[006] neo genesis vol.36 gazette
here's neo genesis vol. 36. I'm sorry this came out after vol.37 though. but it's still an interesting interview, an interview that was done presumably around late may or so, when the recording of [DIM] was about halfway through, and the members actually didn't particularly know how to talk about the album. so the interviewer asked about what they do in their free time, and what they did during golden week (which is around 28th april to 5th may or so).
many thanks to rawkstarr23 as usual for the lovely scans that make translating possible.
so here's to ruki's true feelings and tiring holiday in hawaii, to uruha's alcoholic music composing buddy, to aoi's neverending cheekiness and inspiration from jazz music, to reita's romance with his motorbike and his own reflection in the mirror and to kai's perpetual worry-freak workaholic mahjong playing self!
the GazettE
it's been about 2 years since the last full album
the GazettE has inevitably decided on the release of their new album, [DIM].
the growing, changing, evolving experienced in these 2 years...
all the deep and firmed up compositions of the members as they are now, are surely all put into this new album, [DIM].
today we ask the members about the production of the album.
from the perspective of each member's personal view and take in each personal interview,
we are honoured to be able to have a feel of the album before its release.
RUKI
also featured in previous issues, today we have ruki who talks about the 'dim' image the new album has. to put this feeling across, he has entitled the new album with the word 'DIM', and he talks to us again about the various worldviews that connect the album tracks in the GazettE's lyrics. if this reality according to yourself, then it would be alright to write about pain. engraved in the songs in [DIM] includes ruki's 'proof of existence'.
-- even though it's only been about 2 months since neo genesis last interviewed you, but I heard that you went on a little holiday even in that short period. you went on a holiday to hawaii during the golden week.
yes. if I remain in japan, then there will always be work, and so I went for a normal holiday in hawaii. I've never rested when I'm here... so at this point, whenever I can rest, I would want to rest, and I went for a holiday in accordance to the company's policies on employee leave okay (laughs).
-- this year, you continued working and moving around even during the new year holiday... it's been hard on you, hasn't it.
I think, this year we've had more holidays than just the golden week period. so we're in this situation where we're unable to waste even a single day (laughs).
-- so, hawaii is a place where you can take a breather and do nothing else.
..............(hesitation) not really....
-- ehhh??!
(laughs) well yes I could take a breather but... the constant walking and going into the sea seemed to make me more tired than anything else (laughs). and then in that tired state, I came back to japan and continued with production work. so I continued with jetlag, and I caught a cold too... I kinda felt funny when I was in hawaii already actually, but when I came back to japan, the difference in weather made it worse and I came down with a fever.
-- gosh that must have been pretty disastrous for a holiday... but has your body re-conditioned itself back already?
oh I'm perfectly fine now. that's why even after coming back to japan, I didn't do any recordings or anything like that... I wrote lyrics while having my cold, and did some little compositions and stuff like that.
-- with regards to the album, you've talked about titling it [DIM] before, right?
yes. the reason being... well I've thought of several. firstly. when I was thinking about what sort of colour would represent the album, somehow I had this sort of dim image in my mind. then when I thought about what colour is not entirely pitch black, I thought of the word [DIM]. so if you want an illustration... more than a pitch dark abyss of despair, it's more like being 'at the edge of a cliff'. being on the edge. like being on top of a building, above the bottom of hell (laughs). so this image of being 'at the edge' is the image for the entire album.
-- it's like if you just move one step, you're finished, sort of feeling. regarding the illustration, somehow... life and death, seems to be something that's on the edge too.
that sort of feeling is also inside the lyrics. I always want to write something that talks about 'something on the edge', isn't it. 'death' is something you become conscious of at some point. but if you put all about death together in one, it'll become some really cheap noise of sorts... so this time, I think we've managed to express this same feeling in a more pronounced manner in this album.
-- till now, I think all the various worldviews are presented in your words. so there's this thrilling feeling in every one of these songs, a similarity they share...
yup, that's right. there's something that attracts me to it. something that pulls me in even more than feelings of blissfulness. for example... things that make me question it etc.
-- yes I've heard about such questions, and also the idea about 'death' that you talked about earlier... the ruki who writes about the dark side of the world can be heard in earlier works. these days, on the contrary.... for example, I think there are more people who continue to face the future bravely despite the pain they go through, and they write about such positive things.
ahhh.... this is a difference of perspectives, I think. if I were told 'go for it', then I doubt I would have any feelings for that song. the 'press on' that the person said is obviously different from the 'go for it' that I tell myself, so I doubt I can feel the same as the person. so this is the same case, that when I say anything about 'going for it', our fans won't draw any direct links with themselves. so... I'd just live day to day like that, and write my feelings down, and it's good when I think of something like 'ah, that's something I can understand...'.
-- I see. so you don't write about things that give you a nice and easy feeling, but you'd write only about things you have real feelings for.
that's right. it feels like I write in places where I'm the only human around, doesn't it. but in such a place, I'd have a lot of feelings about stuff, like what I said earlier, questions about various things... there aren't only good things in the world. on the contrary, if you asked me, it's only full of bad things. there's certainly much dissatisfaction in living in such a world... I seem to write about things that prove that 'I am like this', isn't it. as if I carve this on myself in order not to forget it.
-- so even if it's something negative, as long as it's something you feel about in reality...
yep. I'll write about it honestly.
-- I see. so is it good if there's something that each of the listeners can connect to their feelings or their environment? I'm not referring to cheap sympathy.
hmmm. when we released DISTRESS AND COMA, there was also a song called WITHOUT A TRACE included, and this song is about this. it's like about the relationship between myself and the fans. among the fans, there are people who passed away. so in that moment when I thought how I could save these people... even though there are people who have been saved by music, but there must be many who aren't saved by music too. the negative things that affected those who were unsaved, music wasn't able to save them, wasn't it? we can't help but talk just about the things in life that ail people... but in actuality, the news doesn't tell you what affects people everyday, isn't it. therefore...if you ask me which side I'm on, I'm more of the 'practical type'.
-- the practical world has many things that weigh heavily on it... so you see many things in this world, but if you share the same feelings, these feelings can save you.
yes. I really think that way. but whether this happens depends on your level of empathy and response, so I think it's unclear whether anything weighs heavily on you. it's like 'I'm not the only one who gets crap'. instead, I think 'there's probably someone in a worse state than me...', and I think the fans think this way too. therefore, something as unserious as 'go for it!', I think, is wrong.
-- so in writing and singing songs like these, I suppose it's reflected very strongly in your productions... I await the finishing of your album.
thank you very much. I'll work hard!
URUHA
absorbed in the midst of recording all the up to just before this interview, we have uruha with us. the members are all in the midst of a really good production, and are counting down to the new album in progress, [DIM]. the response to the finish of this album, is clearly heard from the words of uruha. for the recording this time round, he clearly tries many different sounds from what he has previously produced, and he has been able to go one level up from before.
-- today too, you've come rushing down all the way to the studio... you've spent a lot of time recording your compositions.
yes. today, the production has been even smoother... nahh it hasn't (laughs).
