black in color. It’s hard to describe each track individually because many are expressed in similar terms.

Aoi: Exactly. There were times when it felt a bit scary. But if you don’t believe in yourselves, it can’t become something absolute. Making an album without worrying about balance is inherently scary. We want to be liked rather than disliked, naturally. There was a fear that it wouldn’t be accepted, but as a work, it’s better not to have regrets. If we had added pop songs or ballads for balance, we might have regretted it.

Interviewer: So, if you had aimed to write universally good or heart-touching songs, it wouldn’t have turned out this way. But perhaps that’s why it’s good.

Aoi: Yes, the starting point wasn’t to write universally acclaimed songs. It was simply about what we wanted people to hear. Even if it’s not accepted, we have no regrets. Otherwise, we couldn’t have titled it “DOGMA.” It’s a risky title because it asserts our doctrine. If something isn’t included here, it’s not part of the GazettE’s core path.

Interviewer: It’s true. This title indicates that what’s included here is essential to the band. If it’s not included, it suggests it’s not part of the GazettE’s core.

Aoi: Exactly. But right now, this is what we wanted to release. We don’t have more to show for “DOGMA” at this moment. There’s more to come in the future, but for the first release in this series, this form is the only one we could think of.

Interviewer: What led you to the decision to focus on your core essence so thoroughly here?

Aoi: It’s hard to say. It’s a flow from the previous two works. There’s a part of us testing ourselves within that flow. It felt like a challenge to see how far we could go with the GazettE. If we were going to go that far, it made sense to establish our absolutes. That’s my interpretation. Others in the band might have different thoughts, maybe they just thought “dogma” sounded cool (laughs). But that’s how I took it.

Interviewer: In the past, you’ve deliberately tried different approaches, even in the last two albums. You’ll probably continue exploring new areas in the future. But it seems you needed to reaffirm and shape your core essence now.

Aoi: I think so too. The band has been around for over ten years, and to continue working together in the future, this was a necessary step.

Aoi: If it’s not intense, I can’t feel a reason to do it. But, I think that after we create something like “DOGMA,” then when we think about creating something in the future, our vision will become clearer.

Interviewer: So to put it bluntly, it’s like creating a noun again, it becomes a work that says "this is the kind of band we are," right?

Aoi: Yeah. Ultimately, over these 13 years, there were times when I didn’t quite understand RUKI's symbolic part of the band, but reaching this point now feels significant. For example, in past interviews, I’ve said things like, “I don’t really understand this music.” During that time, I tried to understand the songs more deeply. That’s probably why we were able to create this album.

Interviewer: Even if a song didn’t align with your own tastes, you believed it would add value to the whole, or it was necessary for where you were heading in the future, right?

Aoi: Yes, that's right. So... RUKI doesn't really explain everything, so we have to find answers ourselves... Whether those answers are correct or not is uncertain, but we need to show a proactive stance. If we don’t, we might not really be a band anymore. We do get asked, “What do you want to do?” and we have to maintain a sense of being a band.

Interviewer: What it means to be a band can differ. It’s not necessarily about everyone always having intense communication and unified intentions. In the case of this band, there are a lot of elements like the band’s worldview and aesthetics that RUKI transmits, right? And the chemistry that happens around that defines your band’s essence.

Aoi: I want to believe that too. Honestly, there were times when I felt like it was just about his opinions. That was just my perspective. At such times, the members don’t talk more than necessary to each other, but if you try to understand, the other person responds. It's that kind of feeling. Such a flow comes around, and that’s how we got here.

Interviewer: I also feel that "DOGMA" will become a standard to measure various things against in the future.

Aoi: Indeed. Saying that might be interpreted as a return to roots, but it’s completely different. It’s not about going back to our roots. It’s still about the present and, probably the future too. RUKI remains the core of the GazettE. But no one really understands what’s in RUKI's head (laughs), and I honestly don’t know how we’ll progress from here. However, if we can branch out from that core, that’s the essence of the GazettE. Our way of creating works might change. But no matter what happens, it will still be the GazettE. That’s what I believe now. In a good sense, of course.

Interviewer: When you say “it will still be the GazettE,” it could be taken as meaning that you can’t become anything else, but that’s not the case. It means that no matter how things turn, it will still be the GazettE, right?

Aoi: Yes. That’s how I feel about it.

Interviewer: So, what do you think are the essential elements for the GazettE to continue being the GazettE? I’m sure it’s not just one or two things.

Aoi: Hmm. There was a time when I was quite self-deprecating (laughs), but that period is essential to my current self. Ultimately, it’s about these five members, no matter what. Even if one person seems outstanding and I feel envious of that, or if there used to be such feelings. Even though there were times when I saw someone standing out who wasn’t very visible from the outside, there must have been a part that was always sought after, and yet at that time, I didn't try to see that reality. So, after all, it’s important to keep in mind that "this person doesn't really want to do it solo, do they?" and that it's really the GazettE with these five people, and it’s important for mutual trust to exist, or it just won’t work. Otherwise, I don’t think we can make anything decent. Even now, in this situation, when we were making "DOGMA," we talked a lot. Yes, it's no good if there’s someone who's a bit self-deprecating (laughs). But I think if there hadn’t been such a time, I wouldn’t have been able to think the way I do now.

Interviewer: Everyone experiences different degrees of self-deprecation, and whether it’s visible or not, it’s something that’s always there. After more than 10 years as a band, it’s natural to have such phases. Those “valleys” allow you to climb the next “mountains,” so to speak.

Aoi: You’re absolutely right (laughs). That’s something we shouldn’t lose. It’s about not giving up. Even if it doesn’t feel right for you personally, you push through until the final moment of fixing it. Without that mindset, it’s disrespectful to the other members. That’s what we’re working on now. It’s important not to give up.

Interviewer: Not giving up. Essentially believing in yourselves but being wary of overconfidence?

Aoi: Yes, exactly.

Interviewer: Moreover, while believing in yourselves, your band is not completely closed off to outside influences. The existence of “PROJECT: DARK AGE” symbolizes that.

Aoi: Exactly. While we take the initiative in creating our works, especially regarding sound, it’s not something we do alone. It becomes a project for everyone involved. We need people who can resonate with that. That’s what makes a work complete. Only with people who can elevate each other can we create something meaningful. However, with “PROJECT: DARK AGE,” I did feel like we gathered a bunch of strong personalities (laughs).

Interviewer: Another essential element for the band’s existence and continuity is the fans. What do you want from them? Just your current thoughts.

Aoi: What is it? I don’t want them to take everything we present as absolute. Even though we’re putting out something we consider absolute, I don’t want them to have a one-track interpretation.

Aoi: Even if they don’t take everything we put out as absolute, that might actually be a good thing. I think it’s fine if our fans also check out other bands, and view us with a flexible mindset. For example, even if they think, “What are these guys doing now?” I just want them to enjoy it. It’s not like we’re saying, “We’re presenting this, so you must accept it in a certain way.”

Interviewer: "DOGMA" is a sacred text, an absolute thing. It has a somewhat religious aspect. In that sense, it could be seen as the band being the leaders and the fans being followers. However, you want to leave the interpretation of that sacred text up to the fans, right?

Aoi: Exactly. Personally, I see it as a set of principles for me to continue being part of the GazettE. That’s how I interpret it, and it feels right to me. I think it’s great if everyone listens, watches, and engages with it in their own way and develops their own interpretation of the GazettE. So, it’s not like we’re saying, “This is the answer from the five of us to you.”

Interviewer: It’s more like a set of conditions, rather than an answer.

Aoi: Yes, and it’s not like if you don’t meet these conditions, you can’t be a fan of the GazettE. At least, that’s not my perspective.

Interviewer: But, like a devoted follower memorizing a sacred text, it would be ideal if fans get deeply engrossed in this album and try to fully understand it.

Aoi: Of course. Personally, I consider it my absolute truth. It’s very gratifying if there are people who feel the same way. In that sense, it is somewhat religious. Even though I am not religious at all.

Interviewer: What is your image of religion?

Aoi: There are those who show something, and there are those who accept it... It's that kind of thing, isn't it? Certainly, I think there are similarities to the relationship between this band and its fans. However, what one believes in is up to the individual. I don’t see anything wrong with people finding solace in something religious. What we’re doing isn’t much different. There are people who pay to take in what we put out. However, we probably can’t really save anyone.

Interviewer: You don’t think so? I believe you do.

Aoi: Well, I'm not sure. There might be people out there who feel like they've been saved in some way (laughs). But, we’re not doing this with the grand purpose of saving someone. There are creators who send out something, and there are people who receive it or resonate with it. The more people resonate with it, the bigger it becomes. That feels very natural for a band.

Interviewer: Yes. Each person’s interpretation doesn’t need to be exactly the same, but it is like asking, “How will you receive the absolute aspect of the GazettE?”

Aoi: Yes, I think that’s a good place to leave it. I don’t want to go as far as limiting interpretations.

Interviewer: I also wanted to ask a bit about the visual kei approach. Previously, you all mentioned not wanting to go down the predictable path of becoming more natural as you gain experience. Has that mindset changed?

Aoi: Not really. I think, “If we’re not like this, who would want it?” It’s not something I can just stop or continue on my own will. The GazettE needs to be this way to be necessary. Honestly, continuing this way is a hassle, time-consuming, and tough. But if it’s what’s desired… I can’t just say, “I don’t want to do makeup anymore, I’ll go natural.” Aoi from the GazettE is undeniably me, but it’s not just about me anymore. The same goes for RUKI and the other members. It’s not something I can change based on my own feelings, stopping it forcefully would just be selfish and unnecessary ego.

Interviewer: I see. Indeed, music alone doesn’t define a band or a work. There are many surrounding elements like artwork, videos, and costumes. Some may say, “We are purely about the music, everything else doesn’t matter,” and that might seem like the correct stance for musicians. However, for your band, while music is fundamental, all visual elements are essential too. Without them, it wouldn’t be complete.

Aoi: Exactly. It's hard to put into words, but while music is absolutely central, it’s also just the starting point. What we create isn’t just simple music; it’s a comprehensive form. Our genre and the way we make music are about completing this holistic form. Sound is crucial, but it’s not just about sound. We want everything the audience interacts with to be perfect. That includes the visuals and makeup, if it’s necessary for what’s desired. We’re not just about one aspect.

Interviewer: Of course, hearing someone say, “I like the photos but not the music” would be disappointing. But you believe all these elements are essential for the work to be complete, right? Ideally, the aesthetic and sensibility behind the music should resonate as well.

Aoi: Absolutely. We’re definitely not ordinary, from our looks to everything else. But if you see us as a whole, you’ll realize how all the elements match perfectly. That’s enough for me. Sure, it’s tricky for summer outdoor festivals and it’s hard to maintain (laughs).

Interviewer: Your costumes have become more elaborate too.

Aoi: It does make it harder to move like a typical rock band, heavier in a way. But we still go to festivals like this (laughs). Even if it’s physically demanding, I want to keep moving lightly in spirit. This kind of intense worldview is something you can’t achieve otherwise. As long as it feels justified, it’s meaningful for us. For us, it’s all natural. Everything naturally accompanies the music.

Interviewer: Yes, I understand. For people who initially pick up your work because of the music, noticing these elements is valuable.

Aoi: Indeed. If it leads to new discoveries for them, that’s wonderful and exactly what we hope for.

Interviewer: When you put out a title like "DOGMA", it’s inevitable that people will wonder, "What is the GazettE?" It makes you imagine that this work delves deeply into that question. Is that the correct way to perceive it?

Reita: Yes, I think that's right.

Interviewer: What led you to the idea of creating such an album?

Reita: Up until now, we've made albums that embody a certain worldview, but it's never been this clear. We've tried to shape things based on themes like the colors of the five of us or the essence of the GazettE. However, this time, with the theme of "DOGMA," the very sound of the word stimulates imagination and suggests a specific concept. We've never created an album with such a defined theme before. As we delved into it, it became more interesting and we didn’t want to do anything halfway. That’s how it progressed.

Interviewer: Even without knowing the meaning of the word, I think everyone will get a sense of a creepy, heavy atmosphere. And in reality, it means doctrine or scripture. So, if this band were a religion, would this album be its scripture?

Reita: The relationship between this band and its fans is quite similar to that, isn’t it? We wanted to clearly present that quasi-religious atmosphere. At the same time, we also feel like, "Are we the only ones left in visual kei?" If that’s the case, then it’s only natural for us to create our own religion.

Interviewer: Are you saying, "We are the only gods"?

Reita: I wouldn’t go that far, but yes, something like that (laughs).

Interviewer: There are various bands within the visual kei scene with different musical directions. Instead of asserting that "we're different from others," you’re saying it’s more like, "It's okay with just us"?

