[TRANS] CUT (Jan 2022): It starts from SixTONES! The future of music opened by the 6
It starts from SixTONES!
The future of music opened by the 6
It’s designed so that each listener can enter from the entrance of their choice, and each embark on their own journey freely. However the host, the 6 members of SixTONES, who provide this environment, too freely display their wilfulness without bound; making bold statements here and feeling chill there. In the 6 interviews that follow, a natural newness from each of them shows through. However, what’s even more interesting is the excitement that gushes forth from the possibilities of the combination of that 6 newness’. The future of music that can only be discovered because it’s the 6 of them, no, it is already being discovered and I hope more people can experience that - this is a special feature on SixTONES exactly for that reason!
SixTONES are unprecedented. It isn’t that they’re an unprecedented group among Johnnys groups, or that they’re unprecedented as idols. As a group who aims to bring joy to people with music as their nucleus, they are unprecedented. When they released their first album “1ST” in January 2021, I felt that SixTONES’ were [a group who] accepted multiple realities fluidly, while also progressing with passion and even recklessness. This is the type of group who are able to shine a light with entertainment in these complicated and dark murky times, and I also strongly wish to see the future that they will bring. And now a year later, their second album “CITY” reads to me as a “music hakoniwa [miniature garden]” that’s the epitome of the future that SixTONES will bring.
KYOMOTO TAIGA
“CITY” is a work where we challenged even deeper waters in music. It surpasses “1ST” in a different sense.
I don’t want to lose our enthusiasm towards music
― Kyomoto-san, were you confident that many things would change with the arrival of SixTONES?
There are definitely things that we were the pioneer in, like being the first Johnnys to have a social media platform, but I think all of our senpais have achieved those “firsts” in some way or fashion. So rather than our arrival changing anything, it’s more that we SixTONES are contributing in our own way as a member of Johnnys. In our music too, as the result of pursuing music that we love and in our own style, we’ve been given the opportunities to challenge new possibilities, which has added to our reputation. I don’t want to lose our enthusiasm towards music, or rather, I want this enthusiasm to continue burning into the future. I want to make an album that will enrapt people who aren’t interested in Johnnys. To do so, and as a result of producing music in our own style and with responsibility, I am grateful that we are invited to “Kouhaku” again this year. It wasn’t just our own efforts but thanks to everyone’s assistance; it truly feels like we’re moving forward step by step.
― I think that both “1ST” and “CITY” represent your sixes “I love music” passion, but as a result, it does feel like something that’s unprecedented.
I did feel that. We had the opportunity to choose the tracks ourselves and were involved in the production from the early stages, so things like the storyline and SixTONES’ musical colour is expressed more prominently. In my case, I suggested the lines to harmonise on and about the vocal arrangements; it truly was music created together with my members and staff. I guess that’s what’s given me confidence. But I’m not saying that our album is better than other Johnnys artists; we are simply creating SixTONES-like works amongst the multitude of works being created with their own individuality. We’re simply continuing to break our own records.
― I think “CITY” this time round develops SixTONES’ versatile charm even further than in “1ST”.
“1ST” was an album packed with the songs we wanted to do and thought were cool regardless of any boundaries, but this time there’s the “CITY” and time sequence concept. It was difficult to create with that in mind, but when the 6 of us shared our opinions and decided on the songs, I felt that the music we made reached a new depth in comparison to “1ST”. We challenged a wide variety of genres in “1ST”, but “CITY” is on a different vector, as if we’re challenging a deeper level of music. It’s not head-to-head but rather a curve ball; I think it surpasses “1ST” in a different sense. We are still in the heat of production and although we haven’t heard the music yet with our own voices - many of the new tracks have a western flavour to them and I think people who are unfamiliar with that sound will find some songs and think “this and this are similar”. But in order to differentiate them as much as possible, I’ll consciously change them; for the high notes and harmonising, or adlibs that I’m assigned to, I’ll shout them or keep them light depending on the song. I hope my efforts will bring a positive effect. What always comes to mind is that with SixTONES’ songs, the [song’s] image always changes the moment it goes from the demo’s voice to SixTONES’ voices. So I’m sure it’ll become even better than what we have right now. That’s how amazing I think our 6-voice’s version of the music is, so I’m looking forward to it myself and I want the fans to look forward to it too.
― You mentioned about the parts you were in charge of, but what is something that the other 5 don’t have, a weapon that only you possess?
It’s not that the others don’t have it, but I think I have a more inquisitive mind than them. This applies to my hobbies too, but it gets so crazy that I even scare myself when I’m invested in something. I have an otaku disposition and I want to know everything about it. I guess that’s my weapon. For example, I’m loving “Yu-Gi-Oh!” and Pokémon cards again lately and I went to Akihabara just yesterday too (laughs).
― (laughs) Well then, if you were to liken SixTONES to something unhuman?
Monkeys. Everyone’s brimming with curiosity and we get along well. In a good way, each of us show our true selves and it’s like we wear our heart on our sleeves, so our personalities align a bit. With SixTONES, it’s like having fun at an onsen or something.
― What’s a “CITY”-scape that’s hard to forget?
I’d have to say it’s Hawaii’s Ala Moana Center. My family took me there when I was young. It’s a place filled with nostalgia, bringing back childhood & family memories. Like it’s a place I want to visit when I’m tired. For a refresh or something.
― Is there a place that you want to visit together with SixTONES’ members?
We all have different interests so I don’t want to go anywhere with them in private (laughs). We probably wouldn’t be able to get along if it’s not for work. But, I do want to go overseas more often for work. That way, we’ll probably gain more motivation “to hold concerts here” and so. Of course, we still have a long way to go in Japan, so we’ll continue to cherish our Japanese fans while also attending overseas events if we’re invited. It’s a distant dream though.
JESSE
I hope more people can discover SixTONES’ gap
― When SixTONES’ was introduced, I instinctively thought that the arrival of this group would bring something new, but did you have any premonition of that Jesse-san?
From our Junior days, I did wonder if we were going on a different path to everyone else. There was our hair colour too, but also how free we were. I’d thought “I’ll be working with these 5 people” even before we were put into a group. I didn’t know if we could change anything, but I did feel that we could do something new if it’s the 6 of us. Music is the easiest to understand, but we were given chances like performing all-English songs from when we were Juniors. Other Johnnys talents tell us “that’s unfair”. I suppose we are changing things in that sense.
Even if it’s a genre that I don’t listen to, it feels feasible when I think “if SixTONES were to try it?”
― “1ST” was a compilation of your freeness in musical expression, while “CITY” has an interesting gimmick whereby the fundamental concept of a track list is changed.