-- I'm really sorry to have an interview in the midst of your work.
oh no no it's okay. I think it's great to be able to finish work by 6pm, actually. if I work beyond 6pm then... when we're arranging, I do it with aoi-san, and we'd be working until past midnight or so. today we'll cross the midnight mark too I suppose.
-- by the way, what sort of feel does the song you did today have?
uhhhh... the song I did today, has an atmosphere so depressing, it's shocking (laughs). I don't know why, but today I can't seem to bring my tension up...(laughs)
-- you often have songs with depressing atmospheres, isn't it...(laughs). you seem to have a lot of ideas about fairly melancholic songs.
yes. indeed, that's the sort of feeling. the more good takes I record, the more my mood darkens, sort of feeling (laughs). it's a good thing. because I aim for that 'weird sound' to come out of the guitars. the dark mood for the song is kept up from the start, and I compose with even more of that feeling. that's why I produce the most 'weird sound' from within myself, more than just a pretty sound... I can't seem to get myself into a good mood, isn't it (laughs).
-- but isn't that exactly what the image of the title [DIM] is supposed to be? the guitars add on to the dark atmosphere.
ah, that's right. more importantly than just making it easy listening, I composed with the feeling of wanting to give an impact. it seems that the band wants to have that feeling and move in the same direction... till now, I haven't thought about this while doing the album. composing, that is. I can feel it myself, from the fact that I've been a little disconnected from whatever I've been doing till now.
-- so is this new album going to project the slightly different direction the GazettE has been groping about for till today?
actually I think that this album doesn't have anything that has changed completely... to me, it's the production of the songs we're using for the album. the direction we've taken in doing that has completely changed. up till now, uhhh... we've been saying very normal things like we're aiming to get a good sound, an intense sound, etc. of course I'm not saying that 'there's nobody out there who can produce a sound better than us!', and I'm not saying that we've thrown out our usual way of production either... but while we still pursue the same things without forgetting the past, because if we don't continue to do 'the things that have changed' on the same level, things can't continue to be exciting. if the listeners can feel the excitement in this same manner it'll be fantastic.
-- these 'exciting things', it was a slightly different feeling to it in previous works?
completely different. it's a different level from when we did [STACKED RUBBISH]... somehow I seem to be saying this in terms that are too big. for myself, and even for the rest of the GazettE, the experience we had till then was certainly less than what we have now. so upon reflection, we have regrets like 'we could have done more...', and personally I had quite a bit of that. but that's not the end, and I don't want to fall again... so now I feel that I must wake up after that previous experience, and to do well the next time, and there are many things I have done for the album this time round to level up too.
-- so from today onwards, you will continue to work on an album that's produced for this very reason... if you are able to do something well, then that's good, isn't it! do you find that after you enter the studio, you'd be like today, spending long hours buried in your work?
it'll be like that after we start recording... but the part before that. I think if you compare, there are a lot more mundane things we need to do. during that period, I would be stuck in front of the computer... and I'll make sure that my brain remains alert as much as possible, and repeating the data over and over again. basically just doing nothing else but that. while drinking alcohol.
-- is your assistant during composition alcohol (laughs)? so you'd compose a phrase, and then input this at intervals... so if you keep doing this, the song will slowly take shape.
yes. during that time, I'd say things like, "ahh, this is probably pretty good...", and I'd suddenly have inspiration etc. then...if I'm sleepy then I'll naturally go sleep (laughs).
-- aoi has also said before that he gets ideas for songs very suddenly and randomly a lot too. in the toilet brushing his teeth, etc (laughs).
(laughs) ahhh~~ me too, if you compare the two of us. at night it doesn't happen so often since I can't make too much noise at night, but melodies keep flowing during the day, and no matter what I'm doing, composing is more often on my mind than anything else. somehow...when I'm stuck thinking, "somehow or another I've got to make this happen...!", absolutely noooooooothing comes out (laughs). even when something does come out, it's terrible. the phrase itself is. after listening to it, I'd feel, "ah, don't push yourself so hard...".
-- there are many things you can express through music, isn't it. the environment you're in at that point in time, the feelings you have when composing the song. so that means the songs don't encompass any lies, right?
that's right. for me, the more I have such feelings, the more my phrases somehow become dynamic. it'll be like "ah, let's go with this?!", and I'll become decisive. there would be some interesting developments, and more expansion of ideas... however, if I'm feeling uptight, somehow very limited ideas will come out of me (laughs)
-- it's terrible to have very few ideas coming out, isn't it, especially for a rock band (laughs). but you are praying that the songs you're working on now are even more dynamic, even more intense.
but there isn't much time...(laughs). but in order to produce even better works, I will work hard!
-- ah, speaking of which... aoi used the word 'aggressive' with regards to the guitar playing this time round (laughs). on one hand he said 'aggressive', on the other hand, you used 'weird', so I'm wondering what sort of sound is it altogether...
(laughs) somehow, it's some amazing sound going on. it's like 'let's turn this [weird] sound into one of the phrases too!' sort of thing. there's the use of the fuzzbox, and that was something that I hated a lot when I first started on the guitar. now I use it to try out how to make it sound cool.
-- it seems that the guitars this time round are pretty intense. I wish you much fun in completing the album.
yes! even in using something I hated so much until now... maa I suppose I still like to have excitement after all (laughs).
AOI
taking charge of one wing of the GazettE's special guitar sound is aoi. while he is in the process of producing [DIM], we will be able to understand his fundamental viewpoint of the songs in this interview. being unaffected by others, and believing purely in what he's able to do, is his style. he keeps his private life a secret, and a place where he is free to be himself is something that is important to him.
-- did you manage to get some rest during this year's golden week? it seems like ruki enjoyed himself in hawaii, so what about you?
I went to the instrument shop to look for some equipment to use during recordings. then I went home...uhh yeah (forced laughter).
-- even so, I think that was a great way of spending your important rest time (laughs). it's a comfortable way, I feel. even though you have rest time, you still think a lot about your music?
well it's like that when we're in the midst of production, but I'm not always like that. but even having said that, it doesn't mean that I'm doing anything either...(laughs). basically I don't go out.
-- so that's to say you're the indoor type.
ah, yes. I stay mostly indoors. I don't go and buy essential items either.
-- but if you don't buy essential items then it's going to be hard to live (laughs). like if you don't have toilet paper or something like that.
when that happens, I call my manager (laughs). like when a lightbulb blows.
-- the GazettE has really nice staff around, isn't it (laughs).
that's right. and they help us (laughs).
-- and you just talk about everyday things like household items... (laughs). I suppose you don't get asked this sort of thing much, but I would like to hear about your private life besides music. so, how do you usually spend most of your time at home?
most of the time... I'd be playing my guitar, listening to music on my computer, looking at data related to us. after doing all that, it's the end of the day. music always just plays in the background, no matter what I'm doing.
-- so what sort of music do you keep running in the background?
I keep it running on shuffle mode, and there's really many types of music. there's jazz, there's hard rock playing too... when I'm cleaning up my room, it'll just play various genres.