Reita: Yes, we feel that if we do this, we won't lose to anyone, and other bands aren’t necessary. That's how we feel.

Interviewer: Now, you've turned everyone into your enemies (laughs).

Reita: Hahaha! Given the diversity in visual kei today, there aren't many others we resonate with... To be honest, death metal seems more visual kei to me these days. It made me reconsider what visual kei really is.

Interviewer: That interpretation can differ by generation. Nowadays, the mainstream in that category might be characterized by a cute, sparkling look with an anything-goes musical approach.

Reita: Yeah. But for us, this is what visual kei is, and it's kind of our origin. It's how we felt when we first learned about visual kei... That might be close to what's packed into "DOGMA."

Interviewer: Death metal often accompanies an aesthetic sense, religious sublimity, and strictness.

Reita: Exactly. The clarity of that worldview, the fact that it's not just anything goes, is close to our idea of visual kei. Nowadays, there are many who do anything goes, but to me, that feels a bit off.

Interviewer: So, you were fed up with the mainstream trend of doing anything goes?

Reita: Yeah. Well, we started the band with a close-to-no-concept approach, but as we continued, the feeling of "this is who we are" emerged. That answer is what we have now. We are different from others, and we’re doing things that others can’t or wouldn’t want to do in this era. Moreover, it's not something that has a hint of the underground but rather something that has gained a certain level of acceptance. The scale and scope are important. By presenting such a worldview, I honestly believe we can’t be beaten.

Interviewer: When people aim to expand and grow, they mostly try to throw something that anyone can easily like, right? But you’re doing the exact opposite. By throwing something extremely pinpointed and extreme, you’re trying to highlight your own existence.

Reita: Exactly. So, people who like it will love it, and it’s meant to keep those who like us from ever leaving. This album isn’t something that everyone will like. I myself understand that.

Interviewer: You say that so definitively.

Reita: Yes. (laughs)

Interviewer: You want to ensure that those who like you will never leave. So, it’s not enough if someone listens to this album and thinks, "the GazettE is my third favorite band"?

Reita: "What's that?" That's the feeling (laughs). We don’t need such words. I know not everyone will like it, and if they hate it, that’s fine, as long as they come to their own conclusion. If someone dislikes it, that’s unavoidable. What’s most frightening is "not being known." Seeing but not liking, listening but hating, is not a problem for me.

Interviewer: Although, if too many people felt that way, it would be a problem.

Reita: True (laughs). But it helps to have people come to their own conclusions. They often say the opposite of love is not hate, but indifference. That’s exactly what I think. We started this band and have been doing our best... if people are indifferent, that’s unfulfilling. It means our existence doesn’t matter to them.

Interviewer: So even if the response is negative, being recognized is more important than being unknown?

Reita: Yes, I have no problem with it. That’s why I want to perform at festivals. Because there, a diverse crowd will judge if they like us or not. Of course, it’s risky. The scariest thing is people going to eat during our set. (laughs) If they listen to one song and then leave because they felt nothing, there's nothing you can do.

Interviewer: Didn't you consider the risk that pursuing this path might result in losing something?

Reita: No. If what we think is cool makes people think "that's.. different" then the GazettE doesn’t need to be in their world. That’s the answer. I don’t think we lose anything there.

Interviewer: But what if the majority ends up thinking "that's different"?

Reita: Yes, that might happen. But it won’t lead to despair. Because we believe what we’re doing is cool. To those who say they hate it, I’d just think, "If you hate it, that’s fine, but you don’t get it."

Reita: There aren't many bands like us, right? That's what I think. It might sound conceited (laughs), but that's how I feel.

Interviewer: And at the same time, you're confident that those who have liked the GazettE up until now will like you even more with this release, right?

Reita: Yes. Because I myself like bands like this. So, in the end, it's just my assumption. But it's hard to do something based on the idea, "I don't like it, but maybe everyone else will?" That just feels a bit forced. In the end, you have to run with the belief that what you like, everyone else will like too.

Interviewer: In other words, you're aiming at people out there who share the same sensibilities and values as you do.

Reita: Yes. I believe there are definitely people who will resonate with us. Through our 13 years of activity, I've come to understand that there are quite a few of those people out there.

Interviewer: Do you think that this confidence, backed by your past achievements, has pushed you to take bold actions, like making this album?

Reita: Yes. Above all, the fans who have supported us all along have given us the confidence. So even if that leads to us going a bit overboard, it’s the fans' fault for encouraging us. (laughs)

Interviewer: "It's your fault for getting us all fired up," right?

Reita: Exactly. (laughs) But, whether you call it overboard or not, we have a sense of "this is what you’re expecting from us, right?" So even if people think, "No, this isn’t it," we can say, "Too bad, but this is what the GazettE is now." We're not going to change just because of that.

Interviewer: You mentioned "the current GazettE." While it's clear that "DOGMA" represents the core of the band, you’re not saying you'll always do the same thing.

Reita: Of course. You never know what’s ahead. After we release this album, tour with it, and finish the final show, then maybe we'll understand what this album means to us. So, I can only say it's the current GazettE.

Interviewer: This time, it seems like the period you'll spend on this theme will be longer than usual.

Reita: We wanted to delay finding the answer a bit longer. Usually, after releasing an album, we start touring about a week later, finish it in two months, and reach the tour final. In such a typical flow, you end up having to find the answer within about three months from the album release. But making an album takes way longer than three months. If we have to find the answer in that short time, we have to move quickly. I feel that this is one reason why bands don't last long. We need to enjoy one album for a longer time. Otherwise, I feel like we might come to a stop.

Interviewer: For instance, the previous two albums were made in a relatively short span and were battles against time. Trying to keep up such a cycle might wear you down, right?

Reita: Definitely. You get worn out, and the band’s lifespan gets shorter. That's not desirable for us at all. We want to keep doing the band, that's why we work hard. So, we need to think more about the way we spend time on each album. Japan is small, so even a national tour ends quickly. But in other countries, the tours for one album last much longer. They keep searching for answers during that time. Compared to that, I feel like we’re rushing too much.

Interviewer: Your evolution and growth might be fast, but aging might progress quickly too.

Reita: Exactly. That’s scary, and not what we want at all.

Interviewer: Do you feel like you want to do a tour for "DOGMA" for 2-3 years, like bands in the West do?

Reita: Yes. I want to spend more time and enjoy it more. I want to do it until I feel like I can't do it anymore. I want to get to the point where I can play the songs in my sleep. (laughs) Until it sticks with me that much.

Interviewer: Maybe you won't see what you want to do next until you go all out like that.

Reita: I think so too.

Interviewer: When thinking about keeping the band going for a long time, what do you think is important aside from how you use your time?

Reita: When I say I want to keep the band going for a long time, I don’t just mean continuing the band's activities. The position we’re in is very important. I want to continue for a long time while being at the top.

Interviewer: You don’t just want to be a long-lived band?

Reita: Right. Like I said before, "there’s no one else in visual kei but us," and I don’t want those words to become embarrassing. If we say something like that and then disappear quickly, it would be like, "Oh? There's no one left." So, to continue for a long time means we want to stay at the forefront.

Interviewer: To always be at the forefront and continue until you really can't anymore. What do you think is necessary for that?

Reita: This might sound contradictory, but I think it’s living in the present. If you only want to continue for a long time, you could take it easy. Musically too. If we keep doing only intense songs, it's like, "What is there left to do in the future?" (laughs). But I think by living in the present, we can continue for a long time. That’s what keeps us at the forefront. If we start thinking about making songs that we can play even as old men, it’s like we’re already preparing to step back. So, always being cool in the present is important. That accumulation is the answer, I think. It might sound contradictory though.

Interviewer: If you don't give it your all each time, you can't keep going, right? Considering your age, physical strength, and preferences five years from now while facing the present is impossible. If you think like that, you might just become the person you imagine. Assuming you’ll decline and then changing things because of that. It’s important not to decline.

Reita: Exactly. The GazettE has been around for over 13 years now, and there are many bands that have been around for more than 10 years. But...

Reita: Honestly, I think there are some bands out there that are just continuing because they had no other choice..

Celebrating anniversaries and such can sometimes feel like an insider thing. Sure, there are those who have been supporting us since the beginning and might find it deeply moving, but there are also fans who just started liking us a month ago. For them, it might not matter if we say it’s our anniversary. For instance, having an anniversary concert is fine. But what’s important is to make people think, “Wow, they are at their best right now!” If we just play a lot of nostalgic songs, it might feel like an anniversary concert, but I wonder if it really shows who we are now. As a service, it might not be bad, but if that’s all there is, it might be better to just watch a DVD. An anniversary concert should be about showing who we are now, not just celebrating the past.

Interviewer: I see. Indeed, if you think you’re going to decline in the future, you might subconsciously start preparing for it, and thinking that way means you’re aware you’ve passed your peak. If you thought the last album was the peak, you might try to repeat the same thing. But for the GazettE, you always want now to be the peak, and you want to keep updating it, right?

Reita: Exactly. I think it’s about momentum. When you start liking a band, it’s not a settled band, but a band with a lot of momentum. If you only go for that, you’ll always be interested in the younger ones. But I think it’s possible to keep that momentum even after many years. It’s about how you present yourselves and your mindset. Instead of thinking, “We’ve been doing this for 13 years, maybe it’s time to…” we should have the same or even more energy than in the first year.

Interviewer: Continuing as a visual kei band is particularly difficult. There’s the risk of getting stuck trying to maintain the fans’ image of you, which could result in becoming a deteriorated copy of your past selves. You want to keep your momentum and not fall into that trap, right?

Reita: Of course. I think bands like us should transcend borders, religions, and even age. From the fact that we’ve been together for 13 years, people can guess our ages, but if we don’t mention it, they wouldn’t know. We shouldn’t be bound by the idea of acting our age.

Interviewer: So the concept of acting your age doesn’t apply to this band?

Reita: Exactly. I don’t even know what acting our age means. We don’t want to just get younger, but we want more momentum. More than before. We always want to be seen as having the most momentum right now.

Interviewer: To some people, seasoned bands trying to seek momentum might look like older folks desperately flailing.

Reita: I understand, but it’s different. It’s like our eyes aren’t dead. We want people to think, “These guys are still going to do amazing things.” I personally like bands that give you that feeling. I want the GazettE to be that kind of band. In the past, our momentum might have just been reckless, but being reckless alone reveals a lack of depth. Even now, we might still be a bit reckless, but we’ve gained a lot of experience that serves as a stronger base now. Before, we just jumped with leg strength, but now we use that base to jump even higher. We want to be the ones who always jump higher than anyone else, using both our heads and our experience.

Interviewer: When the band strives to be like that, how do you want the fans to be?

Reita: I think fans will often feel like they’re being dragged along by us, but I believe that’s natural. Fans don’t create the band. We want to keep swinging them around, and we want to cherish those who hold on. On the other hand, if the band gets swung around by the fans, it’s no good. We create something first, and people empathize with that and enjoy it fully.

Interviewer: In that sense, “DOGMA” is like a set of rules for the GazettE, but it’s the band that presents them, not the audience.

Reita: It’s like religion. Believers don’t change the rules. We should present them clearly, and if we do, it will be clear who likes and dislikes it, and those who like it will like it even more. It’s okay if people start liking us halfway through. Even if they don’t like it now, they might listen to “DOGMA” again next year and really like it. I want them to clearly decide if it’s a hit or miss for them.

Interviewer: That’s like religion too. You either believe everything or nothing. No one deeply believes in multiple religions equally.

Reita: Right. Religion has general laws and then additional laws for a limited group. It means you lose more freedom, but the people in it feel happy. It’s fascinating. I often wonder what religion really is. It’s about enjoying a restricted world in your own way. The GazettE also has things we shouldn’t do or can’t do as the GazettE. That might limit our freedom, but it also keeps us sharp. So if fans like this band, they should understand what the GazettE is and come to our concerts with that understanding.

Interviewer: “DOGMA” is a guide for the fans to understand what this band is all about.

Reita: I think so. I’ve been saying some pretty bold things, but we need strong words like this to match the album.

Interviewer: Looking back at the recording process, how does it compare to the completion of previous albums?

Kai: The sense of accomplishment is entirely different. It's not that this time is particularly significant, but rather that it feels like it's not quite finished yet. Honestly, it doesn't feel like a definitive "Ah, it's done!" moment at all. It feels like only a part of the process has been completed. To use a human body as a metaphor, it's like we've only just completed the torso. So, it's like we're finished, yet not finished. I was aware that I would feel this way from the start, and that’s how we’ve been progressing.