Yes. “CITY” is where we summarise our own ideas of morning, afternoon & night into 3 versions. Of course, we’re not saying that you have to listen to it in that order (laughs), but that this is how we represent the cityscape.
― Is there any musical representation that you were able to express through this concept?
Rather than that, we weren’t that constrained by the concept even though we had one; at any rate it felt more like finding good songs. When we were selecting the tracks at first, we were contemplating which song “sounds more afternoon-like” and such. After that, we discussed and said “why don’t we first think if this is a good song or not?”. We’d talk about “something like this is good” in our group chat and get something similar written for us. In my case for example, I said that I wanted to do a gospel song, and that was “Good Times”. All of us freely contributed our own ideas like that to create this.
― Is that work process fun for you?
It is. I love music after all. If it was a process only done for myself, they’d probably all end up being kayoukyoku [Showa Japanese songs] (laughs), but when I think “if SixTONES’ were to try it?”, then it feels feasible even if it’s a genre that I don’t listen to. Selecting tracks like that was interesting.
― In the end, this album “CITY” lives up to its name and is produced in a way so that multiple people can listen to it at various times. I’d say this is due to the fine balance that the 6 of you keep.
Yeah. I think we are incredibly balanced. When the each of us are gathered, that moment when the 6 of us become SixTONES… The other day, at a magazine shoot, the other 5 got into position first and I was the last to enter the set. When I saw the 5 of them, I thought “ohh, that’s nice”. There was this aura almost, like everyone had grown into adults. I think it’s because we’ve gained confidence.
― Next is a question I’m asking everyone, but what is a weapon that only you possess, something the other 5 don’t have?
I think I have quick thinking for variety shows. Like ippatsu-gei [one-liner gags] and monomane [impersonations]. I love to see people laugh. I love to communicate with others too, so making jokes even about topics in grey zones to make people laugh is a strength of mine.
― Jesse-san’s quick thinking isn’t about blurting out what’s on your mind, but something more agile and sensitive.
Ahh, that makes me happy. That’s something I don’t want to lose in my character. Well, I do speak out my mind too. Things like “just go for it!”.
― If you were to liken SixTONES to something unhuman?
The 6 of us…… maybe a chameleon. We become onstage-SixTONES when we’re on the stage, and we become variety-show-SixTONES when we’re on a variety show; we’ll change our colour depending on the situation. It was a natural thing since we were Juniors. We have boke [acts dumb], tsukkomi [quipster] and organisers, so it’s like we mess around when it’s for YouTube, and act cool when we’re doing a concert. We have a gap. I hope more people can discover that.
― Lastly, please tell us about a “CITY”-scape that’s unforgettable.
Speaking of that, the scenery from when I asked Johnny-san “I want to do something again with these 6 members” is unforgettable. Honestly, I treated it like my last chance and the 6 of us went to see Johnny-san together. We had a conversation like “link your hands, ‘kay that’s not going to work then” “no that’s not what we mean, we’re serious”; I remember that feeling very clearly. Also, the first concert we held as 6 alone in 2018 at Yokohama Arena. Seeing over 15,000 people gathering to see the 6 of us was unforgettable. I want to continue growing, so that I can witness more people coming to see SixTONES at Tokyo Dome or the National Stadium. I’m the very person who said I wanted to do something again as 6, so I want us to go as far as we can.
KOUCHI YUUGO
Music is something indispensable to everyday life.
It is a big thing that we’re able to express that.
― In the production of “CITY”, what position did you put yourself in?
This was the same for “1ST”, but rather than giving my opinion, I tended to listen to everything and see things from a fan’s perspective. Like considering if this song is SixTONES-like or not, how it would be if we perform this at a concert, or how it’d be nice if we challenged this new genre. I’m not swayed by what sort of music is trending at all. That stance of mine hasn’t changed since forever and I think that’s my role. Of course, there are members who keep track of the trends and I think that’s important too. But I think we’d clash if all 6 of us are like that so I think someone like me who observes from a step back is necessary and that’s why I do that.
― In regards to the message you want to convey through “CITY”, what are your thoughts from the perspective of being the person looking from afar?
In this album, the track list is based on a certain timeframe and contains a wide range of genres, spanning from robust EDM sounds to chill pieces; I hope SixTONES can become a part of the lives of listeners who come across this work. I think it’s an album where it can match the listener’s mood. I thought it was brilliant when I heard about the title “CITY” in the first place. When you go outside, you’re bound to come in contact with music right? Like music that’s playing on the streets or in a shop. Music is a thing that’s indispensable to everyday life and being able to express that as SixTONES’ is a big thing. This is also an album that allowed us to challenge ourselves technically, so while it was a meticulous and difficult [process], it was fun to make.
― Through these first and second albums, how much of SixTONES’ versatility do you think has been conveyed to the general public?
Actually, I don’t think that much has been conveyed. More like, what we want to communicate changes in the moment. I believe SixTONES’ still has room to develop, and since we’re allowed to create music in such different genres, I think we’ll be able to create even more character and depth in the future. Day by day, there is definitely something that’s changing, so in that sense, I don’t think we’ll ever completely convey everything.
― So you’re saying that you’re only at the starting line of a great story?
Well, I think we’ve passed the starting line now at the very least (laughs), but I’d be hard-pressed if you ask me what has changed and how. Mindset-wise I don’t want things to change from when we debuted, and I hope we can say “it’s great, we’ve done such a wide variety” 5, 10 years down the track.
Everyone shoulders a different responsibility, but the single entity formed when the 6 of us come together is amazing
― A weapon that the other 5 don’t have and only you possess is?
Mediocrity I suppose. It’s the same with how I’m not overly concerned, like I stick to my guns in a good way. I’m not saying the other 5 don’t have this, but I think it’s a particularly strong trait of mine. I’m often neutral about things, so I’m able to take a bird’s eye view of SixTONES, or an audience’s perspective when it comes to selecting songs or planning concerts. I think being able to widen the group’s perspective is my weapon, or rather, I guess it’s my “likeness”.
― Well, if you were to liken SixTONES’ to something unhuman?
Not human? …Ehh, what would it be…… Robots? Ahh, yes, robots. Robots are created by humans right? And each of them specialise in something, for example, robots that can paint or robots that carry heavy items. In that fashion, everyone in SixTONES shoulders a different responsibility, but the single entity that’s formed when the 6 of us come together is amazing. I’m not saying we’re a combined robot (laughs), but like, we’re all robots that have our own weapons. There’s the thing that the gears might not click together if it’s not the 6 of us, but we’d probably continue to evolve after experiencing various things.
― A “CITY”-scape that’s unforgettable?
Rather than unforgettable, a sight that I want to see again once in a while are the streets of Yokohama that I grew up in. It really calms me when I go back now and then, and I can recall the scenery at Minatomirai from when I went as a kid too; it’s an important cityscape where I can refresh and reset my mind.