-- I think there would be fans who would think it unexpected that someone who produces music like what the GazettE produces would listen to something like jazz. so your listening choice isn't necessarily rock?
that's right. how to put it...I don't want to be affected by anything. I don't like being affected without knowing it's affecting me. when we're composing songs, when we least expect it, it happens and then I get a shock.
-- something like 'oh my this phrase kinda sounds like something this other band would compose', isn't it. to an artiste, sounding similar to other works is most certainly...
awful. that's why I don't really want to listen. I don't want to hear bands whose music are the same genre as ours. that's why somehow after listening to some music, I'd feel like trying that out, but I don't want it to be the same... when I'm composing, I'd play my guitar and reach for something good to come out of my playing. that's in my case. that means that in the end, the easiest way for me to come up with a song is for me to play as I like in my own style. thus, when I can come up with a phrase for the guitar, like for example, somebody in the band composed something and this fits in exactly with that song, then I wouldn't touch my guitar so much. I don't want my bad habit to come out. so when I'm resting a little... like when I'm brushing my teeth, or soaking in the bath or cleaning my place, there would be many things suddenly floating in my brain.
-- ehhhh~ all of a sudden.
well of course at those times, the song I'm currently composing would start playing in my head. and when that happens, I would be humming my own special melody in my head. so I make that melody happen with my guitar, and I think that's the easiest way to do it.
-- it sounds like you've synchronised the rhythm of your teeth brushing with the melody and a phrase comes out (laughs).
yes (laughs). in the toilet, or in the bath, it's really easy for the ideas to come out. having a little distance from the speaker that plays music, and the volume is just right. so as I listen and the ideas float, my own melody becomes the main melody. maa, it's not a scene that everyone can picture, isn't it (laughs).
-- I'm really interested in how the intense sound of the GazettE is born out of this scene of such a normal lifestyle. well to put it nicely, when you're relaxed, the chances of composing a song that's completely your style is the highest, I suppose.
yep. that's all there is to it, for me. somehow when I feel that I'm stuck in a rut, the next day I'll just erase all the data in my computer.
-- so for the new album, did the ideas come a lot from such circumstances?
quite a bit. when I'm composing the basic parts of the song, it's faster when I have my guitar with me. however, if I want to insert something of my own style, it's better that I don't touch the guitar. the songs I composed this time round doesn't have that 'alllll right, COMPOSE!' kind of feel inside them, but there's more of a feel that the melodies come flowing out from inside my own head. after that, basically the one who holds the intiative of whatever the GazettE eventually produces is the main composer himself. the image that the main composer holds should be held in high regard. for example, even if in the middle of recording, the main composer suddenly wants to do something else, we have to follow his direction. even when we have our own opinions. thus many times, we end up in situations where we are asked of a lot of different things, but it's interesting. it's fun, but sometimes it's tough and we can't really complain about it.
-- so, at this point in production, you'll continue working while you're still not too overstretched yet?
we're quite stretched actually, but yes.
-- I'm so very sorry to have troubled you with an interview at this time...
oh no no no. it's nothing tiring!
-- ohhhh. thank you for such supporting words.
but you know, I am kinda tired... (laughs)
-- (laughs) do continue to work hard! in the next issue, I'll be interviewing you about the album again at a deeper level... after comparing the previous work [STACKED RUBBISH] to [DIM], what are your impressions right now?
for me, I think of them as completely different things. the sound, everything. at that time, I was really passionate about it and said many things about the album, but even so, that was stuff I said like 2 years ago. so now...oh man that was bad (laughs).
-- you're wondering what would happen if you were even more excited back then, isn't it. but I think that the fans' awaiting pushes the excitement up, and they're basically just waiting for the album to even just finish.
yes. in any case, if you want to talk about just the guitars alone... they're very aggressive (laughs). up till now they've been way too normal, I feel, and now I think they've become a lot more aggressive. I've always talked about 'the sound that the GazettE would probably produce', but this is different. this is 'THE sound of US', and I had loads of fun with it.
REITA
this time's interview is scheduled smack in the midst of producing their new album, [DIM]. in the midst of all this intense recordings, reita himself is also buried in his bass playing. so in all that, we talk about the music world of [DIM], the bass playing that results from this album, and... "a man's type of romance (laughs)", plus his own fresh ideas. also, we hear of how he's doing both musically, and privately.
-- the interview this time is going to be about the time from the rest you had earlier in the first half of the year to the album you are presently producting.
I see. the break... you talked about ruki-san going to hawaii, I suppose? I went to yamanashi. maa....but it doesn't mean that I did anything there (laughs).
-- (laughs) since the GazettE is always busy with something, you'd certainly need time to just relax and do nothing, isn't it.
isn't it so (laughs). and there happened to be a break available during recording. after recording the bass for 4 songs, I rested before the next 4 songs were to be recorded... because I was always in the studio, this break was refreshing. but even though I was relaxing, I was still not entirely relaxed because we hadn't finished recording. it'll be great if we could all 'get into a hot spring!' after we're done recording.
-- it's so nice to relax in a hot spring~ so you're going to do that when you have a break. going somewhere far far away?
ah, no! I don't really fancy going out too much (laughs).
-- (laughs) ehhh?! really?
it's true (laughs). but I've always just wanted to go to a hot spring. so I've actually never really ventured out very far... the past 3 days before this I had a break, and I was fiddling with my motorbike. everyday I'd go to the parts shop, choose the parts, and I tried to install the parts myself as much as possible... I injured my finger a little too (laughs).
-- that's dangerous! fingers are a player's life, so do be careful...
yes I'm very sorry...(laughs)
-- so you prefer motorbikes? instead of cars, that is.
oh no, I use them both. I like vehicles. I use whichever depending on my mood. in the middle of the night my mood isn't too high, so I'd think of going for a spin. going for a spin on my custom made bike all by myself is really the best.
-- so with regards to this custom making thing, is there something that you are really hung up about?
there is! I'm very obsessed with my form when riding. for example, when I'm riding my bike, I'd see myself in the glass of the parts shop and places like that, right? so after seeing my reflection, I'd think stuff like "it'll be better if the handles were a little higher isn't it..." (laughs)
-- then you'd adjust the handles' height by that wee bit (laughs). that's a real teeny fixation~
for people who don't share the same interest, they'd probably say things like "what's so fun about that?" (laughs) but I think it's fun. so if you have 2 bikes, they can be made in two different extremes. so one would have low handles, the other would have high handles, and then you have the right kind of person to ride them... you could do that with a car too, but then there would be no end to the fixations one would have if it's a car, isn't it. that's what I call a man's type of romance...(laughs)
-- (laughs) so for instance, when there's a break in recording sessions, you'd go for a spin?
I did go for a spin after I came back from holiday. well I can't possible just say, "I'm going out for a little while" in the middle of recording, can I (laughs). so I plan to go after I'm done with work.
-- so were you able to do recordings feeling good after your refreshing holiday?
hmmm. well this time it seems that it's been pretty smooth. only the first few days took up a lot of time. even though it was just the beginning of sound production, we got into the studio at about 1pm or so... and by the time we decided on the exact sound we wanted, it was around half past midnight or so.