Interviewer: What do you mean by that? This time, there are many additional elements like the book, photo album, and DVD. The artwork is also very elaborate. Does this mean it won't feel complete until everything is released?

Kai: That's part of it, but even when everything is ready, I don’t think it will feel like a complete closure. The album "DOGMA" itself will be complete, but the "PROJECT: DARK AGE," is still just starting. The flow of time is different this time. It's not like before, where we released an album, toured, and then it was done.

Interviewer: The tour seems far from over, as it’s not just confined to Japan. It looks like the "OMINOUS YEAR" will continue.

Kai: Yes, and we still don’t know what our mindset will be after the album and tour. I feel like we won't have fully processed everything by then. Sometimes, right after finishing an album, you want to start creating the next one. But I can't see what we’ll create after digesting this one. I predict that we'll be running for a long time from now. This feeling will probably grow stronger as we move forward, which is a wonderful thing.

Interviewer: Did you aim to create this album as a starting point for a slow and thorough process leading to the next phase?

Kai: Yes, we intended to create something like that. This work was being done while we pondered deeply about what "the GazettE" means. This reflection has been especially strong this time. The process of questioning myself about the band's essence will continue as long as the GazettE exists. This time, we’ve delved into our true essence. Regardless of what we do in the future, I think this core part will remain unshaken.

Interviewer: Fans, used to interpreting your words deeply, might have expected this album to define the GazettE's doctrine, given its title "DOGMA."

Kai: That might be true. One of the reasons we reached this point is due to our history. Timing also plays a part.

Interviewer: Was there a sense of resetting involved?

Kai: Maybe. We toured under the theme of "redefinition" in 2014, performing mostly live shows and not releasing much. Live shows are where we feel the most like ourselves and gain various insights. I felt that it was a necessary time to thoroughly reflect on our journey, something we hadn’t done before.

Interviewer: The tour followed the release order of your albums, allowing you to relive your history in chronological order.

Kai: Exactly. It was a year of constantly facing our past. We were able to look at the GazettE and ourselves more closely than ever before. This is why we’ve reached the point we are in now.

Interviewer: This might sound rude, but didn’t you discover anything you’d rather not admit, like thinking you hadn’t progressed as much as you’d hoped or that your earlier work was better?

Kai: (Laughs) Fortunately, not at all.

Interviewer: That’s good to hear (laughs).

Kai: As we performed more tours following the order of our albums, we realized we had consistently improved and climbed our own ladder. Now, we're here, and naturally, we start thinking about what ladder to climb next. But to move forward, we need a solid foundation. This led us to question, "What is the GazettE?" and create an album around that concept.

Interviewer: I see. Did you discuss this among the five of you?

Kai: Yes, we frequently discussed it. Initially, everyone was cautious, but we talked things over each time. The word "dogma" had already come up, so we naturally envisioned an album that reaffirms the essence of the GazettE. Through discussions, we gradually identified the elements we wanted to highlight. One of the most significant keywords for me was "dogma." It resonated with me and seemed to define the album's character.

Interviewer: That makes sense. However, when it comes to embodying that in music, wasn't it challenging to figure out what to do?

Kai: Not really. Ultimately, it's about fully expressing ourselves and presenting the GazettE as we are. We’ve always done that, so it felt natural to us.

Interviewer: True, but the word “dogma” also has a somewhat religious connotation, doesn’t it?

Kai: Maybe, but I don’t feel that much. Perhaps because I didn’t know the word well. (laughs) Sure, the relationship between a band and its fans can seem a bit like a religion. But for me, it wasn’t about doing something religious; it was more about “dogma of the GazettE.” That strong link in interpretation led me naturally to this project.

Interviewer: I see. What does “the GazettE” mean to you?

Kai: Well... It might not be a direct answer, but I feel that we are not suited to “throwing things out there.” We need to “smash it down” instead. That’s who we are.

Interviewer: Indeed, that’s how it should be.

Kai: Right? (laughs). Instead of asking, “How do you feel?” it’s about showing it blatantly. That’s the spirit, the stance that defines the GazettE. It links strongly with the concept of “dogma.” It’s not about asking fans to follow us; it’s about demanding they come along. That’s the type the GazettE is. So, we must lead with that strength. Sure, it might link with the religious aspect, but every band has its way. That’s ours.

Interviewer: Rather than “throwing it out,” you “smash down.” And what you smash down must be overwhelming or absolute, right?

Kai: Yes, it must be something we have absolute confidence and conviction in.

Interviewer: In today’s world, there seem to be more bands and artists that “throw things out there.” Don’t you think that makes you want to perfect the “smashing down” approach even more?

Kai: Yes, there’s that contrarian streak in our band. We don’t try to follow the trends or do the same as others. If it’s our truth, it doesn’t matter if it’s mainstream or not. Even if criticized, it’s like, “So what?”

Interviewer: I suppose the GazettE’s “doctrine” includes the phrase, “Rock is not about throwing out; it’s about smashing down.” What’s the one thing you most want to smash down to your listeners?

Kai: That It’s not just us. It’s about the feeling that “You, the fans, are also part of the band!” It’s about smashing down the sense that “It’s not just us.” The band must be absolute, but...

Interviewer: You mean it’s up to the fans to take it in, right?

Kai: Yes, everything depends on you. What spreads and deepens also relies on you. Speaking practically, if we throw down something confident, but no one follows, we can’t do anything. Our activities will falter, and the band might cease to exist. But if we have supporters, what we can do grows and deepens, making the band unique.

Interviewer: So the band’s value is decided by the fans too.

Kai: Yes, in part. It’s not just “thanks to you all.”

Interviewer: Like, “That band is amazing, and so are their fans,” right? Ultimately, you want fans to evolve with the band, which makes you want to smash down this “doctrine.”

Kai: Exactly. I want core fans to become even more core. So dedicated that they don't even have room in their profile to mention other bands (laughs). Just the GazettE. Saying they can’t live without us. We need to be that kind of band. That’s the ultimate relationship with fans.

Interviewer: Right. Having fans that deeply dedicated depends on the band’s charm, right?

Kai: Yes, we need to be a band so compelling that fans have no interest in others. Only then can we be truly unique. It’s not about doing something different from others but being compelling in our way.

Interviewer: Otherwise, it’s just a narrow niche.

Kai: Haha! Exactly. Instead of a narrow niche, we should aim to blow everything away. It’s very rock n roll to not follow others, but if we can do it, why hesitate?

Interviewer: The ones who do it best get recognized, not necessarily the first one to do it.

Kai: Right. In the big picture, we are niche, but we’re making our mark there.

Interviewer: Fans are surely attracted to that aspect. But it’s not just about prioritizing the demands of what you could call the "core of the core" fans. You must also aim to make an impact on those outside that core.

Kai: Yeah. But it’s not about trying to make those on the outside listen to us; it’s preferable if it resonates with them naturally. That’s the ideal, and I believe we need to achieve that. We strike hard at our core fans, but just throwing it out to everyone else would be strange (laughs). We don't want our stance to have a gradient based on the audience. We always want to be either black or white.

Interviewer: In the song commentary included in this book, you mentioned that the title track "DOGMA" felt like "opening a heavy and large door." When I heard that, I thought you must have felt that at some point, you had to reach out to that door. In other words, you thought you had to make an album like this eventually, right?

Kai: I think we were waiting for the right timing ourselves. Now that we’ve made it, I feel that way. It’s a kind of return to our roots. We’re not going back to the starting point, but we approached something we always wanted to create with full readiness. As a result, a heavy door that we couldn’t open no matter how hard we pushed before has now opened. Maybe it’s because we’ve gained strength, or maybe it was just the right time to make this.

Interviewer: It was probably a bit of both. And after opening that door, the current the GazettE isn’t necessarily trying to head to a completely different place than before.

Kai: Not at all. It’s more about making the dark parts even darker, so to speak. It’s about eliminating ambiguous parts and striving for something more definitive as the GazettE, while still being the GazettE.

Interviewer: Of course, that’s what you aimed for this time as well. But I think there must have been a lot of pressure to create a truly definitive piece that surpasses your previous ideals.

Kai: Yes... there was. Honestly, it was quite a long period of struggle. We worked on it while thinking about various things since the time of the "redefinition" tour. This was the first time for our band to continuously work toward something over such a long period. Well, I’m confident that the result is something good. We’ve definitely made a piece that we can proudly say, "This is the GazettE!" I believe this will be a great strength for us moving forward. Even in the stage of selecting songs, we had quite a bit of inner conflict. For instance, thinking, "In this flow, it would be nice to have at least one melodic song here." According to our previous standards or way of thinking, we would tend to include something like that, but we deliberately didn’t, deciding instead to push more on the aggressive side. This approach was something we originally had within us, but we had never gone this far in that direction before, so in that sense, it was also a challenge. We’ve never made something with this kind of balance. This is both a challenge and a way to firmly showcase our strengths.

Interviewer: The term "perfect balance" is often used in everyday life, but in the end, it’s just a balance that suits the preferences of the receiver. The way balance is sought depends on the nature of the work itself.

Kai: That’s right. So, to put it bluntly, this might not be a well-balanced album. If you consider it from the ideal of a certain period of ourselves. But the album "DOGMA" couldn’t have been balanced in any other way... it had to be like this.

Interviewer: In other words, it wouldn’t have been "DOGMA" if it wasn’t for this kind of balance?

Kai: Exactly. Also, we don’t create albums by comparing them to our past works. We don’t think, "We made this kind of album before, so let’s try making this kind now." As I mentioned earlier, there were times when we felt the need to add a melodic song after a series of intense tracks, thinking it might be necessary. That’s due to past habits or ingrained sense of balance. But this time, we completely ignored that. We focused most on making "DOGMA" as "DOGMA" as possible.

Interviewer: And as a result, you’ve completed an album that truly fits its title.

Kai: Yes. Even I feel that we really pushed the limits. But we’ve truly created something that lives up to the title, and I’m glad we had the word “dogma” from the beginning.

Interviewer: Of course, there may be parts within this work that you might want to revise in the future. But a “canon” isn’t something that can be repeatedly revised, and it’s meant to last forever in its current form.

Kai: Yes, I think so too. That’s why I’m really satisfied right now. For fans, this album is "an album they’ve been waiting for for two years." We’re confident that it’s something that won’t betray their high expectations, something that even surpasses them. Moreover, as I mentioned at the beginning, it’s an album with plenty of room for further exploration on our part. That’s why releasing a work doesn’t mean it’s complete.

Interviewer: Ofcourse. This flow of time will continue for quite a while.

Kai: The full scope will become clear moving forward, but this "ominous year" will involve various developments with "DOGMA" at its core. So, just like everyone will be breaking down "DOGMA," we’ll also spend a long time digesting this album and communicating about it. "DOGMA" is an album that reflects our essence more than anything, and I believe that part will remain unshaken. Of course, our music will continue to evolve, but no matter how much its form changes, the essence won’t change, and we won’t lose this part. If at some point, we decide that we need to change fundamentally, then we’ll have to present a new "doctrine" again.

Interviewer: But surely, if that ever happens, it will be far in the future.

Kai: Yes. Right now, the most important thing is to keep this mindset we have, continue creating works with the same passion and energy, and give our all. Otherwise, there is no future for the GazettE. We don’t want to release anything half-baked.

...

.......

...

Part 1 of the Dogma Book translations (members comments about each song)

Once again, all the scans are from the archive (rad-is-more) All translations are ChatGPT, edited by me. I added the book text pages themselves because I often read interviews and want to look more deeply into a certain passage but people never provide the source of the translation so it's impossible to do. This might not be the most aesthetic way to do an interview post but it's the most convenient for me personally. Also, I've noticed all the pieces like photos, art and interviews are very scattered on this site. Fragmentation only leads to misunderstanding and I am trying to piece everything together as much as possible, even though it leads to very long posts.

[kaibutsushidousha]

The Hundred Line - Famitsu interview June 19th 2024

What does the title Hundred Line mean?

Kodaka: The simplest way to describe this game is: student have to live together in a school while fighting to survive 100 days. This "100 days" timeframe became a major keyword, so we decided to express it through the title The Hundred Line - Last Defense Academy.

The game has been described as "a tale of extreme x despair produced by the creators of Danganronpa". This "extreme x despair" keyword reminds me of the Concept Art 1 presented September 2018 at the announcement of Too Kyo Games. Caption: Extreme x Despair. A game co-written by Kodaka and Uchikoshi!

Kodaka: As you can imagine, this is the game from Concept Art 1. We finally managed to announce, but at first, The Hundred Line was developed as Too Kyo's first original IP. However, our company isn't capable of self-publishing, so now we're working with Aniplex, on a half-half split on production costs.

When did development start?