― I’m guessing that moments to relax and chill are important to you?
It is important. When I’m brooding over things or thinking about what to do hereon, I’ll see the sights I saw when I was young and think “[that place has] gotten bigger since I was young, I’m gonna be alright too” and be a little relieved. Memories start to rush back naturally and it allows me to focus on something else, so that’s important.
― You spoke about your personal memories just then, but I think you have such zones in “CITY” and in SixTONES too.
Ahh, you’re right. I have more fun and comfort when I’m working as 6 than when I’m working hard alone for at solo work. That too is because I see the view of the 5 of them as important, and yeah, they are 5 great people.
MATSUMURA HOKUTO
I don’t have an ikken hisatsu.
That’s why I had to broaden my vision.
“CITY” is livelier than our previous work.
It feels alive, and there’s warmth too
― What were your thoughts on the album concept for “CITY”?
I think it holds a nice meaning. The concept of a “CITY”. If you were to call a city a place where various things like living things, buildings, wind, rubbish etc are gathered, then that is what the music in this album is like too. Incongruent songs of different types are placed together, but SixTONES manages to combine them together into one work, and that’s the same as a city in that sense. That idea was what interested me.
― This album is genre-free like your previous one, but it’s considerably more refined. Is that because of the city concept?
Yeah, we wanted to clearly establish a sense of life within the single album. That’s why it feels livelier than the previous work. It feels alive, and there’s warmth too. That might be what’s refined. Last time we were just going for it, and at the same time, it was filled with the things we had to show, the things we were itching to show as a group. But this time, we are able to do what we want. For example, a clothing shop wouldn’t necessarily need to think about a café, and in a similar fashion, each song can be independent, but they can also be next to each other.
― The song you like the most in this album is?
The ones I’m most engrossed in are “Ordinary Hero”, and “Makka na Uso”. “Ordinary Hero”… for example, with someone like me, I think people think that I don’t know what it’s like to have an ordinary job.
― Because you’re an idol?
Yeah. But I don’t see what’s different in my eyes. A student’s job is to study, and for some, doing chores is their job; there are lots of people in different situations. I think this song is something for all of those people, which is why it’s definitely is a song for me too.
― The lyrics in “Makka na Uso” hint to a female’s perspective too.
What we thought about before asking Wanuka-san was to split the song into a positive character and negative character; whether they interpreted that as 2 separate people or the 2 internal extremes of a person like an angel & a devil in their mind was up to them. So that’s why it may sound like a conversation of 2 polar opposites, or maybe like the internal struggles that one’s filled with. It could be a male or a female.
― Isn’t such vagueness, or rather that fluidity between multiple personas something that you possess yourself?
Yes, I think I try to distance myself from it. I don’t have an ikken hissatsu [karate term; ‘annihilate with one hit’] weapon…… Which is why I had to broaden my vision. I think there are charms that can be expressed through a single concept, and that’s what I had to bet on in my case.
― But “Kijima Minoru” who you play in “Come Come Everybody”, it was most certainly a ikken hissatsu role.
Thank you very much.
― You started recording this album after playing Minoru-san right? Were you able to switch over easily?
I think I switched over well. But I don’t know… I think there’s still something remaining, some part that’s still holding onto it. And personally, I like that lingering scent per se. I love to bring a character to life, but having a shadow of myself in there brings a sense of reality to it too.
― This was a year where Matsumura-san as an individual, and as a group both made great progress.
We are lucky to perform in “Kouhaku” again this year, and it’s a fateful Kouhaku where Kamishiraishi (Mone)-san who is also in “Come Come~”, and AI-san are also performing in. That’s why people who know me from that drama and watch “Kouhaku” may discover “oh, is he a part of SixTONES?”, or there might be people who think “I guess I’ll watch it if Minoru-san’s appearing” and watch “Kouhaku” too. Say that it will lead to SixTONES’ prominence, I think we’ll able to see the effects in 1, 2 years’ time.
― Now onto a question that’s not about the album. What’s a weapon that the other 5 don’t have, something that only you possess?
Probably a sub-character feel. I won’t be as liked if I was in the dead centre. I think I really suit this sub-character role (laughs). Sub doesn’t mean that I’m second, and there are more subculture stores than main ones too; if main culture and sub culture exists, then I can confidently say I’m sub. This “overflowing sub-character feel!”.
― (laughs) Well then, if you were to liken SixTONES to something unhuman?
Wolfish. Just like the phrase lone wolf, wolves are seen as animals that act independently, but they’re actually animals who always move in packs.
― Finally, an unforgettable “CITY”-scape of yours?
It’d have to be my hometown Shizuoka. The memory of my grandpa and grandma bringing me to the natsumatsuri [summer festival] at the local shrine. There was this cow-like thing made out of bronze or something and I would always pet it.
TANAKA JURI
“CITY” is an idol’s album.
It wouldn’t have been possible if we were artists.
― Being genre-less is the same as last time, but I feel that “CITY” establishes SixTONES’ colour even further.
No, this doesn’t just apply to us, but I think the best music at the time will probably change every hour. Even global music trends, they can change in 1, 2 months… Amongst that, it is difficult to establish ourselves and to narrow down tracks confidently. Besides, we’re idols so there isn’t a need to narrow down. People often tell us “there are a lot of English lyrics”, but I don’t think about that anymore. Japanese anime songs are global hits, and Justin (Bieber) & (The Kid) LAROI’s “STAY” is a hit in Japan too. The language is honestly not that much of a weapon anymore. In that sense too, what we wanted to do was to bring together the best music from a wide range of genres. A CD exists to sell music after all. I feel like we carefully chose music that would sound nice [to the listener] in that sense.
― I believe such a selection process is abnormal for idols though.
I wonder. Others can do that if they wanted to, so I think it’s that don’t. It’s simply that this style suits us. And, there are many fans who agree with it - it’s a coincidence where the demand and supply match.
― You have a big tie-up “Rosy”, but did you feel overwhelmed?
We thought “let’s do this” (laughs). It’s a song with lots of Japanese and that’s about the only anomaly. The rest was same as usual, thinking that it was another piece of interesting music that we were able to do.
― I felt a lot of composure in your rap in this album.
I think that’s because of the song’s melody. I don’t think I’ve improved (laughs).
― (laughs) But “With The Flow” was amazing. It was like a natural call and response with Kyomoto-san.
I wrote the lyrics with a “let’s do this freely without worry” feel to it, so it was like I focused on expressing that. There’s a relatively large portion of the album with that theme. The concept is “a day in the city” at any rate, so there’s nothing out of the ordinary; be it morning, afternoon or night, it’s all something I’m familiar with (laughs).