-- ehhhh....!? and that's the part just before the actual recording, right?
yes. we took like 12 hours just to get the sound we wanted, how terrible (laughs). although it was pretty unsettling, having this feeling of 'so is it ever going to finish...', but the later part went on smoothly, so that was a relief.
-- that's fantastic, isn't it... but in order to get that perfect sound, you really have to be very particular about everything.
well there's that sound that I want to produce, and there's that feeling of needing to step up on the quality of the album. we have to make it even better than the previous album. if we don't do that, we're going to be treated with contempt.
-- okay so for you, when you compare the previous album to [DIM], what impressions do you have of this exact phase of album production?
compared to [STACKED RUBBISH], the parts where the breadth is really wide is wider... so what's that supposed to mean, right? we are more riled up at places where we ought to be, more than the previous album, and our persuasion power has increased. as in the persuasion power of each song. so... it's waaaaaaay thicker than before, I think (laughs).
-- but I think that [STACKED RUBBISH] was pretty thick too... so this time it's increased even more.
well of course, at that time there were things at that time that we were able to produce which we couldn't produce previously. but then if we can't produce something even better than that, then there's no meaning to have a band anymore, isn't it. this is what can be called 'growing and developing', I suppose.
-- so that means with regards to the atmosphere of the compositions, there's going to be things that were never done previously?
so I think. how to put it..... they give off a "feeling of someone making a speech"?
-- ahhhh.... I kinda feel it in the recent singles like [DISTRESS AND COMA]. the sort of song that uses its dynamics and mid-tempo to deliberately make the listener lose himself in the song.
that's right. it's as if your cells get infected one by one (laughs). so this time... you could listen to it again and again. the more you listen, you would find that more and more songs have many many things to tell you, as compared to your first listen. of course, there's always an impact when you listen to it, but somehow you never seem to get enough of it. the impact is kinda long drawn, I think.
-- well the impact intends to leave a long and deep impression, isn't it... so there seems to be a response when you listen. so with the increase of such songs, do you think something new is reflected in the way you play?
ahh... it's hard to play, this sort of more leisurely paced song that slowly sucks you into its world. each and every sound needs to stand out on its own. to explain it in further detail, the way to play the beat in between each note has become more difficult.
-- I see. for a slow or mid-tempo sort of song, that 'rest' in the song that sets it apart from fast songs that impact people via its speed, is very important, isn't it.
that's absolutely right. there's that annoying feeling of 'rest' that makes it not go fast enough. previously, we'd try to minimise this, and basically we agreed on making our sound lively. but then by doing that, somehow it makes our sound shallow... so now, there are many things that we're haven't sorted out with these daring sounds.
-- so that makes it really 'deep'. the album this time opens up the way for many new things, doesn't it.
yes. so after challenging all these things, the study of it is really interesting!
KAI
the drummer who forms the foundation of the GazettE's sound is kai. in order that the band's backbone is firm, it is very important that first the rhythm team sets itself straight. for kai who has been overseeing the production of [DIM], he feels an unsettling sort of pressure... so in order to get rid of this, he works hard at production, and challenges himself with the other members to produce new works.
-- even though everyone's still immersed in work, but I heard that just a while ago you had time to rest properly. so while we talk about that, I would also like to ask about the present situation of [DIM]'s production.
.................................(thinks for a long long time) I didn't feel that there was any rest time actually...
-- ehh!? but that's how we started everyone's interviews today...
(laughs) if I remember correctly, there was no break! because, well... this time we split the recording into 2 parts. we split it into every 4 songs to record, and we started the initial recording in the middle of april. after that, it was golden week and then we had to continue the next part of recordings soon after that... in order to make sure that everything went as planned, I stayed in the studio.
-- so you stayed in the studio the whole time through production?
rather...there was a little break during golden week, then after that there were 3-4 days of rest, then recording began again, then I think I did relax. then because we had to start recording again at the end of golden week, I couldn't really relax. I did my own personal practice without being able to contact any of the other members or the staff, and oh well... it was tiring (laughs)
-- it must have been a tough time... so in the end all the members got together and during this period of production all of you continued working even though you were all feeling pretty stretched.
that seems to have been the case. no matter what we are doing, our heads are almost always thinking about this. even when I take a breather, I'd force myself to finish everything at one shot, and so I can't actually really take a breather. and then of course... I can't help but feel unsettled. like what should I do if I'm not good enough, or what to do if I'm completely worn out... and then because the other members' compositions are on hold until later, I can't just continue mine. just because I have time. so since I dislike that, I just throw golden week away and go practice instead... I don't want to have to say something like, "I'm sorry, I can't play anymore..." after the break is over (laughs). I'm super insecure about that.
-- the drums are the first thing that need to be settled in a composition, isn't it. so you have a huge responsibility from the start to prevent any delays in the production.
everyone has that responsibility, isn't it. I think that everyone has the feeling of "I have to do it properly (with regards to time)!" when recording. of course, because I'm the drummer, I do have to form the foundation at the very beginning.
-- I heard that the rhythm team have come to a consensus with regards to the recording, but what sort of impressions do you have of the album's completion at this stage?
we haven't done the sound yet, and so we can't really tell the whole balance of the album as yet. we've split the recording into 2 sessions, and we've completed the songs for the first half already. well we've got a rough mix now, so after listening to that... we all intend to make something better out of it, something to make the song sound tighter, or we just pushed the song back to its original form. previously we would think, "since it's turned out like that, then we'll leave it like that!". even though I don't know if we thought like that for every song or not. so... somehow I'm looking to produce an album that feels 'greedy'.
-- so you've used the word 'greedy' to sum up all the things in the album. reita used the word 'thick' to describe the content of the album.
hmmm. well of course we've presented new things in this album, but looking back from the start, we've also managed to include the good stuff we produced in the past too. to put it nicely, the album we're doing now has this idea of being 'greedy' [in that it encompasses everything].
-- so this 'greedy album' has presented 'the good parts of the GazettE'... so what do you perceive as the band's distinctive characteristic?
ahhhh.... how do I answer this...
-- the band has a loud and heavy image, and you have songs that pride themselves on their melodies. so I think the GazettE has many facets to it.
the point in time when 5 of us agree together is when I think that 'this is very the GazettE'... but I don't really want to give a personal opinion that's biased. for instance, what we talked about today regarding loud bands; it's true that the band does seem to have a very strong loud image, but it doesn't mean that it is 'something very the GazettE'. having said so... we have some songs that are have very clear and clean sounds, isn't it. but then we can't say that this is 'something very the Gazette' either. so our songs could be like this, or could be like that..., and we know it's good, and knowing that it's good makes all the songs that we produce together as one become songs that are 'very the GazettE'.
-- so you aim towards songs that all 5 of you would think together, "let's do this!".
that's right. just one taste in sound doesn't make something 'very the GazettE'. if just one person thinks, "oh what about this song...?" we won't do it. so even though the members do disagree when we're writing songs, but because we all just want to make better songs, we don't end up fighting and brawling. in the end, we will only move on when we reach a consensus. if even just one person doesn't agree, we will continue to work until we can reach that agreement, and keep writing new songs.