Kodaka: Since we founded Too Kyo Games (2017), so that has been 6 or 7 years. At first, Uchikoshi and I partnered with another major publisher to release our game, but unfortunately, the project was canceled...

In a previous interview, you mentioned a title not coming out as planned, but I didn't think you mean an actual cancellation...

Kodaka: I have so much I could talk about on this one, but I don't think the first talk about this game should be about what went wrong, so how about we save it for another day? Haha. Although The Hundred Line's project was canceled for a while, now, after finding what we needed to make it a good game, we rebranded it and restarted our whole internal development cycle.

We were initially fine with it being indie-sized, but as the story and character designs were getting polished, and the concept gained a more solid form, we started thinking we couldn't make our ideal game unless we went bigger. Determined to put our hand to the test... we took a loan.

A loan!?

Kodaka: It wasn't guaranteed that we'd have the working capital to maintain our enlarged development scope even if we sold all of our stocks. We advanced the production with the phantom of debt on our necks while we searched for a new publisher, and that's where I met Aniplex and smoothly sold our pitch.

However, since this game has simulation RPG sections, they said that'd need a third-party developer. For that, they introduced us to the accomplished Media Vision and had them join the dev team. We're also cooperating with Jet Studio, who worked with us before in Danganronpa and Rain Code.

After all that it took to get this game to a presentable state, we of Too Kyo Games consider it a proud symbol of our persistence, or better yet, the culmination and conclusion to the current stage of our careers.

Staking your life on your work has never been so literal...

Kodaka: True, if this game flops, we won't be able to pay our debt. In that sense, this also provides a rare opportunity to the playerbase too. They get to witness how much a single title's sales can influence the future of a creator and company.

That's not the kind of suspense I want as a game fan, haha. Still, with six years of development, is it safe to assume you've been through a fair share of hardships?

Kodaka: I did. That was my first time dealing with a full cancellation. Also, to enable to Too Kyo to continue its work, to partner up with a new publisher, etc, we couldn't continue the development in the direction we were before. We needed to restart on our semi-complete project, and that's already painful labor in itself.

In terms of creative workload, I can't say I was much busier than I was in the Danganronpa V3 days, having to work in the game and the anime at the same time, but in this situation, aside from my directing, writing, and screen composition duties, I'm also Too Kyo Games's president and producer, meaning I have more work outside my craftsmanship... Making the game and managing the funds at the same time would have given most people a mental breakdown (laughs).

It was mentally and financially taxing, but I don't think I'll ever get another opportunity to pour this level of effort into making a game happen. Putting my life on the line was a very valuable experience.

You mean to say you can feel Too Kyo Games's entire soul in the game? On another note, I couldn't find any of the characters from the concept art in the new key visual or the screenshots. Does the restart mean that those characters got shelved?

Kodaka: The game's general concept is still the same, but to put a new, clean start on it, we changed a few things completely. One of them being the character designs. But despite their changed appearances, they maintain the characterization of their predecessors, so you'll see characters similar to what those would have been.

However, the old politician you see in the upper left corner won't be in the game (laughs). He's a character Komatsuzaki made up on the spot for this illustration, so I know as much about who he is as you do. He's doomed to disappear shrouded in mystery.

(laughs) By the way, considering how The Hundred Line is "the tale of extreme x despair", I'm curious about how this keyword "despair" relates to Danganronpa.

Kodaka: The tagline "tale of extreme x despair" is to signify that this is the first game Uchikoshi and I are directing together. It has nothing to do with Danganronpa, but it is a game made leveraging all of my previous experiences. With that plus Komatsuzaki's and Takada's involvement, I consider it a spiritual successor to Danganronpa.

Who from the main Too Kyo Games roster is working in this and what are their roles?

Kodaka: Uchikoshi and I are splitting the directing and writing work, Komatsuzaki is on the character design, Shimadrill is doing the enemy design and the backgrounds, and Takada is in charge of the soundtrack. Also, Uchikoshi and I do screen composition for the scenes we write.

I didn't think I'd have to do the screen composition job here myself, but I'm the best at handling Komatsuzaki's art and Takada's music, so that job is dumped on me. I got a lot of material to work with. Maybe more expression options than Yuma had in Rain Code.

The Danganronpa series also had me personally choosing faces and soundtrack one by one, so I hope the fans of that series enjoy the familiar vibes in the visual novel sections.

The new announcement came with a key visual. Are these characters in uniforms going to be the main cast?

Kodaka: Yes. They're the students of Last Defense Academy and are living in the school for unknown reasons. The students have special powers called Hemoanimas. They normally have their own sets of clothes, but upon activating their Hemoanima, they change into this uniform and fight against their enemies.

Is the white character a mascot?

Kodaka: Yes. He's the squad coordinator character. So his name is just SIREI, from shireikan; commander. By the way, SIREI is the reincarnation of the raccoon illustrated in the key visual. Both forms of this character were designed by Komatsuzaki. I pointed him in a general direction I wanted but overall let him do whatever he wanted. Meanwhile, the students followed the usual process going through a lot of back-and-forth until their completion.

In Danganronpa, their designs reflected their Super High School Level talents. Does The Hundred Line have any kind of keyword or characterization element that informed their designs in the same way the Super High School Level talents did?

Kodaka: Each student masters a different Unique Subject and has a different weapon of choice. That's what their designs mainly reflect. I'll talk more about Unique Subjects and weapons of choice later.

I'm looking forward to the update. Next question. Danganronpa and Rain Code had all-star casts of voice actors. I have expectations for The Hundred Line's cast.

Kodaka: Unfortunately, I can't reveal the actors at the moment, but I will say half of them have performed in previous Kodaka or Uchikoshi game and the other half is people we're both meeting for the first time. But look forward to it, it's going to be as all-star as any previous game. I know the released PV is voiced by the protagonist, but who is voicing him is still confidential.

Will the creatures depicted flying above the main characters be enemies?

Kodaka: Correct. The enemies are unknown entities attacking the school. They're called School Invaders. If you take a really close look at the key visual, you may notice the academy is protected by a pink flame. That's called the Unextinguishable Flame and that's what prevents the School Invaders from attacking 24/7.

When the School Invaders get past the Unextinguishable Flame, the students will need to repel them. The students aren't informed about the academy's or the unextinguishable flame's secrets, nor they know why the School Invaders are attacking. The story progresses as they fight School Invaders day by day unaware of their circumstances.

Do you have anything noteworthy to say about your interactions with Shimadrill regarding his work designing the enemies?

Kodaka: My priority for the character design of the weaker School Invaders was that they had venomous pop aesthetics. At my first discussion with Shimadrill, we arrived at the idea of making their designs intentionally similar to the monsters of a famous game franchise, but we changed plans along the way. Ultimately, we got likable enemies with that pop aesthetic.

Playing aggressively even on the designs, huh? That's the Too Kyo Games I know.

Kodaka: We changed our aim because copying designs was a really bad idea we took too far. Our mindset at the time is that, true to Too Kyo's name, we wanted to make a game that was indeed too crazy. Too Kyo Games is a company that prides itself on its writing, designs, and music.

However, compliance is a lot more important nowadays, so there's a lot more we need to keep in mind. We were defanged by the corporate structure of our partner for the cancelled version of the game. Depictions of violence and dirty jokes that were acceptable in our previous works weren't fine with them. We had to be on our best behavior to adhere to their compliance demands.

Now that I got to remake the game as something else, I can see that not releasing it on its previous state was for the best. Because I couldn't express my strengths in full there.

The Hundred Line was my first collaborative work with Uchikoshi and our first original IP. Making a game that's simply good wouldn't be enough. There'd be no point in starting this over if we couldn't go all-out. We developed The Hundred Line determined to make a game someone with good sense couldn't make. A title to be considered a product of deranged minds. In the sense, we were very lucky to land on a partnership with Aniplex.

Tell me more about what do you mean by "lucky" here.

Kodaka: To leverage the strengths of Too Kyo Games, we're writing a very controversial narrative. Aniplex is being thankfully quite flexible with what we're allowed to depict, as they understand our fortes and respect our vision. For that reason, Uchikoshi and I were able to depict the crazy story we wanted to.

Kodaka, in a previous interview, you expressed determination toward making this game a story that make people question your sanity. A game people wouldn't expect to be possible to make. Would you say managed to fulfill this ambition?

Kodaka: I can't comment about the gimmick without getting into spoilers, so I have no plans to reveal the answer to this before the game's release. Playing the game for yourself should be enough to convey Too Kyo Games's outlandishness. I believe my reason to pair up with Uchikoshi will be equally evident, and it'll be easy to make sense of why this game needed multiple writers and recruiting new hires.

I know perfectly well this is a tasteless request, but can you drop a hint?

Kodaka: Fine, I'll tell you some details after the interview. You're allowed to address what I'll say in your opinion post (laughs).

I appreciate the gesture, but let's see if I'm up for the challenge (laughs)

Tell us what the general gameplay loop is like.

Kodaka: The Hundred Line follows a cycle of 3 parts: a visual novel section, an exploration section, and a simulation RPG section. I already explained at the opener that it's a game where you survive 100 days of combat, but that doesn't mean time will pass uneventfully.

Like in Danganronpa, something will happen each day, and you'll get chances to talk with your schoolmates and deepen your relationships. You'll get Free Time, you'll get training sessions to increase your stats, and you'll be able to get other power ups by sharpening your weapons. The goal in the visual novel and exploration sections is to enjoy life with your schoolmates while also preparing for the enemies that can appear at any moment.

Got it. Now explain the simulation RPG section too, please.

Kodaka: The simulation RPG section has tower defense elements. It's not just about defeating the enemies, you also have to fight defending the school. Also, since the School Invaders come in large flocks, the main gimmick here is that you need to fight on multiple grids of the board at the same time instead of taking it one grid at a time.

Our developer, Media Vision, has a lot of experience in simulation RPGs. We'll disclose more details about the gameplay later, but I'm glad they were able to come up with and implement hype combat ideas (such as unique traits and ultimate moves for each character) in a way that can satisfy the fans of the genre.

You mean to say the simulation RPG sections are going to be solid?

Kodaka: Correct. That said, a lot of people who buy my games are casual gamers, so I always put emphasis on ease of play.

Then first-time simulation RPG players will have nothing to worry about.

Kodaka: Another point of interest is Takada's soundtrack. I requested the battle BGM to have the intensity of an action game. It's inspired by technical rock bands from the 90s, mainly The Chemical Brothers and Boom Boom Satellites. The visual novel sections, on the other hand, have a more sci-fi-adjacent OST to match its strong sci-fi aesthetics.

Tell us a release date and the consoles.

Kodaka: Early 2025, Switch and Steam.

Less than a year before release. Do you think the team can make it?

Kodaka: We're still working on it, but I think we won't have to delay the release. To be honest, The Hundred Line is progressing faster than Rain Code was (laughs). Besides, Too Kyo Games can't afford to delay a game our creators are staking their lives on.

Messages to players and readers usually often saying things like "We're doing our best" or "Cheer for us", but for this title, I can't bring myself to be so casual about it. I feel like I'm issuing a challenge to the players here.

I have a marketing strategy to draw attention to the game, and I'm polishing it to make anyone who buys it say it's a good game, so I'm feeling more of a "Just watch me!" or a "Wait until you see this thing released!" for a closing message.

Giant Kuroda's editorial comment

As outlandish as promised.

That's the interviewer's honest impression on what Kodaka told me about The Hundred Line's gimmick. I [Giant Kuroda] have been the Famitsu interviewer in charge of Danganronpa since Danganronpa 2. I interviewed him pre-release for a game launched in 2012, which means I've been talking to Kodaka for at least 12 years.

Kodaka and his art surprised me many times. In a good way.

Danganronpa 2's final boss. Danganronpa V3's first case culprit, finale, and the secret hidden in the title. Danganronpa 3 simultaneous broadcast of Side:Future and Side:Despair. Rain Code's first case...

The list could go on forever, but The Hundred Line's gimmick is more impactful than of those. I can't deliver a final judgement until I play the game for myself, but depending on what the game has to offer, it could be his uncontested best. That's how much potential I felt in that spoiler. I get the point of staking their lives on it now.

Also, in what's rare for a Kodaka title, the game will be allowed to be streamed relatively far into the story despite earlier spoilers (information subject to change). Kodaka's story-heavy games are a double-edged sword. It's possible for players to feel like they experienced enough by simply watching a Let's Play that spoils all the twists. However, I believe this game actually benefits from unrestricted streaming. But I can't say why. It's a spoiler...

At any rate, this game is Kodaka's and Uchikoshi's first collaborative story, and as Kodaka said, its narrative is a product of deranged minds. I wait with bated breath to the day I can finally play it, and also look forward to reading opinion posts about it online. You can get your hopes up, Kodaka and Uchikoshi fans.