― With that in mind, was there anything that you were particularly conscious about in the sound’s taste?
Something I’ve been thinking about lately is that older sounds are trending. Like BTS’ disco tunes, it’s surprisingly a killer when you bring back old sounds in a modern way. This time we included choral music and Jesse & Shintarou’s “LOUDER” that incorporated new jack swing too, so we may be leaning in that direction.
― There are many nostalgic numbers in the middle of the album.
“Fast Lane” is very 80s isn’t it.
I’m not concerned with turning points. It feels like getting on my hands and knees to make a few centimetres of progress.
― It’s easy to call “CITY” as a “non-idol-like, non-Johnnys-like” album, but that’s not what it is isn’t it?
No, it is an idol album right? In a way, being an idol is a weapon, and a shield. We wouldn’t have been able to make this album if we were artists. I don’t want to call ourselves an artist. I mean, if a band or indie artist were to say that “we’re idols”, then people would retort with “nah-ah, you’re not” (laughs).
― (laughs). “1ST” was a rather reckless project, while this album in comparison seems to be much more future-oriented. Were you conscious about turning points in this production?
Yeah, I think we were a little more relaxed. But I was basically not concerned with turning points. Putting it crudely, I don’t think it’s that simple to change things with just a single album. It feels like getting on my hands and knees to make a few centimetres of progress. If you focus on each step, then there really only is minor progress, but it’s quite a lot when you look at it over 2 years. But I won’t lay the tracks down for the purpose of moving forward.
― By the way, what’s a weapon that the other 5 don’t have, something that only you possess?
My throat. I’ve never thought that my throat was in a bad condition for even once in my life. For the direction that the rap is in SixTONES’ music, I think this throat of mine is a weapon.
― Then, what is a “CITY”-scape that’s unforgettable to you?
Probably my hometown. It’s really pretty around the train station, but there are nothing but fields when you get to my family home. I still love it though so I will definitely visit once a month. It’s not that I’m doing anything special or anything, like I’ll spend 15 minutes to walk to the convenience store.
― If you were to liken SixTONES to something unhuman?
SixTONES isn’t us.
― What do you mean?
… Can I borrow a pen please? (then he draws ‘ST’ in large capitals in a big circle, and adds 6 little circles on the outside of that big circle)
― Interesting. The 6 of you aren’t on the inside.
Yeah. To me, SixTONES is a concept, a belief, and that the 6 of us were gathered for that reason. And, the fans are just like us, encircling SixTONES.
MORIMOTO SHINTAROU
SixTONES is a Tokyo building. It’s tall and flashy without a sense of unity, but it won’t fall even when shaken.
― Was the song selection progress a smooth one this time?
We had quite a tough time. Under the concept of a day’s time flow, there are the 3 versions morning-afternoon-night, afternoon-night-morning and night-morning-afternoon right? Simply changing the track order wouldn’t be interesting to listen to, and making them each sound like different albums was incredibly challenging. If you go from “WHIP THAT” to “Everlasting” to “8am”, it feels like you had a blast at the club, then left and watched the sun rise. But we also talked about how “it’d be interesting if we broke that continuity” too.
― It’s a very second-album-like worry.
You’re right. It’s an extravagant worry.
Singing all 6 people’s worth of “Rosy” by myself, I did it like it was a game
― “Rosy” is a huge tie-up this time round. It’s a complex number with the lyrics speeding on a fast tempo.
It’s incredibly fast but I completed the recording in a flash. They asked me “how are you moving through it so quickly?” and “why aren’t you tripping over your words?”, and when I said “I practised heaps at home so that I could sing all the other member’s parts as well”, they were shocked that “you did something like that?!” (laughs). I treated it like a game and sang all 6 people’s worth by myself so it was like “ah, am I done?”. On the other hand, I had trouble with chill songs like “Takes Two”.
― So there were songs where you could just ride on the momentum, and ones you couldn’t.
Yes. It’s like I’m a wilful child.
― In your second year of debut, has there been any changes in SixTONES’ meaning to you, or relationship with the other members?
I haven’t noticed many changes. And, I think it’s actually a good thing that I haven’t. Why I say that is because even a small misalignment can lead to a huge crack in a few years’ time. Personally, I don’t see SixTONES’ growth and polishing-up as a change. Every human evolves and that’s expected of a group too. To me, change is something negative. Like getting arrogant or not being grounded, that’s when I think something’s changed… That’s why it gives me a lot of comfort that nothing’s changed with us.
― So making your debut and making your break hasn’t ever led you to not be grounded?
Yeah we were good. We’re all progressing at different speeds, but it’s still one foot in front of the other. That hasn’t changed since we were Juniors and I think that’s what SixTONES’ stance is.
― Do you ever talk about “what’s that about for SixTONES?”
Ahh, we do. That hasn’t changed either. We are huge idiots and mess around a lot, but all of us love the group and love each member too, so there’s trust there. All of us look at things from a wide perspective. Objectively speaking, to SixTONES and to us individually, all of us think carefully about what’s a plus and what’s a minus, about what suits or doesn’t suit. We’ll tell each other our thoughts too and there is a time for such discussions as well. We did that again this year and when I watched the 5 of them then, I realised that it was really nice after all.
― Producing such a conceptual album is rare for Japanese male idol groups, but how conscious were you about the fact that you’re an idol; a Johnnys group?
Simply making good music, having a fun gimmick, and releasing a great album was the top priority… we wouldn’t have selected the songs like this if we wanted to factor in Johnnys-likeness, and nor would such an album be created if we tried to be artist-like. It’s not about one or the other. Being conscious that we’re Johnnys, being conscious of the trends, and selecting songs that make people think “so these people are from Johnnys” - we greedily packed in all these different elements. In regards to what we’re aiming for, I hope to receive different comments from the listeners. It can be “it’s Johnnys-like” or “it’s not Johnnys-like”, and even “this is what SixTONES is about”, but I think this album will be a success when it receives a wide range of opinions.
― By the way Morimoto-san, what is a weapon that the other 5 don’t have and only you possess?
Honesty. Unstoppable honesty.
― So about breaking through.
Yes. I think that’s something the others don’t have.
― Then, if you were to liken SixTONES to something unhuman?
A Tokyo building. Higher and higher buildings are getting built and all of them are flashy and eye-catching. But in a city like Shibuya, that incongruity is allowed. That’s what it’s like. Moreover, our foundations are solid and we won’t collapse even when shaken.
― What’s an unforgettable “CITY”-scape?
The Chinese restaurant I first met Johnny-san at. I was eating at a round table with my family and an old man came over, saying “hey You” (laughs). My grandpa and grandma were there too so they were like “wh-what is the matter…?”, and he simply said “I’m Johnny” and they understood instantly (laughs).