-- so that's the unity of the members? the unanimous feelings of the members probably make up the 'very the GazettE' sound, isn't it.
yep. the members make this their everything. the band can't go on if we are all scattered and do things the way each of us wants to.
-- it'll be fantastic to finish up the remaining work in such a good way, isn't it. lastly, I would like to ask you something I've also asked the other members... when you feel like taking a break from composing or recording, what would you do?
hmmm... I like mahjong. I'd go to the gaming centre. they have LAN mahjong available there. so I'll be playing with people playing in hyogo's gaming centres, people playing in fukuyama's gaming centres sort of thing... everyone across the country playing via the LAN, it's really fun.
-- so it's like playing mahjong online then. the moment you said mahjong, in that instant I thought of a mahjong club (laughs).
oh previously I used to go to such places. now... I don't go to such an extent anymore (laughs).
many thanks to rawkstarr23 as usual for the lovely scans that make translating possible.
so here's to ruki's true feelings and tiring holiday in hawaii, to uruha's alcoholic music composing buddy, to aoi's neverending cheekiness and inspiration from jazz music, to reita's romance with his motorbike and his own reflection in the mirror and to kai's perpetual worry-freak workaholic mahjong playing self!
the GazettE
it's been about 2 years since the last full album
the GazettE has inevitably decided on the release of their new album, [DIM].
the growing, changing, evolving experienced in these 2 years...
all the deep and firmed up compositions of the members as they are now, are surely all put into this new album, [DIM].
today we ask the members about the production of the album.
from the perspective of each member's personal view and take in each personal interview,
we are honoured to be able to have a feel of the album before its release.
RUKI
also featured in previous issues, today we have ruki who talks about the 'dim' image the new album has. to put this feeling across, he has entitled the new album with the word 'DIM', and he talks to us again about the various worldviews that connect the album tracks in the GazettE's lyrics. if this reality according to yourself, then it would be alright to write about pain. engraved in the songs in [DIM] includes ruki's 'proof of existence'.
-- even though it's only been about 2 months since neo genesis last interviewed you, but I heard that you went on a little holiday even in that short period. you went on a holiday to hawaii during the golden week.
yes. if I remain in japan, then there will always be work, and so I went for a normal holiday in hawaii. I've never rested when I'm here... so at this point, whenever I can rest, I would want to rest, and I went for a holiday in accordance to the company's policies on employee leave okay (laughs).
-- this year, you continued working and moving around even during the new year holiday... it's been hard on you, hasn't it.
I think, this year we've had more holidays than just the golden week period. so we're in this situation where we're unable to waste even a single day (laughs).
-- so, hawaii is a place where you can take a breather and do nothing else.
..............(hesitation) not really....
-- ehhh??!
(laughs) well yes I could take a breather but... the constant walking and going into the sea seemed to make me more tired than anything else (laughs). and then in that tired state, I came back to japan and continued with production work. so I continued with jetlag, and I caught a cold too... I kinda felt funny when I was in hawaii already actually, but when I came back to japan, the difference in weather made it worse and I came down with a fever.
-- gosh that must have been pretty disastrous for a holiday... but has your body re-conditioned itself back already?
oh I'm perfectly fine now. that's why even after coming back to japan, I didn't do any recordings or anything like that... I wrote lyrics while having my cold, and did some little compositions and stuff like that.
-- with regards to the album, you've talked about titling it [DIM] before, right?
yes. the reason being... well I've thought of several. firstly. when I was thinking about what sort of colour would represent the album, somehow I had this sort of dim image in my mind. then when I thought about what colour is not entirely pitch black, I thought of the word [DIM]. so if you want an illustration... more than a pitch dark abyss of despair, it's more like being 'at the edge of a cliff'. being on the edge. like being on top of a building, above the bottom of hell (laughs). so this image of being 'at the edge' is the image for the entire album.
-- it's like if you just move one step, you're finished, sort of feeling. regarding the illustration, somehow... life and death, seems to be something that's on the edge too.
that sort of feeling is also inside the lyrics. I always want to write something that talks about 'something on the edge', isn't it. 'death' is something you become conscious of at some point. but if you put all about death together in one, it'll become some really cheap noise of sorts... so this time, I think we've managed to express this same feeling in a more pronounced manner in this album.
-- till now, I think all the various worldviews are presented in your words. so there's this thrilling feeling in every one of these songs, a similarity they share...
yup, that's right. there's something that attracts me to it. something that pulls me in even more than feelings of blissfulness. for example... things that make me question it etc.
-- yes I've heard about such questions, and also the idea about 'death' that you talked about earlier... the ruki who writes about the dark side of the world can be heard in earlier works. these days, on the contrary.... for example, I think there are more people who continue to face the future bravely despite the pain they go through, and they write about such positive things.
ahhh.... this is a difference of perspectives, I think. if I were told 'go for it', then I doubt I would have any feelings for that song. the 'press on' that the person said is obviously different from the 'go for it' that I tell myself, so I doubt I can feel the same as the person. so this is the same case, that when I say anything about 'going for it', our fans won't draw any direct links with themselves. so... I'd just live day to day like that, and write my feelings down, and it's good when I think of something like 'ah, that's something I can understand...'.
-- I see. so you don't write about things that give you a nice and easy feeling, but you'd write only about things you have real feelings for.
that's right. it feels like I write in places where I'm the only human around, doesn't it. but in such a place, I'd have a lot of feelings about stuff, like what I said earlier, questions about various things... there aren't only good things in the world. on the contrary, if you asked me, it's only full of bad things. there's certainly much dissatisfaction in living in such a world... I seem to write about things that prove that 'I am like this', isn't it. as if I carve this on myself in order not to forget it.
-- so even if it's something negative, as long as it's something you feel about in reality...
yep. I'll write about it honestly.
-- I see. so is it good if there's something that each of the listeners can connect to their feelings or their environment? I'm not referring to cheap sympathy.
hmmm. when we released DISTRESS AND COMA, there was also a song called WITHOUT A TRACE included, and this song is about this. it's like about the relationship between myself and the fans. among the fans, there are people who passed away. so in that moment when I thought how I could save these people... even though there are people who have been saved by music, but there must be many who aren't saved by music too. the negative things that affected those who were unsaved, music wasn't able to save them, wasn't it? we can't help but talk just about the things in life that ail people... but in actuality, the news doesn't tell you what affects people everyday, isn't it. therefore...if you ask me which side I'm on, I'm more of the 'practical type'.
-- the practical world has many things that weigh heavily on it... so you see many things in this world, but if you share the same feelings, these feelings can save you.
yes. I really think that way. but whether this happens depends on your level of empathy and response, so I think it's unclear whether anything weighs heavily on you. it's like 'I'm not the only one who gets crap'. instead, I think 'there's probably someone in a worse state than me...', and I think the fans think this way too. therefore, something as unserious as 'go for it!', I think, is wrong.
-- so in writing and singing songs like these, I suppose it's reflected very strongly in your productions... I await the finishing of your album.
thank you very much. I'll work hard!
URUHA
absorbed in the midst of recording all the up to just before this interview, we have uruha with us. the members are all in the midst of a really good production, and are counting down to the new album in progress, [DIM]. the response to the finish of this album, is clearly heard from the words of uruha. for the recording this time round, he clearly tries many different sounds from what he has previously produced, and he has been able to go one level up from before.