[pancakeis]

Zhichu Interview for JJWXC (2021)

　　JJWXC’s signed author, Zhichu. Born by the Yangtze River, has a passionate love for all beautiful things. The writing journey began in the summer of 2018; creating and writing is a process of becoming more aware of the world. It has allowed me many rewarding experiences, as well as a continuous growth. 

　　

　　Q1：What is the origin of the pen name ‘Zhichu’?

　　A：The pen name actually originated from my profile page’s name The Child Born in Chu [1]. I’m a child of Wuhan; when I was young, my parents mostly read “Urban Chu Daily News” (such a distant memory haha). At that time, I couldn’t come up with anything good for a pen name,  then I happened to have a meal in the Chu River Han Street [2]. Suddenly an idea sprang up, and the rest was history.

[1]: the area nearby Chu River, a tributary of the Yangtze River

[2]: the new landmark of Wuhan. More info here and here

　　Q2：What made you decide to publish on Jinjiang?

　　A：To be honest, it began in the 2018 summer break. I was very free, lazing around at home and reading so many novels on JJ. One time experiencing the void [3], I suddenly had this urge to write something myself, so I told my mom, “Mom, I want to write novels.”

My mom said, “Then go and write, don’t say empty words.”

I’m more of the “actions speak louder than words” type, and with the push from my mom’s words, I went ahead and did it in the heat of the moment (my mom knows really well how to motivate me). When writing the first book, “BE-obsessing Survival System”, I suddenly realised that, creating your own characters and story is an amazing process. What I find even more inconceivable, is to have so many adorable readers giving comments and support. It was completely beyond my initial expectation.

[3]: the void left behind by a really good book

　　Q3：Do you have outlines or drafts when writing?

　　A：Don’t have such detailed outlines. I’ll draw mind maps, but usually the initial idea and the final product are two different entities altogether. Because my writing is more of an immersive style, towards the latter stage, the characters will develop their own consciousness to alter the plot developments. I do have saved drafts, except for the first title [4]. The newer works all have at least a 10k-word draft saved, however the daily updates were basically freshly written.

[4]: Referring to Zhichu’s first book BE System

　　

　　Q4：What has motivated you to serialise your novels?

　　A：Readers. I’m a procrastinator, so setting up a deadline for myself is very much needed. I’m also really afraid of disappointing others; when I think about readers waiting to read the updates every night at 9 o’clock, I’m fueled with determination to finish writing ahead of that time. Reading the comments grants me an immense happiness, a sense of achievement and pleasure that nothing else can bring about. I can still remember the username of the very first commenter. Really, very thankful.

　　

　　Q5：What are your usual hobbies?

　　A：Listening to songs, music inspires me a lot. Watching movies, reading books, scrolling through everyone’s comments, noting down nice eateries and gathering with friends at said eateries for a meal. Eating good food makes me very happy.

　　

　　Q6：Any genre that you really want to try your hand at?

　　A：Too many! I love sci-fi and supernatural very much. I’m a horror film enthusiast, but because I love it so much, I keep delaying, don’t dare to start writing it. However, in the future I’ll continue trying my hand at various styles, because I really don’t like to confine myself in a fixed scope of writing.

　　

　　Q7：What kind of style and characters can we expect from your next book?

　　A：Hopefully I can convey a really cool style of writing. Characters’ personas are: a shou whom you don’t know when he’ll be forced to transform himself from a pure and holy angel into a maniacal black lotus, and a big boss gong who is both languid and melancholic, showing a lack of interest towards everyone and everything except for the shou. Two people, evenly matched in power, yet strikingly different from each other. A new attempt, I hope everyone will like it.

　　

　　Q8：Anything to tell your readers?

　　A：What I want to say is the same as every time I end a book -- really, very, very thankful towards everyone for supporting my works. I’m someone with not too much self-confidence, and my health isn’t good either. Serialising a novel is both very lonely and taxing, but seeing your words and encouragement in the comments give me the strength to carry on. It’s also you who pull me out from the endless sunken loop of self-doubting, therefore I always want to express my gratitude towards all of you, no matter how many times. I’m only a flawed human being, not a persona that someone came up with, so I want to thank you too, for your tolerance towards me. 

Although started off as an impulse, I treat writing with lots of sincerity. Writing, and everything I’ve experienced ever since I began writing, have allowed me to grow into a new self. It’s thanks to your presence throughout this process that I could persevere. It’s hard to imagine that we’re friends who communicate solely through written words, because I have received so much warmth and kindness from all of you. Perhaps this is the value of writing and reading ba.

Love you all, sincerely wishing each of you safety and happiness.

---

Raw: JJWXC

Translation: keishi

First posted on Twitter @_keikaku

[tesb]

“5 minutes before the performance I was still sure of victory. I didn’t win. Thank you and I’m sorry ❤️” @paidatonriehuja (Käärijä) on Instagram

[sherrymagic]

AOUBOOM'S WORKING GOALS 🌼🧸 #FEEDxAouBoom | translation cr. ©

[yourchocolatenachostudent]

What he said:

How it sounds:

[earlycuntsets]

translation: "my chemical romance interview. "for us, the live stage is the only place where we can be ourselves."

The songs are like a collection of rock anthems from all over the world, past and present, and it sets the hearts of listeners ablaze.

Who is the emo band that rocked the Summer Sonic stage?

My Chemical Romance, from New Jersey, who just released their major debut album "THREE CHEERS FOR SWEET REVENGE" in July, came to Japan for the first time at Summer Sonic 04. MCR's music is called "screamo" because of their friendship with their friends, including THE USED, and their style, and it contains the street/garage sensibility unique to the generation that went through American punk in recent years… but if you listen to it with a calm ear, you can see that although the vocals are "screamo style," the songs have a beautiful structure and tearful melodies that are related to British heavy metal, and they also feature beautiful guitar solos. In other words, MCR is a band that plays heavy metal at the street level… That's why they must have been so welcomed right from the start in Japan, a country that has a strong tradition of heavy metal music (probably) - their first performance in Japan was a big success.

45 minutes after the end of the thunderous "Summer Sonic" stage

We caught up with the two excited guitarists!

I've never been to a show like that before! I'll never forget this experience.

--Now Frank Iero (FI): This isn't real.

How was the live show you just finished?

FI: Seriously! I've never done a show like that before. It was a memorable moment in my life. I'll never forget it!

--You seem very excited. What was so amazing about it?

Ray Toro: No, not "What". WTF! I mean, they were so welcoming! I wasn't expecting that kind of reaction at all. It felt like a hometown show. Oh, what can I say… ahhhh… anyway, it feels great!-- (Laughs)

Was the positive reaction because the new york was great? Especially the first single "I'm Not Okay" it's really exciting… It's a great song, and the song structure is well-crafted, building up from the intro, and the solo is uplifting too. Did you feel any magic when you made it?

FI: Well, let me tell you something. This song is something that you can't really call "written".

Really? Is that so?

FI: That's true. The song itself only has four chords, right? Except for the solo, it's all four. So at first, I thought it would be a boring song. But when we got together in the studio and Ray was playing those four chords over and over… Gerald (Way/vocals) started singing. The other members were silent. I closed my eyes and listened carefully. Then I realized it was an incredibly beautiful song. I felt it was worth completing. So I tried to change it up with the chorus. The root remained four.

---The guitar solo in this song creates a harmony with the guitar, creating a grandeur that is reminiscent of Queen. How did this come about?

FI: That solo was all Ray!

RT: Of course we were totally inspired by Queen! We were all saying, "Let's have a big guitar solo. Nobody does that anymore!" So I layered the guitars on it and made it as epic as possible. Also, when we were writing the song originally, we talked about making it as production-heavy as possible in the studio… Another thing I did consciously was to think of all the '80s pop and '70s bands I liked. I thought, "What would they do to make a song that's really epic…?" That's also where the two-second piano in the middle of the song came from. It doesn't really mean anything, but it's a bit like a soundtrack.

In terms of age, he was still very much alive.

FI: To tell you the truth, that second part is from the live album "CHEAP TRICK AT BUDOKAN" (1978) [laughs] I really wanted to include it. To begin with, even though some people have performed it live, I've never heard it performed in a studio album. I tried to include that as well and create the biggest anthem I could think of.

Q: Not just "I'm Not Okay," but all of MCR's songs…The composition is designed to make the listeners excited. They are all uplifting and dramatic. Is this something you do consciously?

FI: I'm totally aware of it.

RT: Yes. You can hear it in the song, but I change parts one after another. For example, We never repeat the same parts twice, and as the song progresses, new elements are added. We want it to feel like it's building from one thing to the next. Every member of the band contributes to that. The drums, the vocals, the melodies…everything helps the song to go higher and higher.

FI: Especially the new album, "It's Not A Fashion Statement, It's a Deathwish" crescendos all the way through. It just gets stronger and stronger. It all comes together in a spectacular finale. The whole band sings together for an anthemic ending. Because I like it! Our styles are completely different, maybe that mismatch is a good thing?

MCR's music tends to be dramatic. Is that due to the influence of the music you've listened to up until now?

RT: I grew up listening to heavy metal, like Ozzy Osbourne. I was obsessed with guitar heroes. I like bands that feature guitar players such as the late Randy Rhoads (g/Ozzy Osbourne) and Joe Satriani, Jimi Hendrix… In other words, Randy is the one who combined heavy metal with classical music, but his guitar playing I think he is the person who has had the biggest influence on my style. It's a bit old-fashioned, but it has a melody. And it's timeless. Melody.

FI: Richie Havens. My first woodstock. He was the opening act for the concert. He took me to an acoustic I just played it with one guitar, like a solo. There wasn't much, just sitting on the stool. He played very melodic and rhythmic guitar. But it's a completely unique style that can't be imitated. He had tiles… Such a great performer. I've never seen him before! I've seen Richie on stage about 10 times now, and I'm blown away every time. He's one of the reasons I don't stop playing guitar. I also love Greg Ginn (guitar/Black Flag) and Thurston Moore (vocals, guitar/Sonic Youth). In other words, I like dirty and emotional guitar more than intellectual style.

——————Hmm. You two have completely different tastes…

FI: Well, we are completely different types of guitarists, but maybe that mismatch is a good thing.

--You mentioned a lot of artists, but listening to your album I can sense a strong influence from heavy metal. But you also listen to a lot of different music from the '70s and '80s, right?

RT: Well, you can't just listen to one type of music, you know? There's so much good music out there. We can't just pretend not to notice it! All of us in the band try to listen to as much as we can and want to absorb as much as we can from all kinds of music.

FI: What we heard was an influence in some way.

FI: I like to use a Marshall JCM900 connected to a SUNN cabinet, and an Epiphone Zak Wylde model Les Paul as the only guitar. I turn up the bass all the way (laughs). Treble is about mid-range. I add gain here and there. But I like to keep it sounding like a real guitar. Not a "buzzing" sound with too much gain, but more of a solid sound.

RT: Yes! And we both try to only use effects when absolutely necessary, and usually plug them straight into the amp. Oh, but we do use wah pedals. Personally, I'd love to see the wah come back!

--I see. So with Frank on the bass and Ray raising the middle, it feels like you've managed to balance the band sound well?

FI&RT: Exactly!

FI: That's how I make it clear that there are two guitars. It's better to have a difference where you can hear each guitar part and it doesn't sound too cluttered.

――――So, let's talk about your playing, not just the guitar sound.

RT: I've been in the middle of it all. But the best thing to do is come to a show and see for yourself! I think there have been times when people thought it was Frank and it was me, and vice versa. We've influenced each other so we have some similarities.

---So you're influenced by each other's playing?

RT: Yeah. At least I got it from Frank.

I learned to play dirty. Not just clean, but more emotional. Instead of being super technical and perfect, I gave myself a little more leeway and tried to avoid feedback and pick-squeezing.

Frank is especially good at pick slides. He likes to make noise out of the guitar, rather than a pretty sound.

He's really good at bringing that out. Making noise, not just playing, is something I'm still learning.

FI: I'm the opposite, I'm learning to play clean, to keep things under control, but still let out emotion when necessary.

RT: A classic example of what you're talking about is "The Jetset Life Is Gonna Kill You." Frank has a really great part here. After the second chorus, it gets really quiet.