The future of music opened by the 6
It’s designed so that each listener can enter from the entrance of their choice, and each embark on their own journey freely. However the host, the 6 members of SixTONES, who provide this environment, too freely display their wilfulness without bound; making bold statements here and feeling chill there. In the 6 interviews that follow, a natural newness from each of them shows through. However, what’s even more interesting is the excitement that gushes forth from the possibilities of the combination of that 6 newness’. The future of music that can only be discovered because it’s the 6 of them, no, it is already being discovered and I hope more people can experience that - this is a special feature on SixTONES exactly for that reason!
SixTONES are unprecedented. It isn’t that they’re an unprecedented group among Johnnys groups, or that they’re unprecedented as idols. As a group who aims to bring joy to people with music as their nucleus, they are unprecedented. When they released their first album “1ST” in January 2021, I felt that SixTONES’ were [a group who] accepted multiple realities fluidly, while also progressing with passion and even recklessness. This is the type of group who are able to shine a light with entertainment in these complicated and dark murky times, and I also strongly wish to see the future that they will bring. And now a year later, their second album “CITY” reads to me as a “music hakoniwa [miniature garden]” that’s the epitome of the future that SixTONES will bring.
KYOMOTO TAIGA
“CITY” is a work where we challenged even deeper waters in music. It surpasses “1ST” in a different sense.
I don’t want to lose our enthusiasm towards music
― Kyomoto-san, were you confident that many things would change with the arrival of SixTONES?
There are definitely things that we were the pioneer in, like being the first Johnnys to have a social media platform, but I think all of our senpais have achieved those “firsts” in some way or fashion. So rather than our arrival changing anything, it’s more that we SixTONES are contributing in our own way as a member of Johnnys. In our music too, as the result of pursuing music that we love and in our own style, we’ve been given the opportunities to challenge new possibilities, which has added to our reputation. I don’t want to lose our enthusiasm towards music, or rather, I want this enthusiasm to continue burning into the future. I want to make an album that will enrapt people who aren’t interested in Johnnys. To do so, and as a result of producing music in our own style and with responsibility, I am grateful that we are invited to “Kouhaku” again this year. It wasn’t just our own efforts but thanks to everyone’s assistance; it truly feels like we’re moving forward step by step.
― I think that both “1ST” and “CITY” represent your sixes “I love music” passion, but as a result, it does feel like something that’s unprecedented.
I did feel that. We had the opportunity to choose the tracks ourselves and were involved in the production from the early stages, so things like the storyline and SixTONES’ musical colour is expressed more prominently. In my case, I suggested the lines to harmonise on and about the vocal arrangements; it truly was music created together with my members and staff. I guess that’s what’s given me confidence. But I’m not saying that our album is better than other Johnnys artists; we are simply creating SixTONES-like works amongst the multitude of works being created with their own individuality. We’re simply continuing to break our own records.
― I think “CITY” this time round develops SixTONES’ versatile charm even further than in “1ST”.
“1ST” was an album packed with the songs we wanted to do and thought were cool regardless of any boundaries, but this time there’s the “CITY” and time sequence concept. It was difficult to create with that in mind, but when the 6 of us shared our opinions and decided on the songs, I felt that the music we made reached a new depth in comparison to “1ST”. We challenged a wide variety of genres in “1ST”, but “CITY” is on a different vector, as if we’re challenging a deeper level of music. It’s not head-to-head but rather a curve ball; I think it surpasses “1ST” in a different sense. We are still in the heat of production and although we haven’t heard the music yet with our own voices - many of the new tracks have a western flavour to them and I think people who are unfamiliar with that sound will find some songs and think “this and this are similar”. But in order to differentiate them as much as possible, I’ll consciously change them; for the high notes and harmonising, or adlibs that I’m assigned to, I’ll shout them or keep them light depending on the song. I hope my efforts will bring a positive effect. What always comes to mind is that with SixTONES’ songs, the [song’s] image always changes the moment it goes from the demo’s voice to SixTONES’ voices. So I’m sure it’ll become even better than what we have right now. That’s how amazing I think our 6-voice’s version of the music is, so I’m looking forward to it myself and I want the fans to look forward to it too.
― You mentioned about the parts you were in charge of, but what is something that the other 5 don’t have, a weapon that only you possess?
It’s not that the others don’t have it, but I think I have a more inquisitive mind than them. This applies to my hobbies too, but it gets so crazy that I even scare myself when I’m invested in something. I have an otaku disposition and I want to know everything about it. I guess that’s my weapon. For example, I’m loving “Yu-Gi-Oh!” and Pokémon cards again lately and I went to Akihabara just yesterday too (laughs).
― (laughs) Well then, if you were to liken SixTONES to something unhuman?
Monkeys. Everyone’s brimming with curiosity and we get along well. In a good way, each of us show our true selves and it’s like we wear our heart on our sleeves, so our personalities align a bit. With SixTONES, it’s like having fun at an onsen or something.
― What’s a “CITY”-scape that’s hard to forget?
I’d have to say it’s Hawaii’s Ala Moana Center. My family took me there when I was young. It’s a place filled with nostalgia, bringing back childhood & family memories. Like it’s a place I want to visit when I’m tired. For a refresh or something.
― Is there a place that you want to visit together with SixTONES’ members?
We all have different interests so I don’t want to go anywhere with them in private (laughs). We probably wouldn’t be able to get along if it’s not for work. But, I do want to go overseas more often for work. That way, we’ll probably gain more motivation “to hold concerts here” and so. Of course, we still have a long way to go in Japan, so we’ll continue to cherish our Japanese fans while also attending overseas events if we’re invited. It’s a distant dream though.
JESSE
I hope more people can discover SixTONES’ gap
― When SixTONES’ was introduced, I instinctively thought that the arrival of this group would bring something new, but did you have any premonition of that Jesse-san?
From our Junior days, I did wonder if we were going on a different path to everyone else. There was our hair colour too, but also how free we were. I’d thought “I’ll be working with these 5 people” even before we were put into a group. I didn’t know if we could change anything, but I did feel that we could do something new if it’s the 6 of us. Music is the easiest to understand, but we were given chances like performing all-English songs from when we were Juniors. Other Johnnys talents tell us “that’s unfair”. I suppose we are changing things in that sense.
Even if it’s a genre that I don’t listen to, it feels feasible when I think “if SixTONES were to try it?”
― “1ST” was a compilation of your freeness in musical expression, while “CITY” has an interesting gimmick whereby the fundamental concept of a track list is changed.
Yes. “CITY” is where we summarise our own ideas of morning, afternoon & night into 3 versions. Of course, we’re not saying that you have to listen to it in that order (laughs), but that this is how we represent the cityscape.