-- today too, you've come rushing down all the way to the studio... you've spent a lot of time recording your compositions.
yes. today, the production has been even smoother... nahh it hasn't (laughs).
-- I'm really sorry to have an interview in the midst of your work.
oh no no it's okay. I think it's great to be able to finish work by 6pm, actually. if I work beyond 6pm then... when we're arranging, I do it with aoi-san, and we'd be working until past midnight or so. today we'll cross the midnight mark too I suppose.
-- by the way, what sort of feel does the song you did today have?
uhhhh... the song I did today, has an atmosphere so depressing, it's shocking (laughs). I don't know why, but today I can't seem to bring my tension up...(laughs)
-- you often have songs with depressing atmospheres, isn't it...(laughs). you seem to have a lot of ideas about fairly melancholic songs.
yes. indeed, that's the sort of feeling. the more good takes I record, the more my mood darkens, sort of feeling (laughs). it's a good thing. because I aim for that 'weird sound' to come out of the guitars. the dark mood for the song is kept up from the start, and I compose with even more of that feeling. that's why I produce the most 'weird sound' from within myself, more than just a pretty sound... I can't seem to get myself into a good mood, isn't it (laughs).
-- but isn't that exactly what the image of the title [DIM] is supposed to be? the guitars add on to the dark atmosphere.
ah, that's right. more importantly than just making it easy listening, I composed with the feeling of wanting to give an impact. it seems that the band wants to have that feeling and move in the same direction... till now, I haven't thought about this while doing the album. composing, that is. I can feel it myself, from the fact that I've been a little disconnected from whatever I've been doing till now.
-- so is this new album going to project the slightly different direction the GazettE has been groping about for till today?
actually I think that this album doesn't have anything that has changed completely... to me, it's the production of the songs we're using for the album. the direction we've taken in doing that has completely changed. up till now, uhhh... we've been saying very normal things like we're aiming to get a good sound, an intense sound, etc. of course I'm not saying that 'there's nobody out there who can produce a sound better than us!', and I'm not saying that we've thrown out our usual way of production either... but while we still pursue the same things without forgetting the past, because if we don't continue to do 'the things that have changed' on the same level, things can't continue to be exciting. if the listeners can feel the excitement in this same manner it'll be fantastic.
-- these 'exciting things', it was a slightly different feeling to it in previous works?
completely different. it's a different level from when we did [STACKED RUBBISH]... somehow I seem to be saying this in terms that are too big. for myself, and even for the rest of the GazettE, the experience we had till then was certainly less than what we have now. so upon reflection, we have regrets like 'we could have done more...', and personally I had quite a bit of that. but that's not the end, and I don't want to fall again... so now I feel that I must wake up after that previous experience, and to do well the next time, and there are many things I have done for the album this time round to level up too.
-- so from today onwards, you will continue to work on an album that's produced for this very reason... if you are able to do something well, then that's good, isn't it! do you find that after you enter the studio, you'd be like today, spending long hours buried in your work?
it'll be like that after we start recording... but the part before that. I think if you compare, there are a lot more mundane things we need to do. during that period, I would be stuck in front of the computer... and I'll make sure that my brain remains alert as much as possible, and repeating the data over and over again. basically just doing nothing else but that. while drinking alcohol.
-- is your assistant during composition alcohol (laughs)? so you'd compose a phrase, and then input this at intervals... so if you keep doing this, the song will slowly take shape.
yes. during that time, I'd say things like, "ahh, this is probably pretty good...", and I'd suddenly have inspiration etc. then...if I'm sleepy then I'll naturally go sleep (laughs).
-- aoi has also said before that he gets ideas for songs very suddenly and randomly a lot too. in the toilet brushing his teeth, etc (laughs).
(laughs) ahhh~~ me too, if you compare the two of us. at night it doesn't happen so often since I can't make too much noise at night, but melodies keep flowing during the day, and no matter what I'm doing, composing is more often on my mind than anything else. somehow...when I'm stuck thinking, "somehow or another I've got to make this happen...!", absolutely noooooooothing comes out (laughs). even when something does come out, it's terrible. the phrase itself is. after listening to it, I'd feel, "ah, don't push yourself so hard...".
-- there are many things you can express through music, isn't it. the environment you're in at that point in time, the feelings you have when composing the song. so that means the songs don't encompass any lies, right?
that's right. for me, the more I have such feelings, the more my phrases somehow become dynamic. it'll be like "ah, let's go with this?!", and I'll become decisive. there would be some interesting developments, and more expansion of ideas... however, if I'm feeling uptight, somehow very limited ideas will come out of me (laughs)
-- it's terrible to have very few ideas coming out, isn't it, especially for a rock band (laughs). but you are praying that the songs you're working on now are even more dynamic, even more intense.
but there isn't much time...(laughs). but in order to produce even better works, I will work hard!
-- ah, speaking of which... aoi used the word 'aggressive' with regards to the guitar playing this time round (laughs). on one hand he said 'aggressive', on the other hand, you used 'weird', so I'm wondering what sort of sound is it altogether...
(laughs) somehow, it's some amazing sound going on. it's like 'let's turn this [weird] sound into one of the phrases too!' sort of thing. there's the use of the fuzzbox, and that was something that I hated a lot when I first started on the guitar. now I use it to try out how to make it sound cool.
-- it seems that the guitars this time round are pretty intense. I wish you much fun in completing the album.
yes! even in using something I hated so much until now... maa I suppose I still like to have excitement after all (laughs).
AOI
taking charge of one wing of the GazettE's special guitar sound is aoi. while he is in the process of producing [DIM], we will be able to understand his fundamental viewpoint of the songs in this interview. being unaffected by others, and believing purely in what he's able to do, is his style. he keeps his private life a secret, and a place where he is free to be himself is something that is important to him.
-- did you manage to get some rest during this year's golden week? it seems like ruki enjoyed himself in hawaii, so what about you?
I went to the instrument shop to look for some equipment to use during recordings. then I went home...uhh yeah (forced laughter).
-- even so, I think that was a great way of spending your important rest time (laughs). it's a comfortable way, I feel. even though you have rest time, you still think a lot about your music?
well it's like that when we're in the midst of production, but I'm not always like that. but even having said that, it doesn't mean that I'm doing anything either...(laughs). basically I don't go out.
-- so that's to say you're the indoor type.
ah, yes. I stay mostly indoors. I don't go and buy essential items either.
-- but if you don't buy essential items then it's going to be hard to live (laughs). like if you don't have toilet paper or something like that.
when that happens, I call my manager (laughs). like when a lightbulb blows.
-- the GazettE has really nice staff around, isn't it (laughs).
that's right. and they help us (laughs).
-- and you just talk about everyday things like household items... (laughs). I suppose you don't get asked this sort of thing much, but I would like to hear about your private life besides music. so, how do you usually spend most of your time at home?
most of the time... I'd be playing my guitar, listening to music on my computer, looking at data related to us. after doing all that, it's the end of the day. music always just plays in the background, no matter what I'm doing.