"THREE CHEERS FOR SWEET REVENGE" Warner Music Japan [CD] WPCR-11883 Sensual vocal melodies and emotional guitars, as heard on the 1st single.Their popularity is on the rise thanks to the explosive emotion of their vocals. This is the band's second album and their major label debut. Ray's strengths are in his guitar playing, which always lifts the listener up. While talking about the existing screamo sound, such as the "screamo" part, a new sense of flavoring with the essence of gothic and metal shines. And it's the same with everyday experiences! Everything that comes out of it naturally comes out in the work, and the more I shut out certain types of music or certain experiences, the less fertilizer I have. The goal is the stage. Keep playing to the limit. From what I saw on stage a while ago, the live equipment was, you both used similar things. How do you differentiate between the sounds?

RT: I'm more into distortion. I play a lot of riffs and generally like to emphasize the mid-range.

My model was the crunch guitar sound of Metallica's "Master of Puppets" (1986).

FI: On the other hand, I only use distortion to a natural degree.

Can you tell me the specific equipment names?

RT: The amps are Marshall "JCM2000" and "1960".

Cabinet. The guitar was bought by my brother for Christmas 10 years ago.

It's a very easy one to make, but the sound is great!

I also use an Epiphone Les Paul.

036 GuitarBreakers Vol.8

He said it was a good example of how the differences between the two of them are well expressed.

Can you name any?

FI: You Know What They Do To Guys Like Us

In Prison, I guess?

RT: You're right!

FI: You Know What They Do To Guys Like Us

"In Prison" is huge! The first two verses are

It's rhythmic and dirty, and then…

Ray's guitar hero-like, epic solo begins (laughs). And it has a light rhythm. And then there's "To The End" too.

RT: Yes. In some ways, I play more technically than Frank, but "To the End" has a great guitar solo, it's fast, and it's got some rhythmic, dirty parts. But I think you can hear the difference in our playing styles on every song to some extent.

---By the way, on the album, which is left and which is right?

Are you playing the channel?

RT: Well, in the verses, I mostly play on the left.

Ray is on the left. And Frank is on the right in the chorus.

Frank really blossoms in this scene. It's totally different from his previous style.

FI: Mmhmm!

---Finally, could you tell us about your future goals regarding guitar and songwriting?

FI: For now, I'd like to be able to turn the parts I've written for the next album into proper songs.

Also, we have a clear goal as a band.

But I'll keep it a secret until I achieve it (lol).

RT: For me personally, I just want to keep improving.

FI: Me too!

RT: We both love playing guitar.

That's what life is all about, so I want to keep improving both in technique and melody.

FI: For us, it was a live show that lasted less than two hours. I think that the only chance I have is to be myself, to experience a pure and spiritual moment. So my goal is to continue to play all the way to the end. There is a joy that cannot be expressed in words. I don't think you can understand it unless you have experienced it!

My Chemical Playing - A magnificent world created with guitar

The key to My Chemical Romance's songs is the twin guitars. When the two guitars intertwine, sometimes intensely and sometimes elegantly, it gives the listener a great sense of exhilaration.

Ray was crazy about guitar heroes like Randy Rhoads and Joe Satriani, while Frank loves Greg Ginn and Thurston Moore. They come from completely different backgrounds, but as Ray says, "When we get together, we don't know why, but a special atmosphere is born," which is the characteristic of the My Chemical Romance sound. In fact, Alba

If you check out his playing, you can hear many good examples of two-guitar ensemble. One of the best is the backing for "I'm Not Okay (I Promise)." As mentioned in the interview, the bass in this song is a repeat of four chords (D → Bm Em → A), but it is amazing how the performance is not at all simple. Due to space limitations, I will not post an example.

"I'm Not Okay" style guitar solo sheet music.

I'm sorry I can't introduce it, but I definitely want you to check out the ensemble in the A-melody. So, I'll introduce the solo below. This performance was inspired by Queen and was meant to be grand. The harmonies are great, but the chord progression is deliberately E/G#, even though E would have been fine in the flow. This is one of the reasons why it feels so grand.

In the harmonies from bars 1 to 8, you want to be aware of the speed at which you raise the pitch of the choking, and the speed and depth of the vibrato.

The first half of bar 12 means "play five notes in two beats."

2004 volume 8 guitar breakers from theydrewblood.blogspot.com

[vampirenicotine]

it really does all work out in the wash

[muadweeb]

louis....look at what i have discovered, in the deepest of oceans, there lives bob l'éponge who resides inside a pineapple house....merde....il est cuisinier de friture....what a sad, despondent life he leads....

[oldbutchdaniel]

what i need is for daniel to realize at different points that his past/present/future relationship with armand is EXACTLY like the parts of louis' and lestat's relationship he mocked the most. ie "is THIS the fucked up gothic romance?" "are WE the whiny existential queens?" he doesn't have to do this out loud but i want his relationship with armand to be so disgusting and hot and terrible that he reaches brief moments of clarity. and i'll be able to tell he's thinking it just based on the look in his eyes

[aois-amaterasu-painting]

GiGS vol. 520 - interviews with the 5 members (2021 July)

Interviewer: This time, with "MASS", the production was carried out over a long period, wasn't it?

RUKI: At the time when we were talking about releasing songs, the COVID-19 pandemic happened, and as I was considering how to proceed, I realized that the songs we had made until then were not something I wanted to listen to in this situation. What I wanted to present gradually changed. Rather than having a specific concept, I wanted to convey the latest evolution straightforwardly. That was quite the aim.

Interviewer: Among the songs born in that period was "BLINDING HOPE," which was released in advance.

RUKI: Yes. "BLINDING HOPE" had 4 to 5 different versions, and it was still uncertain how it would turn out. So, while making various changes, we created it with the idea that it would be the first song for the fans who had been waiting, serving as a starting point.

Interviewer: Around spring last year, when you were supposed to be deep into song production, you mentioned that you hadn't yet created a core song. When the members heard this song, they all felt it was the lead track. How would you describe the elements of a lead track in your words?

RUKI: In the past, a lead track might have been imagined as a song for a single. While it's the standout track of the album, it's also a kind of middle-ground song. With something thematic like "DOGMA," it's different, but it's important that the song conveys the overall atmosphere of the album and the current direction of the band. It's also something that can be listened to as the entry point to the album. I wanted it to be the trademark song of the album.

Interviewer: It's truly a song that represents the GazettE, and it seems some fans are already covering it.

RUKI: I've heard a few covers, and you know the crunchy sound that kicks it off? For some reason, everyone delays it. That's where you have to play it down with full force. That's what I want to say. It was good to have the opportunity to say that (laughs).

Interviewer: That's valuable advice (laughs). Did the other songs develop from there?

RUKI: Yes. "BLINDING HOPE" took an unusually long time to finalize. So, as a sort of reaction, when we started working on "THE PALE" and "NOX," the general image came together fairly quickly. At first, we kept creating the foundational tracks of the album one after another. As we went on, we integrated ideas like wanting to include certain types of songs and thinking about how they would be performed live.

Interviewer: It's an album that makes you really want to see the live performances, and moreover, it's catchy.

RUKI: Yes. We're not an overly niche band to begin with, so we focused quite a bit on the melody and catchiness of the riffs that we naturally have. The early version of "BLINDING HOPE" was extremely complex. There were many other songs with intense structures and very complex compositions. But after that, we aimed to create something simple and cool with a certain momentum.

Interviewer: What was the intention behind "NOX" and "THE PALE"?

RUKI: "THE PALE" came after "BLINDING HOPE," so initially, I was trying to make something that would rest my ears a bit. Then it ended up having a lot of elements. So, in contrast, "NOX" started with a phrase that came to mind while playing the guitar, and I wanted to shape it somehow. It was an extremely simple creation process, and then we added touches like violin for flavor.

Interviewer: "THE PALE" also features string sounds, but the violin in "NOX" stands out.

RUKI: It really does. It felt like the song was finalized because of that. It's something that hasn't really been seen in the GazettE until now.

Interviewer: The track order of the album is exquisite. Especially placing "THE PALE" and "MOMENT" in the middle section, surrounded by intense songs.

RUKI: It incorporates elements of the GazettE's live performances. The dark parts, the spatial elements like in "THE PALE," and songs like "MOMENT," which we haven't really had before.

Interviewer: "MOMENT" is indeed a rare type of song for the GazettE.

RUKI: Yes. This type of song usually has distortion in the middle, but this time I deliberately excluded it, adding a folk-like feel. The songs created later have many elements, so I wanted to do something extremely stripped-down and raw. Also, I always jot down ideas as they come to me.

Interviewer: How about "Daku"?

RUKI: "Daku" was something that happened by chance. When I was thinking about what to create next, I came up with the dissonant-sounding part at the beginning. At that time, I had a slightly grunge, somewhat weathered-sounding melody recorded in my voice memos, and it fit perfectly with that. I just wanted to incorporate a dirty feeling into the melody, but it surprisingly turned out to be something I really liked.

Interviewer: "ROLLIN'" plays a role of continuing the momentum from "BLINDING HOPE," doesn't it?

RUKI: Actually, "ROLLIN'" was initially a ballad made before "BLINDING HOPE." I originally wanted to have a lot of percussion and a bit of a folk music vibe in the album, and I thought of making it a main feature. But then I realized it wasn't right, so I significantly increased the BPM and added the guitars on top. So, the kind of music I initially wanted to make is quite close to the opening SE of the album.

Interviewer: In the track "COUNT-10" positioned at the beginning of the album, there's also an industrial atmosphere that's quite characteristic of you, RUKI. You can also hear a percussive rhythm.

RUKI: Yes, that was something that came about during mastering (laughs). It felt good to return to the original idea at such a timing.

Interviewer: "BARBARIAN" is an aggressive song as the title suggests, with a sharp riff driving it forward.

RUKI: Yes. Initially, I played with it without any particular plan and was struggling with how to develop the chorus. I wanted it to become increasingly decadent. It's not just intense, but also somewhat unpredictable towards the end.

Interviewer: This track probably has the most variations in the album.

RUKI: Yes. Even during recording, there were moments of, "Wait, what was this melody?" (laughs). It was originally all over the place, and I just wanted to somehow connect everything nicely.

Interviewer: Since it appears suddenly in the latter part of the album, it keeps you on your toes until the end (laughs).

RUKI: Especially since it comes after "MOMENT" (laughs). In terms of how it was made, it's similar to how we approached "DOGMA." While making simpler tracks, I felt the need for something complex. Without such elements, the album would feel lacking to me.

Interviewer: The album concludes with "LAST SONG," which has a very weighty presence that carries everything.

RUKI: Yes. I wanted to end with a song that could hold its own more than "BLINDING HOPE." It was a song we put a lot of effort into. I felt it had to be something truly satisfying, and it was a challenging process, but I aimed to create something quintessentially the GazettE. This song gave me confidence in the album as a whole.

Interviewer: The words in the lyrics also seem to be fitting for these times.

RUKI: I never expected the state of emergency to continue like this. In a sense, I was thinking of preserving what we could only create in 2020 and 2021. These words are not just directed at the fans but are also for ourselves, aiming to return to our original state amidst the ups and downs. It's also about reminiscing about live performances. If these feelings can be conveyed throughout the album, that would be great.

Interviewer: When did you start working on the songs for the album?

Uruha: We had our first selection meeting in December two years ago, and from then on, each of us started composing songs. Initially, we didn't have a specific concept when we began production. So, we were making songs as we liked, but as the songwriting progressed and recording approached, we began to see the path we needed to take. It felt like we had reached a point where the goal was unexpectedly narrow. Also, in August last year, RUKI brought in "BLINDING HOPE" and proposed making it the lead track. It seemed like RUKI saw something within that song, and from then on, RUKI started bringing in more songs. As a result, all the songs on "MASS" this time were either written entirely by RUKI or he was deeply involved in them.

Interviewer: Did you feel any resistance to not having your own compositions included?

Uruha: As musicians, we have the desire to create and express ourselves through songs that we want to release to the world. However, when it comes to releasing music as the GazettE, the personal aspect has gradually become less important. Rather than who composed the songs, what's more important is how we create works that will impact our listeners. So, it didn't really bother me that my own songs weren't included this time. It turned out to be a good album, so I'm satisfied with that.

Interviewer: Indeed, it doesn't feel like a solo work by RUKI but rather an album filled with the essence of the GazettE. Next, let's talk about the guitars on this album.

Uruha: This time, there were many instances where we reproduced the guitar parts based on the demos RUKI created. RUKI had a strong will to achieve a specific vision. As a result, while we did change the irregular parts musically, we tried to stick to the approach of the demos as much as possible. When I really wanted to change something, I would throw it out there during pre-production, saying, "I've changed this," and there were songs where those changes were incorporated, and other songs where we discussed and decided that the previous version or a different pattern was better. We experimented with various things and reached the current form after being satisfied with the results.

Interviewer: That's a good approach. However, unlike the previous stereo-oriented guitar sound, there are more parts where you play in unison with Aoi. How do you feel about that?