― Is there any musical representation that you were able to express through this concept?
Rather than that, we weren’t that constrained by the concept even though we had one; at any rate it felt more like finding good songs. When we were selecting the tracks at first, we were contemplating which song “sounds more afternoon-like” and such. After that, we discussed and said “why don’t we first think if this is a good song or not?”. We’d talk about “something like this is good” in our group chat and get something similar written for us. In my case for example, I said that I wanted to do a gospel song, and that was “Good Times”. All of us freely contributed our own ideas like that to create this.
― Is that work process fun for you?
It is. I love music after all. If it was a process only done for myself, they’d probably all end up being kayoukyoku [Showa Japanese songs] (laughs), but when I think “if SixTONES’ were to try it?”, then it feels feasible even if it’s a genre that I don’t listen to. Selecting tracks like that was interesting.
― In the end, this album “CITY” lives up to its name and is produced in a way so that multiple people can listen to it at various times. I’d say this is due to the fine balance that the 6 of you keep.
Yeah. I think we are incredibly balanced. When the each of us are gathered, that moment when the 6 of us become SixTONES… The other day, at a magazine shoot, the other 5 got into position first and I was the last to enter the set. When I saw the 5 of them, I thought “ohh, that’s nice”. There was this aura almost, like everyone had grown into adults. I think it’s because we’ve gained confidence.
― Next is a question I’m asking everyone, but what is a weapon that only you possess, something the other 5 don’t have?
I think I have quick thinking for variety shows. Like ippatsu-gei [one-liner gags] and monomane [impersonations]. I love to see people laugh. I love to communicate with others too, so making jokes even about topics in grey zones to make people laugh is a strength of mine.
― Jesse-san’s quick thinking isn’t about blurting out what’s on your mind, but something more agile and sensitive.
Ahh, that makes me happy. That’s something I don’t want to lose in my character. Well, I do speak out my mind too. Things like “just go for it!”.
― If you were to liken SixTONES to something unhuman?
The 6 of us…… maybe a chameleon. We become onstage-SixTONES when we’re on the stage, and we become variety-show-SixTONES when we’re on a variety show; we’ll change our colour depending on the situation. It was a natural thing since we were Juniors. We have boke [acts dumb], tsukkomi [quipster] and organisers, so it’s like we mess around when it’s for YouTube, and act cool when we’re doing a concert. We have a gap. I hope more people can discover that.
― Lastly, please tell us about a “CITY”-scape that’s unforgettable.
Speaking of that, the scenery from when I asked Johnny-san “I want to do something again with these 6 members” is unforgettable. Honestly, I treated it like my last chance and the 6 of us went to see Johnny-san together. We had a conversation like “link your hands, ‘kay that’s not going to work then” “no that’s not what we mean, we’re serious”; I remember that feeling very clearly. Also, the first concert we held as 6 alone in 2018 at Yokohama Arena. Seeing over 15,000 people gathering to see the 6 of us was unforgettable. I want to continue growing, so that I can witness more people coming to see SixTONES at Tokyo Dome or the National Stadium. I’m the very person who said I wanted to do something again as 6, so I want us to go as far as we can.
KOUCHI YUUGO
Music is something indispensable to everyday life.
It is a big thing that we’re able to express that.
― In the production of “CITY”, what position did you put yourself in?
This was the same for “1ST”, but rather than giving my opinion, I tended to listen to everything and see things from a fan’s perspective. Like considering if this song is SixTONES-like or not, how it would be if we perform this at a concert, or how it’d be nice if we challenged this new genre. I’m not swayed by what sort of music is trending at all. That stance of mine hasn’t changed since forever and I think that’s my role. Of course, there are members who keep track of the trends and I think that’s important too. But I think we’d clash if all 6 of us are like that so I think someone like me who observes from a step back is necessary and that’s why I do that.
― In regards to the message you want to convey through “CITY”, what are your thoughts from the perspective of being the person looking from afar?
In this album, the track list is based on a certain timeframe and contains a wide range of genres, spanning from robust EDM sounds to chill pieces; I hope SixTONES can become a part of the lives of listeners who come across this work. I think it’s an album where it can match the listener’s mood. I thought it was brilliant when I heard about the title “CITY” in the first place. When you go outside, you’re bound to come in contact with music right? Like music that’s playing on the streets or in a shop. Music is a thing that’s indispensable to everyday life and being able to express that as SixTONES’ is a big thing. This is also an album that allowed us to challenge ourselves technically, so while it was a meticulous and difficult [process], it was fun to make.
― Through these first and second albums, how much of SixTONES’ versatility do you think has been conveyed to the general public?
Actually, I don’t think that much has been conveyed. More like, what we want to communicate changes in the moment. I believe SixTONES’ still has room to develop, and since we’re allowed to create music in such different genres, I think we’ll be able to create even more character and depth in the future. Day by day, there is definitely something that’s changing, so in that sense, I don’t think we’ll ever completely convey everything.
― So you’re saying that you’re only at the starting line of a great story?
Well, I think we’ve passed the starting line now at the very least (laughs), but I’d be hard-pressed if you ask me what has changed and how. Mindset-wise I don’t want things to change from when we debuted, and I hope we can say “it’s great, we’ve done such a wide variety” 5, 10 years down the track.
Everyone shoulders a different responsibility, but the single entity formed when the 6 of us come together is amazing
― A weapon that the other 5 don’t have and only you possess is?
Mediocrity I suppose. It’s the same with how I’m not overly concerned, like I stick to my guns in a good way. I’m not saying the other 5 don’t have this, but I think it’s a particularly strong trait of mine. I’m often neutral about things, so I’m able to take a bird’s eye view of SixTONES, or an audience’s perspective when it comes to selecting songs or planning concerts. I think being able to widen the group’s perspective is my weapon, or rather, I guess it’s my “likeness”.
― Well, if you were to liken SixTONES’ to something unhuman?
Not human? …Ehh, what would it be…… Robots? Ahh, yes, robots. Robots are created by humans right? And each of them specialise in something, for example, robots that can paint or robots that carry heavy items. In that fashion, everyone in SixTONES shoulders a different responsibility, but the single entity that’s formed when the 6 of us come together is amazing. I’m not saying we’re a combined robot (laughs), but like, we’re all robots that have our own weapons. There’s the thing that the gears might not click together if it’s not the 6 of us, but we’d probably continue to evolve after experiencing various things.
― A “CITY”-scape that’s unforgettable?
Rather than unforgettable, a sight that I want to see again once in a while are the streets of Yokohama that I grew up in. It really calms me when I go back now and then, and I can recall the scenery at Minatomirai from when I went as a kid too; it’s an important cityscape where I can refresh and reset my mind.