-- so what sort of music do you keep running in the background?
I keep it running on shuffle mode, and there's really many types of music. there's jazz, there's hard rock playing too... when I'm cleaning up my room, it'll just play various genres.
-- I think there would be fans who would think it unexpected that someone who produces music like what the GazettE produces would listen to something like jazz. so your listening choice isn't necessarily rock?
that's right. how to put it...I don't want to be affected by anything. I don't like being affected without knowing it's affecting me. when we're composing songs, when we least expect it, it happens and then I get a shock.
-- something like 'oh my this phrase kinda sounds like something this other band would compose', isn't it. to an artiste, sounding similar to other works is most certainly...
awful. that's why I don't really want to listen. I don't want to hear bands whose music are the same genre as ours. that's why somehow after listening to some music, I'd feel like trying that out, but I don't want it to be the same... when I'm composing, I'd play my guitar and reach for something good to come out of my playing. that's in my case. that means that in the end, the easiest way for me to come up with a song is for me to play as I like in my own style. thus, when I can come up with a phrase for the guitar, like for example, somebody in the band composed something and this fits in exactly with that song, then I wouldn't touch my guitar so much. I don't want my bad habit to come out. so when I'm resting a little... like when I'm brushing my teeth, or soaking in the bath or cleaning my place, there would be many things suddenly floating in my brain.
-- ehhhh~ all of a sudden.
well of course at those times, the song I'm currently composing would start playing in my head. and when that happens, I would be humming my own special melody in my head. so I make that melody happen with my guitar, and I think that's the easiest way to do it.
-- it sounds like you've synchronised the rhythm of your teeth brushing with the melody and a phrase comes out (laughs).
yes (laughs). in the toilet, or in the bath, it's really easy for the ideas to come out. having a little distance from the speaker that plays music, and the volume is just right. so as I listen and the ideas float, my own melody becomes the main melody. maa, it's not a scene that everyone can picture, isn't it (laughs).
-- I'm really interested in how the intense sound of the GazettE is born out of this scene of such a normal lifestyle. well to put it nicely, when you're relaxed, the chances of composing a song that's completely your style is the highest, I suppose.
yep. that's all there is to it, for me. somehow when I feel that I'm stuck in a rut, the next day I'll just erase all the data in my computer.
-- so for the new album, did the ideas come a lot from such circumstances?
quite a bit. when I'm composing the basic parts of the song, it's faster when I have my guitar with me. however, if I want to insert something of my own style, it's better that I don't touch the guitar. the songs I composed this time round doesn't have that 'alllll right, COMPOSE!' kind of feel inside them, but there's more of a feel that the melodies come flowing out from inside my own head. after that, basically the one who holds the intiative of whatever the GazettE eventually produces is the main composer himself. the image that the main composer holds should be held in high regard. for example, even if in the middle of recording, the main composer suddenly wants to do something else, we have to follow his direction. even when we have our own opinions. thus many times, we end up in situations where we are asked of a lot of different things, but it's interesting. it's fun, but sometimes it's tough and we can't really complain about it.
-- so, at this point in production, you'll continue working while you're still not too overstretched yet?
we're quite stretched actually, but yes.
-- I'm so very sorry to have troubled you with an interview at this time...
oh no no no. it's nothing tiring!
-- ohhhh. thank you for such supporting words.
but you know, I am kinda tired... (laughs)
-- (laughs) do continue to work hard! in the next issue, I'll be interviewing you about the album again at a deeper level... after comparing the previous work [STACKED RUBBISH] to [DIM], what are your impressions right now?
for me, I think of them as completely different things. the sound, everything. at that time, I was really passionate about it and said many things about the album, but even so, that was stuff I said like 2 years ago. so now...oh man that was bad (laughs).
-- you're wondering what would happen if you were even more excited back then, isn't it. but I think that the fans' awaiting pushes the excitement up, and they're basically just waiting for the album to even just finish.
yes. in any case, if you want to talk about just the guitars alone... they're very aggressive (laughs). up till now they've been way too normal, I feel, and now I think they've become a lot more aggressive. I've always talked about 'the sound that the GazettE would probably produce', but this is different. this is 'THE sound of US', and I had loads of fun with it.
REITA
this time's interview is scheduled smack in the midst of producing their new album, [DIM]. in the midst of all this intense recordings, reita himself is also buried in his bass playing. so in all that, we talk about the music world of [DIM], the bass playing that results from this album, and... "a man's type of romance (laughs)", plus his own fresh ideas. also, we hear of how he's doing both musically, and privately.
-- the interview this time is going to be about the time from the rest you had earlier in the first half of the year to the album you are presently producting.
I see. the break... you talked about ruki-san going to hawaii, I suppose? I went to yamanashi. maa....but it doesn't mean that I did anything there (laughs).
-- (laughs) since the GazettE is always busy with something, you'd certainly need time to just relax and do nothing, isn't it.
isn't it so (laughs). and there happened to be a break available during recording. after recording the bass for 4 songs, I rested before the next 4 songs were to be recorded... because I was always in the studio, this break was refreshing. but even though I was relaxing, I was still not entirely relaxed because we hadn't finished recording. it'll be great if we could all 'get into a hot spring!' after we're done recording.
-- it's so nice to relax in a hot spring~ so you're going to do that when you have a break. going somewhere far far away?
ah, no! I don't really fancy going out too much (laughs).
-- (laughs) ehhh?! really?
it's true (laughs). but I've always just wanted to go to a hot spring. so I've actually never really ventured out very far... the past 3 days before this I had a break, and I was fiddling with my motorbike. everyday I'd go to the parts shop, choose the parts, and I tried to install the parts myself as much as possible... I injured my finger a little too (laughs).
-- that's dangerous! fingers are a player's life, so do be careful...
yes I'm very sorry...(laughs)
-- so you prefer motorbikes? instead of cars, that is.
oh no, I use them both. I like vehicles. I use whichever depending on my mood. in the middle of the night my mood isn't too high, so I'd think of going for a spin. going for a spin on my custom made bike all by myself is really the best.
-- so with regards to this custom making thing, is there something that you are really hung up about?
there is! I'm very obsessed with my form when riding. for example, when I'm riding my bike, I'd see myself in the glass of the parts shop and places like that, right? so after seeing my reflection, I'd think stuff like "it'll be better if the handles were a little higher isn't it..." (laughs)
-- then you'd adjust the handles' height by that wee bit (laughs). that's a real teeny fixation~
for people who don't share the same interest, they'd probably say things like "what's so fun about that?" (laughs) but I think it's fun. so if you have 2 bikes, they can be made in two different extremes. so one would have low handles, the other would have high handles, and then you have the right kind of person to ride them... you could do that with a car too, but then there would be no end to the fixations one would have if it's a car, isn't it. that's what I call a man's type of romance...(laughs)
-- (laughs) so for instance, when there's a break in recording sessions, you'd go for a spin?
I did go for a spin after I came back from holiday. well I can't possible just say, "I'm going out for a little while" in the middle of recording, can I (laughs). so I plan to go after I'm done with work.