Uruha: This time, we focused on the sound pressure throughout the album, so I think that's the right approach. I've always wanted to establish the individuality of the left and right guitars, but this time we decided to respect the composer's intention more. For RUKI, it was important to consider what melodies would work against the background guitars and rhythm. Also, this kind of approach was refreshing as we hadn't done it much before.

Interviewer: Even with the unison, the subtle differences in nuance and tone create depth and breadth, and I think this way of handling guitars is nice too.

Uruha: I wanted to highlight those aspects. We wanted to avoid having one person play all the backing tracks or doubling them mechanically. In fact, we tried an approach where one person played all the backing parts. But we found that the sound created by both of us playing the same thing felt better.

Interviewer: I think that was the right decision. Which songs do you think have a strong impression in terms of guitar parts?

Uruha: "BLINDING HOPE" has a strong impression in many aspects. The song starts with an introduction and then the band kicks in with a bang. It was crucial how we started the song because it was our first release in a long time and our lead track. I felt that if this part wasn't impressive, it wouldn't work. Until we arrived at the current form, there were many twists and turns. Also, when this song came up, I reconsidered how we were recording. The recording process completely changed my thoughts and approaches. Initially, we recorded in the studio using a cabinet and stood the mic up to capture a realistic sense of space. However, with the traditional method, I felt that the impact was lacking. So, we stopped using the cabinet and searched for the best way to record.

Interviewer: That was quite a process. The guitars on "MASS" have a clarity and quickness in their attack that's unique to digital, yet they don't sound too close to the ear, which I think is excellent.

Uruha: Thank you very much. Through trial and error, we concluded that we needed to use a cabinet plugin, and the choice of cabinet was extremely important. Also, RUKI wanted to distort the guitar quite a bit, but my personal guitars didn't quite achieve the sound he wanted. So, we borrowed a guitar with active pickups from ESP and used active pickups for the first time this time. "BLINDING HOPE" used passive pickups, but the rest were all active. However, for the leads and guitar solos, we recorded them all using a cabinet. We recorded the sounds that were meant to stand out in an analog manner and the backing parts that were meant to be more in the background digitally to achieve tightness. We valued this front-to-back contrast.

Interviewer: That's a method befitting someone well-versed in both analog and digital techniques like yourself. Since you mentioned guitar solos, could you talk about the guitar solos on this album?

Uruha: I had set aside the guitar solos for a while. I was focused on exploring the texture of the backing tracks, so I put the solos on hold. Towards the end of the production, I recorded them all at once. I particularly like the guitar solos in "BLINDING HOPE" and "MOMENT". For "BLINDING HOPE" I felt I should play an aggressive solo, but the length was quite long, so starting aggressively wouldn't last (laughs). Instead, I thought it was very important to create a dramatic development and changed direction midway. I tried various things from there and finally settled on the current form, focusing on building up towards the end. For "MOMENT," the backing is entirely acoustic, so I decided to play the solo on acoustic guitar as well. From the beginning, I wanted the sound to be acoustic and never considered using an electric guitar for the solo. In terms of phrases, RUKI had played some in the demo stage, so I used those as references.

Interviewer: The high-quality guitar solos deepen the world of the songs. How did you record the acoustic guitar for "MOMENT"?

Uruha: I recorded the acoustic guitar at home. I simply set up two mics and used compression while recording. When you play arpeggios, the volume level is low, and it's difficult to control dynamics. The engineer processes this with compression later on, but I wanted to control the dynamics myself while playing, so I decided to record with compression. Being able to play while visualizing the finished product was the most beneficial thing for me. Also, I enjoyed being able to do everything myself, such as mic arrangement and EQ adjustment.

Interviewer: That's very characteristic of you, Uruha, with your engineering skills. Now, the album "MASS" is a must-listen, combining the GazettE’s essence with a fresh feel. How do you feel now that you've completed the album?

Uruha: First of all, I really want to express my gratitude for completing this album. Production took a lot of time, and there were times when I wondered if we could really do it. However, with no live performances scheduled due to COVID, we had the opportunity to thoroughly focus on recording, and there was also the feeling that our efforts would be in vain if we didn't do this well. So, we put in more effort and spent more time than ever before to create something we can confidently call our masterpiece, so I hope you look forward to its release. However, since the songs grow when performed live, "MASS" isn’t complete yet.

Interviewer: I understand. Because of that, I think there are many listeners who are eager to see the GazettE live as soon as possible.

Uruha: Although I can’t promise exactly when we will perform live, we are constantly working towards it. Ideally, we want to perform live, not online. Even if the venue capacity is halved, we want to do it live. Also, if we do perform live, I want it to be a level beyond just not showing any signs of our hiatus; I want to show an evolved the GazettE. So, when we do hold a live concert, please come to the venue and experience it.

Interviewer: As the work on "MASS" progressed, RUKI ended up writing most of the songs. Did you have any resistance to not including your own songs?

Aoi: Not at all. I thought that RUKI probably had a lot of things he wanted to express and convey, and if that was the case, he should be the one to transmit it. While asserting what I want my instrument to sound like is important, I felt it was better for someone with a clear vision of what they wanted to express to take the lead. Everyone seemed to feel the same way, and there was no pushback like, "I want to do it this way." If it had been just 2-3 years since we started the band, it might have been different, but we’ve created many works, and this isn't our last album. So, this way of making the album was totally fine and an interesting experiment.

Interviewer: Even though RUKI took the lead on the album, it’s still overflowing with the essence of the GazettE. I heard that "HOLD" and "FRENZY" were mainly created by the instrumentalists.

Aoi: RUKI kept bringing in songs, and before we knew it, there were only two slots left. Initially, RUKI and Kai had started working a bit on "FRENZY," but it was put on hold. We decided to work on "HOLD" first as an instrumental group, aiming for a straightforward song that would grow well in live performances. So we shaped it with that in mind before handing it over to Ruki to reflect his intentions and complete it.

Interviewer: The hard tunes on this album are both intense and easy to listen to, and "HOLD" is dark yet catchy.

Aoi: I thought it was okay even if it didn’t have much melody because we were focusing on a “frenzied” feeling. But when we passed it to RUKI, he added a solid vocal line, making it both dark and catchy. For "FRENZY," RUKI and Kai had only made the intro, which initially wasn’t to my personal taste (laughs). I thought it was a bit too pop, at first. But since the intro was a must-keep, we worked on the other parts, and eventually, even the intro was reworked. We created multiple versions for every part of "HOLD" and "FRENZY." So, we were able to make it complex or straightforward, and decided the current form was the best.

Interviewer: Both songs are really high-quality compositions. Now, let’s talk about the guitars on "MASS."

Aoi: This time, we mainly reproduced what RUKI had included in the demos. If there were parts where I thought I’d do it differently, I suggested changes, but usually, we ended up going with RUKI’s ideas after trying both versions. So, the guitar parts are quite simple this time. There are parts where we deliberately simplified RUKI’s phrases, not breaking them into finer notes but making them larger. We have two guitarists in our band. Visual kei twin-guitar bands often create competing guitar phrases, but I felt we’d already done that enough. This time, I wanted to focus on clear roles for lead and side guitars. I was interested in this approach and wanted to experience the side guitar position. I wanted to explore songs from the side guitar perspective.

Interviewer: The side/rhythm guitar might seem plain, but it’s deep and fun when you get into it.

Aoi: Yes, it’s great as a musical instrument. It felt really good. "Feeling good" is a very vague expression (laughs). There are layered phrases, rhythms, and sequences, and the role of the side guitar is to connect them well. In the past, I thought as long as the bass kept the rhythm tight, the guitar could just hit the main points and follow the broader rhythm. This time, though, I matched the drums closely and paid more attention to filling the guitar's frequency range and determining what to cut. This approach was very enjoyable and made me appreciate the importance of backing guitar.

Interviewer: So, you had new discoveries with this approach. Which song left a strong impression on you with its guitar work?

Aoi: "MOMENT." In this song, both Uruha and I played acoustic guitars throughout, with Uruha handling the arpeggios while I focused on strumming. It was a first-time approach, and it was fulfilling. Also, I used the acoustic guitar version of the IR (cabinet simulator) to record the acoustic guitar. Nowadays, when you hear an acoustic guitar in music, you sometimes can't tell if it's live or programmed. I wanted to explore that aspect a bit, so I decided to use IR. I recorded it with just the sound of the piezo pickup without setting up a microphone, and then I refined it.

Interviewer: The gentle texture and appropriate airy feel are pleasant, and it's surprising that you recorded it with only the piezo pickup sound.

Aoi: I did my best (laughs). I only knew the sound of K. Yairi and Martin guitars. But this time, I used the modeling of a Gibson Hummingbird. It has a very beautiful sound. In reality, I wouldn't want to buy it because the care is troublesome (laughs). When I recorded it, it had a more acoustic guitar-like sound with resonance, but since Uruha wanted to go thicker with the arpeggio, I thought it would be too much if I also made my sound rough. So, I deliberately made it thinner. I aimed for a fullness like the strumming of pop artists in Western music, while incorporating a slightly darker feeling from Japanese music. I like the darker tone of Japanese acoustic guitar.

Interviewer: Choosing to make the sound thinner shows a sharp sense. Also, the electric guitar sounds on this album are even more refined.

Aoi: When we first recorded "BLINDING HOPE," we used a cabinet, but the closeness of the sound wasn't what RUKI had in mind. So, we stopped using the cabinet and tried using IR, and finally settled on a plugin cabinet. At first, Uruha used a plugin, and I used IR, but the IR sound became too rich, so I adjusted to match Uruha. I didn't expect the sound to change so much with different cabinets. We tried various amps, but RUKI kept rejecting them, saying "This isn't it, this isn't it." In the end, we switched to a plugin cabinet, and it turned out that any head would do (laughs). The sound isn’t too close to the ear but still has the fullness of a cabinet, making it hard to believe it was recorded direct.

Interviewer: Another impressive aspect of your guitar sound in this album is the wide range.

Aoi: That’s something that changed over time. Originally, Uruha had a wider and more dynamic range. But that reversed at some point. This time, we worked on that a lot. My sound was wide-ranged and loud, so I narrowed it down. Uruha’s sound is more solid, so if we don’t adjust, the two guitars won’t sit well together.

Interviewer: The careful crafting results in a pleasant thickness and spread created by the two guitars. Now that "MASS" is finished, how do you feel?

Aoi: "MASS" might sound very simple at first listen. What the band is doing is quite simple, creating the atmosphere with sequences. While I have no complaints about this approach, there are parts where I feel my guitar might have become too simple. I am satisfied with my role, and enjoyed supporting the overall sound as the side guitarist. However, there are fans who could be called "Aoi enthusiasts", who favor my compositions specifically, and I wonder how they will take it. I feel confident about what I did in "MASS," and I want people to understand that my passion for music and the GazettE hasn't diminished just because the guitar parts are simpler. The simplicity gives me more leeway in my playing, allowing for a different kind of performance on stage. Therefore, if you listen to "MASS" and think, "What's this?" I hope you look forward to the live performance.

Interviewer: Can you tell us your honest feelings now that the album "MASS" is complete?

REITA: Among all our albums, this one is probably the most suited for live performances, so I really want to showcase it soon. The track order also closely resembles a live setlist. When we released "NINTH," I thought we had an amazing tour, so I aimed to create an album that evolved further from there, and I think we achieved that.

Interviewer: "BLINDING HOPE" was released as the lead single, and I heard that it was recorded ahead of the others.

REITA: Yes, that's right. It was similar with our previous album and "Falling" as well. We finished mixing one song first and used that as a guideline to record the others. It helps create a framework.

Interviewer: How did you approach the recording this time?

REITA: I bought a lot of equipment beforehand. Even just with compact effects pedals, I bought around five… Honestly, it was quite an expense (laughs). We had used the equipment from the previous recording and tour extensively, and I wanted to advance the sound further. There is still a lot of equipment I haven’t tried, and I hoped to find something even better. Renting for just a day doesn’t really give you a good idea, so even though it might end up being a waste, I decided to buy and try everything. In the actual recording, I ended up using the orthodox SansAmp. I had been using it in live performances before, but a new version with mids was released. In the end, I didn't tweak the mids much and used it flat, but it fit the current songs perfectly.

Interviewer: I heard you bought a new bass too.

REITA: Yes, I bought two, but the one I used in the recording was the second one, a Dingwall Z3, a 2020 NAMM SHOW model. Initially, I used the first bass I bought for "BLINDING HOPE," but after re-recording with the new one, it sounded even better. Time was tight, so it was hard to suggest replacing it, but everyone agreed the new one was better, which was a relief (laughs).

Interviewer: I see. How did you approach the bass line in "BLINDING HOPE"?