― I’m guessing that moments to relax and chill are important to you?
It is important. When I’m brooding over things or thinking about what to do hereon, I’ll see the sights I saw when I was young and think “[that place has] gotten bigger since I was young, I’m gonna be alright too” and be a little relieved. Memories start to rush back naturally and it allows me to focus on something else, so that’s important.
― You spoke about your personal memories just then, but I think you have such zones in “CITY” and in SixTONES too.
Ahh, you’re right. I have more fun and comfort when I’m working as 6 than when I’m working hard alone for at solo work. That too is because I see the view of the 5 of them as important, and yeah, they are 5 great people.
MATSUMURA HOKUTO
I don’t have an ikken hisatsu.
That’s why I had to broaden my vision.
“CITY” is livelier than our previous work.
It feels alive, and there’s warmth too
― What were your thoughts on the album concept for “CITY”?
I think it holds a nice meaning. The concept of a “CITY”. If you were to call a city a place where various things like living things, buildings, wind, rubbish etc are gathered, then that is what the music in this album is like too. Incongruent songs of different types are placed together, but SixTONES manages to combine them together into one work, and that’s the same as a city in that sense. That idea was what interested me.
― This album is genre-free like your previous one, but it’s considerably more refined. Is that because of the city concept?
Yeah, we wanted to clearly establish a sense of life within the single album. That’s why it feels livelier than the previous work. It feels alive, and there’s warmth too. That might be what’s refined. Last time we were just going for it, and at the same time, it was filled with the things we had to show, the things we were itching to show as a group. But this time, we are able to do what we want. For example, a clothing shop wouldn’t necessarily need to think about a café, and in a similar fashion, each song can be independent, but they can also be next to each other.
― The song you like the most in this album is?
The ones I’m most engrossed in are “Ordinary Hero”, and “Makka na Uso”. “Ordinary Hero”… for example, with someone like me, I think people think that I don’t know what it’s like to have an ordinary job.
― Because you’re an idol?
Yeah. But I don’t see what’s different in my eyes. A student’s job is to study, and for some, doing chores is their job; there are lots of people in different situations. I think this song is something for all of those people, which is why it’s definitely is a song for me too.
― The lyrics in “Makka na Uso” hint to a female’s perspective too.
What we thought about before asking Wanuka-san was to split the song into a positive character and negative character; whether they interpreted that as 2 separate people or the 2 internal extremes of a person like an angel & a devil in their mind was up to them. So that’s why it may sound like a conversation of 2 polar opposites, or maybe like the internal struggles that one’s filled with. It could be a male or a female.
― Isn’t such vagueness, or rather that fluidity between multiple personas something that you possess yourself?
Yes, I think I try to distance myself from it. I don’t have an ikken hissatsu [karate term; ‘annihilate with one hit’] weapon…… Which is why I had to broaden my vision. I think there are charms that can be expressed through a single concept, and that’s what I had to bet on in my case.
― But “Kijima Minoru” who you play in “Come Come Everybody”, it was most certainly a ikken hissatsu role.
Thank you very much.
― You started recording this album after playing Minoru-san right? Were you able to switch over easily?
I think I switched over well. But I don’t know… I think there’s still something remaining, some part that’s still holding onto it. And personally, I like that lingering scent per se. I love to bring a character to life, but having a shadow of myself in there brings a sense of reality to it too.
― This was a year where Matsumura-san as an individual, and as a group both made great progress.
We are lucky to perform in “Kouhaku” again this year, and it’s a fateful Kouhaku where Kamishiraishi (Mone)-san who is also in “Come Come~”, and AI-san are also performing in. That’s why people who know me from that drama and watch “Kouhaku” may discover “oh, is he a part of SixTONES?”, or there might be people who think “I guess I’ll watch it if Minoru-san’s appearing” and watch “Kouhaku” too. Say that it will lead to SixTONES’ prominence, I think we’ll able to see the effects in 1, 2 years’ time.
― Now onto a question that’s not about the album. What’s a weapon that the other 5 don’t have, something that only you possess?
Probably a sub-character feel. I won’t be as liked if I was in the dead centre. I think I really suit this sub-character role (laughs). Sub doesn’t mean that I’m second, and there are more subculture stores than main ones too; if main culture and sub culture exists, then I can confidently say I’m sub. This “overflowing sub-character feel!”.
― (laughs) Well then, if you were to liken SixTONES to something unhuman?
Wolfish. Just like the phrase lone wolf, wolves are seen as animals that act independently, but they’re actually animals who always move in packs.
― Finally, an unforgettable “CITY”-scape of yours?
It’d have to be my hometown Shizuoka. The memory of my grandpa and grandma bringing me to the natsumatsuri [summer festival] at the local shrine. There was this cow-like thing made out of bronze or something and I would always pet it.
TANAKA JURI
“CITY” is an idol’s album.
It wouldn’t have been possible if we were artists.
― Being genre-less is the same as last time, but I feel that “CITY” establishes SixTONES’ colour even further.
No, this doesn’t just apply to us, but I think the best music at the time will probably change every hour. Even global music trends, they can change in 1, 2 months… Amongst that, it is difficult to establish ourselves and to narrow down tracks confidently. Besides, we’re idols so there isn’t a need to narrow down. People often tell us “there are a lot of English lyrics”, but I don’t think about that anymore. Japanese anime songs are global hits, and Justin (Bieber) & (The Kid) LAROI’s “STAY” is a hit in Japan too. The language is honestly not that much of a weapon anymore. In that sense too, what we wanted to do was to bring together the best music from a wide range of genres. A CD exists to sell music after all. I feel like we carefully chose music that would sound nice [to the listener] in that sense.
― I believe such a selection process is abnormal for idols though.
I wonder. Others can do that if they wanted to, so I think it’s that don’t. It’s simply that this style suits us. And, there are many fans who agree with it - it’s a coincidence where the demand and supply match.
― You have a big tie-up “Rosy”, but did you feel overwhelmed?
We thought “let’s do this” (laughs). It’s a song with lots of Japanese and that’s about the only anomaly. The rest was same as usual, thinking that it was another piece of interesting music that we were able to do.
― I felt a lot of composure in your rap in this album.
I think that’s because of the song’s melody. I don’t think I’ve improved (laughs).
― (laughs) But “With The Flow” was amazing. It was like a natural call and response with Kyomoto-san.
I wrote the lyrics with a “let’s do this freely without worry” feel to it, so it was like I focused on expressing that. There’s a relatively large portion of the album with that theme. The concept is “a day in the city” at any rate, so there’s nothing out of the ordinary; be it morning, afternoon or night, it’s all something I’m familiar with (laughs).