REITA: The song is dark, so I tried not to stay too high up. I aimed for a slightly heavy feel while having the phrase move, going back and forth to lower chords. The bass volume is a bit higher in this song, and I think the bass presence fits the tone.

Interviewer: "ROLLIN'" has an intense sound that promises immediate impact in live performances. It's quite an interesting track.

REITA: I struggled a lot with the sound production for "ROLLIN'." Nothing seemed to click, so we re-amped it again on the last day of mixing. For example, in "BLINDING HOPE," the intro has a ground-shaking lower end, but that's because I’m playing open strings. However, in "ROLLIN'," I'm holding down the second fret continuously, so even if I tried to make the same sound, it wouldn't turn out the same. So, we adjusted it to fit between the kick and the guitar.

Interviewer: The slap bass at the end of the chorus is also impressive, but adjusting the sound with other parts seems difficult.

REITA: Originally, the song had everything up to the end of the chorus. During the mix of "BLINDING HOPE" or something, RUKI brought in the continuation, saying something like, "There's a bass solo, so do it." In the demo, it was programmed, but the nuance suggested it was supposed to be slap bass. However, running it through an amp made the sound too wild, so we ended up using a plugin. I'm still not sure how we’ll reproduce it live.

Interviewer: How about "NOX"?

REITA: "NOX" has a tempo that’s quite different from what the GazettE usually does, so I’m looking forward to playing it live. In the past, I might have thought this kind of song wouldn’t have a great groove live, but after the "NINTH" tour, I believe it will work well. Playing at this tempo feels really good, so I hope it creates a big wave in the audience.

Interviewer: The bass line in this song gives the impression that it's playing the absolute correct answer.

REITA: The phrase itself isn’t difficult, but the picking was really tough. I focused on keeping the pick level to ensure a clear "terodero" sound throughout. I didn’t want it to sound like alternate picking, but using down-only picking didn’t flow well, so I tried to find a balance.

Interviewer: The bass has a unique fret design, right?

REITA: At first, I wasn’t sure how it would feel, but I got used to it right away and didn't find it difficult to play.

Interviewer: The ballad-like songs such as "THE PALE" and "MOMENT" have interesting approaches too.

REITA: In intense songs, there are many unison parts, but in ballads, I think the bass has moments to shine (laughs). Especially in "MOMENT," which progresses with acoustic guitar strumming, the bass can handle intricate arrangements.

Interviewer: Was there any key song that stood out during the recording?

REITA: Ah, for example, I moved quite a bit with the phrase in the chorus of "濁 (Daku)."

Interviewer: I'm also looking forward to seeing how "MOMENT" will be performed live. "HOLD" seems to embody the intensity of a live performance.

REITA: This might be the song most tailored for live performance. The phrase itself is almost in unison with the guitar, so there’s nothing particularly standout, but it has a sense of band unity and isn't just intense; it has dynamics. We shared tracks on Pro Tools and discussed them over Zoom while creating this song. This was our first time using this method, but I think it might be a viable approach for future projects. We worked until someone said "I can’t go on anymore," which was tough but also fun (laughs).

Interviewer: The bass drives this song as well.

REITA: Mixing the bass within the double bass drum parts is challenging. It often gets buried. I can’t count how many times I said, "Isn’t the kick too loud?" (laughs). We approached "FRENZY" similarly to "HOLD." For the bass, I aimed for a cohesive sound without cluttering it, sometimes reducing the picking to avoid interference.

Interviewer: The bouncy rhythm in the chorus is excellent.

REITA: This was quite difficult. At first, Uruha played the phrase and asked, "How about this chorus?" We all played along with the strings, but the drums didn’t quite fit. The bass rhythm is tricky too. Avoiding ghost notes makes it harder to catch the rhythm. The energy should rise sharply, but the hands need to stay calm to pull it off.

Interviewer: The last song on the album, "LAST SONG," feels like a particularly important track, doesn't it?

REITA: As soon as the song starts, it gives off a strong feeling of "the beginning of the end." From the bass perspective, I played the chorus not with detailed phrases but with a slight undulating sensation, aiming for a bit of a driving feel. The intro is tightly synchronized vertically. This became clear once the piece was finished.

Interviewer: With this work completed, do you have a vision of the musical future of the GazettE?

REITA: Musically speaking, I think this album represents evolution rather than a new challenge. When the GazettE makes it, it really becomes a GazettE album, and I was reminded of that again. But I also realized the difficulty of the bass guitar again. This past year, I’ve particularly focused on the bass. I’ve watched a lot of playthrough videos on YouTube and bought a lot of gear. When you buy equipment, you naturally end up spending more time playing the bass, right? I want to bring those experiences to our live performances. However, while I can clearly envision the live performances, the uncertainty of the tour schedule due to COVID-19 is quite frustrating. Nevertheless, I want to keep honing my skills so that we can fully express this album when the time comes.

Interviewer: Did you have any themes or concepts in mind when creating the new album?

Kai: No, we didn’t. It’s always like that with the GazettE. We speak through our music; without songs, there’s nothing to talk about. Starting with a concept is quite rare for us. Usually, as we create songs, themes and concepts naturally emerge. Through the song selection process, we find how to express the current GazettE. Initially, each member was making songs, but later, we started shaping the songs RUKI brought in. There wasn’t a standout song for a long time, but then the pandemic hit, our March concert was canceled, and we had time to reflect on ourselves. During that period, I think RUKI found the concept. "BLINDING HOPE" came together in April, and we unanimously agreed it should be included. After that, RUKI kept bringing in songs, and by shaping them, we completed most of the album. The last couple of songs were made by all of us, but even those were strongly influenced by RUKI. So, "MASS" ended up being entirely RUKI's work, which is a first for us, but it still feels very much like a GazettE album, so it doesn’t feel strange to me.

Interviewer: It’s more important what kind of work it is, rather than who made the songs. Let’s talk about the drums in "MASS." The drumming throughout the album is very energetic.

Kai: Everyone says that (laughs). People often say that, but I don't really feel that way.

Interviewer: Really? The approach of incorporating intricate patterns, fast fills, and double bass throughout the album made me realize once again how amazing your drumming is.

Kai: I wonder... People often say it's busy (laughs). To me, it's just a continuation of the approach I've always taken, so I don’t feel like I’m doing anything special. When I listen to a demo, I naturally hear the drum patterns in my head and then just bring them to life.

Interviewer: It's impressive that such intricate drumming comes naturally to you and that you can actually play it. Do you ever think that a drum pattern you came up with is too difficult and consider simplifying it?

Kai: No, I don’t. It’s important to bring the imagined patterns to life, and if something is difficult, I just practice it. Besides, the other members have also gained knowledge about drumming, so these days, they don’t suggest physically impossible drum patterns like they used to. There used to be many times when I'd think, "I’d need three legs and four arms to play that" (laughs). Now, the drumming is more logical, so with practice, I can play it.

Interviewer: Thrilling songs have thrilling drums, and songs with a sense of speed amplify that feeling even more. Your drumming really pushes the music forward.

Kai: I'm glad you feel that way. I don't know how other bands construct their music, but for us, the speed and everything is carried by the drums. The drum is our standard. First, we create speed with drums, and then we discuss how to hook onto that. So, drums don't really go off into a different world.

Interviewer: It seems like many patterns amplify speed by adding sequences, but your approach is quite the opposite.

Kai: Yes. Also, even if you want to create momentum and speed with drums alone, it's different from just running. You need to pay attention to keeping the rhythm, and especially in intense songs like "HOLD" and "FRENZY" this time, you can't just go with the flow. It's meticulously crafted phrases as a band sound, so you need to integrate well with guitars and bass. If you go with just momentum, it becomes messy. Therefore, I consciously try to play tighter, and I think it requires a lot of attention during live performances.

Interviewer: The rhythm that combines tightness and momentum feels incredibly good. Another thing is that with drumming like yours, sound is also important. The drum sound in this work, with its blend of sound pressure and clarity, is ideal.

Kai: We've tried many different things with drum sounds, but this time we used the same method as on "NINTH." Basically, we recorded separately: just the kick, just the snare, just the cymbals. We record like that, but we also use off-mics, not just close mics. This way, we can achieve the clarity unique to separate recording along with the natural airiness you get when recording normally.

Interviewer: Setting up off-mics is an unexpected approach. However, I often hear that multi-tracking is more challenging than simply playing drums.

Kai: It's really challenging. Just playing the kick alone is quite difficult, and you can't play fills smoothly within the flow. Also, you can't hit the crash in the middle of a fill. So, while rolling the toms, you end up hitting a sponge where the crash should be (laughs).

Interviewer: Especially in Western music, many bands avoid such intricacies and opt for programmed drums. Your skill in doing this live is impressive.

Kai: I wonder about that. It might come down to being about programming if you pursue it deeply. But right now, we're allowed to do it with live multi-tracking. By recording separately, there are parts where you can focus on other aspects. For example, when putting a crash at the end of a fill, you need to keep it in mind, but if you don't worry about the crash, you can strike with edge until the last hit. I changed my approach this time and got closer to the ideal sound.

Interviewer: It must be challenging, but if possible, I hope you won’t switch to programming in the future. So, what drum set did you use this time?

Kai: I used my Yamaha set. It's the oak one I use for live shows, and it's really good. I decided to use it because I like the tone of the toms, and overall, its quality is high. For the snare, I used both Sonor’s bell bronze and TAMA’s bell brass, depending on the song. I like the sound of bronze and brass, and it’s easy to shape the GazettE's sound with them. We really like tuning it low to get a solid, rich sound. I tried various options, but in the end, I settled on those two.

Interviewer: "MASS" indeed has many highlights in its drumming. How do you feel after making this album?

Kai: Through the production of this album, I once again realized that the GazettE is a very forward-looking band. It’s easy to fall into negative thinking, like "we can't do this because of the pandemic," but we took it as a driving force to keep moving. We released a new music video on March 10th, exactly one year after canceling our concert on March 10th last year. This shows the strength we have as a band to reach that point. Personally, I was very affected by the cancellation of the March concert. The pandemic took a toll on my mind, and there were times when I thought it would be dangerous for us to remain silent for so long. I realized how weak I was as an individual. But I was greatly saved by RUKI bringing in "BLINDING HOPE." The way the band picked up from there was truly amazing. I feel that this strength is unique to the GazettE, and "MASS" is packed with the GazettE's resilience and unwavering spirit. So, I hope it reaches as many people as possible.

Interviewer: I'm sure it will. Also, I’m looking forward to your live performances.

Kai: I really want to perform live again. When we perform live, I want to surpass fans' expectations...or rather, I think we must. As time passes, fans’ memories get idealized. We can't betray that, and I also have a desire to always surpass it. So, it can't just be a "long time no see!" kind of live show. We have accumulated something within us, and there's a strong desire to release that. I don't think it will be an ordinary live show, so please look forward to it.

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All translations are ChatGPT Scans: rad-is-more

[eggplantgifs]

kaori and wakaba having the time of their lives in paris »

[lingerdingdong]

Marc Revelado Documentary clip and English transcript

[farthaus]

o torture of thought! o sad lament! we wish we could quiet you! we wish deep down, to ourselves, to suffocate this hydra for good!

[me-sploh-rada-imas]

nace being inspired and impressed by jan's guitar playing

[hitradio center] [aleteia] [suzy magazine]

[kurishiri]

Vogel cast’s first impressions on the guys they’re voicing

translation may not be 100% accurate or contain creative liberties. Please reblog, not repost! Also y’all kakihara tetsuya’s (nika’s voice actor) response sent me- 😭👌

Q: Please tell us your first impressions of the character and their charming points.

Darius Vogel

CV: Shigematsu Chiharu — character profile.

Chiharu: My first impression of Darius is that for someone who hates or deeply resents humanity, which shows in his true character, I feel he is also very much human-like himself. And it’s for this reason why there is something he wants from humans. That sort of uncertainty about him is very charming.

C: He may not be a good person by any means, but I think he is someone who should be loved.

Nica Schwartz

CV: Kakihara Tetsuya — character profile.

Tetsuya: Nica is quite a deep character who is hiding some big secrets of his own; there are many things about him that I can’t talk about yet.

T: If you don’t stick with him to the end and really get to know him, you will only know his superficial side, so that’s why first things first, don’t think too deeply about it and please become a Nica stan.

Ring Schwartz

CV: Tanabe Kousuke — character profile.

Kousuke: My first impression of Ring is that he’s a really good boy. In a game where the cast is focused on villains, he is relatively more honest and straightforward.

K: There are many firsts for him, and I thought it was charming how, as the story goes on, he learns lots of new things alongside the heroine.

the cast’s first impressions — character cards