― With that in mind, was there anything that you were particularly conscious about in the sound’s taste?
Something I’ve been thinking about lately is that older sounds are trending. Like BTS’ disco tunes, it’s surprisingly a killer when you bring back old sounds in a modern way. This time we included choral music and Jesse & Shintarou’s “LOUDER” that incorporated new jack swing too, so we may be leaning in that direction.
― There are many nostalgic numbers in the middle of the album.
“Fast Lane” is very 80s isn’t it.
I’m not concerned with turning points. It feels like getting on my hands and knees to make a few centimetres of progress.
― It’s easy to call “CITY” as a “non-idol-like, non-Johnnys-like” album, but that’s not what it is isn’t it?
No, it is an idol album right? In a way, being an idol is a weapon, and a shield. We wouldn’t have been able to make this album if we were artists. I don’t want to call ourselves an artist. I mean, if a band or indie artist were to say that “we’re idols”, then people would retort with “nah-ah, you’re not” (laughs).
― (laughs). “1ST” was a rather reckless project, while this album in comparison seems to be much more future-oriented. Were you conscious about turning points in this production?
Yeah, I think we were a little more relaxed. But I was basically not concerned with turning points. Putting it crudely, I don’t think it’s that simple to change things with just a single album. It feels like getting on my hands and knees to make a few centimetres of progress. If you focus on each step, then there really only is minor progress, but it’s quite a lot when you look at it over 2 years. But I won’t lay the tracks down for the purpose of moving forward.
― By the way, what’s a weapon that the other 5 don’t have, something that only you possess?
My throat. I’ve never thought that my throat was in a bad condition for even once in my life. For the direction that the rap is in SixTONES’ music, I think this throat of mine is a weapon.
― Then, what is a “CITY”-scape that’s unforgettable to you?
Probably my hometown. It’s really pretty around the train station, but there are nothing but fields when you get to my family home. I still love it though so I will definitely visit once a month. It’s not that I’m doing anything special or anything, like I’ll spend 15 minutes to walk to the convenience store.
― If you were to liken SixTONES to something unhuman?
SixTONES isn’t us.
― What do you mean?
… Can I borrow a pen please? (then he draws ‘ST’ in large capitals in a big circle, and adds 6 little circles on the outside of that big circle)
― Interesting. The 6 of you aren’t on the inside.
Yeah. To me, SixTONES is a concept, a belief, and that the 6 of us were gathered for that reason. And, the fans are just like us, encircling SixTONES.
MORIMOTO SHINTAROU
SixTONES is a Tokyo building. It’s tall and flashy without a sense of unity, but it won’t fall even when shaken.
― Was the song selection progress a smooth one this time?
We had quite a tough time. Under the concept of a day’s time flow, there are the 3 versions morning-afternoon-night, afternoon-night-morning and night-morning-afternoon right? Simply changing the track order wouldn’t be interesting to listen to, and making them each sound like different albums was incredibly challenging. If you go from “WHIP THAT” to “Everlasting” to “8am”, it feels like you had a blast at the club, then left and watched the sun rise. But we also talked about how “it’d be interesting if we broke that continuity” too.
― It’s a very second-album-like worry.
You’re right. It’s an extravagant worry.
Singing all 6 people’s worth of “Rosy” by myself, I did it like it was a game
― “Rosy” is a huge tie-up this time round. It’s a complex number with the lyrics speeding on a fast tempo.
It’s incredibly fast but I completed the recording in a flash. They asked me “how are you moving through it so quickly?” and “why aren’t you tripping over your words?”, and when I said “I practised heaps at home so that I could sing all the other member’s parts as well”, they were shocked that “you did something like that?!” (laughs). I treated it like a game and sang all 6 people’s worth by myself so it was like “ah, am I done?”. On the other hand, I had trouble with chill songs like “Takes Two”.
― So there were songs where you could just ride on the momentum, and ones you couldn’t.
Yes. It’s like I’m a wilful child.
― In your second year of debut, has there been any changes in SixTONES’ meaning to you, or relationship with the other members?
I haven’t noticed many changes. And, I think it’s actually a good thing that I haven’t. Why I say that is because even a small misalignment can lead to a huge crack in a few years’ time. Personally, I don’t see SixTONES’ growth and polishing-up as a change. Every human evolves and that’s expected of a group too. To me, change is something negative. Like getting arrogant or not being grounded, that’s when I think something’s changed… That’s why it gives me a lot of comfort that nothing’s changed with us.
― So making your debut and making your break hasn’t ever led you to not be grounded?
Yeah we were good. We’re all progressing at different speeds, but it’s still one foot in front of the other. That hasn’t changed since we were Juniors and I think that’s what SixTONES’ stance is.
― Do you ever talk about “what’s that about for SixTONES?”
Ahh, we do. That hasn’t changed either. We are huge idiots and mess around a lot, but all of us love the group and love each member too, so there’s trust there. All of us look at things from a wide perspective. Objectively speaking, to SixTONES and to us individually, all of us think carefully about what’s a plus and what’s a minus, about what suits or doesn’t suit. We’ll tell each other our thoughts too and there is a time for such discussions as well. We did that again this year and when I watched the 5 of them then, I realised that it was really nice after all.
― Producing such a conceptual album is rare for Japanese male idol groups, but how conscious were you about the fact that you’re an idol; a Johnnys group?
Simply making good music, having a fun gimmick, and releasing a great album was the top priority… we wouldn’t have selected the songs like this if we wanted to factor in Johnnys-likeness, and nor would such an album be created if we tried to be artist-like. It’s not about one or the other. Being conscious that we’re Johnnys, being conscious of the trends, and selecting songs that make people think “so these people are from Johnnys” - we greedily packed in all these different elements. In regards to what we’re aiming for, I hope to receive different comments from the listeners. It can be “it’s Johnnys-like” or “it’s not Johnnys-like”, and even “this is what SixTONES is about”, but I think this album will be a success when it receives a wide range of opinions.
― By the way Morimoto-san, what is a weapon that the other 5 don’t have and only you possess?
Honesty. Unstoppable honesty.
― So about breaking through.
Yes. I think that’s something the others don’t have.
― Then, if you were to liken SixTONES to something unhuman?
A Tokyo building. Higher and higher buildings are getting built and all of them are flashy and eye-catching. But in a city like Shibuya, that incongruity is allowed. That’s what it’s like. Moreover, our foundations are solid and we won’t collapse even when shaken.
― What’s an unforgettable “CITY”-scape?
The Chinese restaurant I first met Johnny-san at. I was eating at a round table with my family and an old man came over, saying “hey You” (laughs). My grandpa and grandma were there too so they were like “wh-what is the matter…?”, and he simply said “I’m Johnny” and they understood instantly (laughs).