-- so were you able to do recordings feeling good after your refreshing holiday?
hmmm. well this time it seems that it's been pretty smooth. only the first few days took up a lot of time. even though it was just the beginning of sound production, we got into the studio at about 1pm or so... and by the time we decided on the exact sound we wanted, it was around half past midnight or so.
-- ehhhh....!? and that's the part just before the actual recording, right?
yes. we took like 12 hours just to get the sound we wanted, how terrible (laughs). although it was pretty unsettling, having this feeling of 'so is it ever going to finish...', but the later part went on smoothly, so that was a relief.
-- that's fantastic, isn't it... but in order to get that perfect sound, you really have to be very particular about everything.
well there's that sound that I want to produce, and there's that feeling of needing to step up on the quality of the album. we have to make it even better than the previous album. if we don't do that, we're going to be treated with contempt.
-- okay so for you, when you compare the previous album to [DIM], what impressions do you have of this exact phase of album production?
compared to [STACKED RUBBISH], the parts where the breadth is really wide is wider... so what's that supposed to mean, right? we are more riled up at places where we ought to be, more than the previous album, and our persuasion power has increased. as in the persuasion power of each song. so... it's waaaaaaay thicker than before, I think (laughs).
-- but I think that [STACKED RUBBISH] was pretty thick too... so this time it's increased even more.
well of course, at that time there were things at that time that we were able to produce which we couldn't produce previously. but then if we can't produce something even better than that, then there's no meaning to have a band anymore, isn't it. this is what can be called 'growing and developing', I suppose.
-- so that means with regards to the atmosphere of the compositions, there's going to be things that were never done previously?
so I think. how to put it..... they give off a "feeling of someone making a speech"?
-- ahhhh.... I kinda feel it in the recent singles like [DISTRESS AND COMA]. the sort of song that uses its dynamics and mid-tempo to deliberately make the listener lose himself in the song.
that's right. it's as if your cells get infected one by one (laughs). so this time... you could listen to it again and again. the more you listen, you would find that more and more songs have many many things to tell you, as compared to your first listen. of course, there's always an impact when you listen to it, but somehow you never seem to get enough of it. the impact is kinda long drawn, I think.
-- well the impact intends to leave a long and deep impression, isn't it... so there seems to be a response when you listen. so with the increase of such songs, do you think something new is reflected in the way you play?
ahh... it's hard to play, this sort of more leisurely paced song that slowly sucks you into its world. each and every sound needs to stand out on its own. to explain it in further detail, the way to play the beat in between each note has become more difficult.
-- I see. for a slow or mid-tempo sort of song, that 'rest' in the song that sets it apart from fast songs that impact people via its speed, is very important, isn't it.
that's absolutely right. there's that annoying feeling of 'rest' that makes it not go fast enough. previously, we'd try to minimise this, and basically we agreed on making our sound lively. but then by doing that, somehow it makes our sound shallow... so now, there are many things that we're haven't sorted out with these daring sounds.
-- so that makes it really 'deep'. the album this time opens up the way for many new things, doesn't it.
yes. so after challenging all these things, the study of it is really interesting!
KAI
the drummer who forms the foundation of the GazettE's sound is kai. in order that the band's backbone is firm, it is very important that first the rhythm team sets itself straight. for kai who has been overseeing the production of [DIM], he feels an unsettling sort of pressure... so in order to get rid of this, he works hard at production, and challenges himself with the other members to produce new works.
-- even though everyone's still immersed in work, but I heard that just a while ago you had time to rest properly. so while we talk about that, I would also like to ask about the present situation of [DIM]'s production.
.................................(thinks for a long long time) I didn't feel that there was any rest time actually...
-- ehh!? but that's how we started everyone's interviews today...
(laughs) if I remember correctly, there was no break! because, well... this time we split the recording into 2 parts. we split it into every 4 songs to record, and we started the initial recording in the middle of april. after that, it was golden week and then we had to continue the next part of recordings soon after that... in order to make sure that everything went as planned, I stayed in the studio.
-- so you stayed in the studio the whole time through production?
rather...there was a little break during golden week, then after that there were 3-4 days of rest, then recording began again, then I think I did relax. then because we had to start recording again at the end of golden week, I couldn't really relax. I did my own personal practice without being able to contact any of the other members or the staff, and oh well... it was tiring (laughs)
-- it must have been a tough time... so in the end all the members got together and during this period of production all of you continued working even though you were all feeling pretty stretched.
that seems to have been the case. no matter what we are doing, our heads are almost always thinking about this. even when I take a breather, I'd force myself to finish everything at one shot, and so I can't actually really take a breather. and then of course... I can't help but feel unsettled. like what should I do if I'm not good enough, or what to do if I'm completely worn out... and then because the other members' compositions are on hold until later, I can't just continue mine. just because I have time. so since I dislike that, I just throw golden week away and go practice instead... I don't want to have to say something like, "I'm sorry, I can't play anymore..." after the break is over (laughs). I'm super insecure about that.
-- the drums are the first thing that need to be settled in a composition, isn't it. so you have a huge responsibility from the start to prevent any delays in the production.
everyone has that responsibility, isn't it. I think that everyone has the feeling of "I have to do it properly (with regards to time)!" when recording. of course, because I'm the drummer, I do have to form the foundation at the very beginning.
-- I heard that the rhythm team have come to a consensus with regards to the recording, but what sort of impressions do you have of the album's completion at this stage?
we haven't done the sound yet, and so we can't really tell the whole balance of the album as yet. we've split the recording into 2 sessions, and we've completed the songs for the first half already. well we've got a rough mix now, so after listening to that... we all intend to make something better out of it, something to make the song sound tighter, or we just pushed the song back to its original form. previously we would think, "since it's turned out like that, then we'll leave it like that!". even though I don't know if we thought like that for every song or not. so... somehow I'm looking to produce an album that feels 'greedy'.
-- so you've used the word 'greedy' to sum up all the things in the album. reita used the word 'thick' to describe the content of the album.
hmmm. well of course we've presented new things in this album, but looking back from the start, we've also managed to include the good stuff we produced in the past too. to put it nicely, the album we're doing now has this idea of being 'greedy' [in that it encompasses everything].
-- so this 'greedy album' has presented 'the good parts of the GazettE'... so what do you perceive as the band's distinctive characteristic?
ahhhh.... how do I answer this...
-- the band has a loud and heavy image, and you have songs that pride themselves on their melodies. so I think the GazettE has many facets to it.
the point in time when 5 of us agree together is when I think that 'this is very the GazettE'... but I don't really want to give a personal opinion that's biased. for instance, what we talked about today regarding loud bands; it's true that the band does seem to have a very strong loud image, but it doesn't mean that it is 'something very the GazettE'. having said so... we have some songs that are have very clear and clean sounds, isn't it. but then we can't say that this is 'something very the Gazette' either. so our songs could be like this, or could be like that..., and we know it's good, and knowing that it's good makes all the songs that we produce together as one become songs that are 'very the GazettE'.
-- so you aim towards songs that all 5 of you would think together, "let's do this!".
that's right. just one taste in sound doesn't make something 'very the GazettE'. if just one person thinks, "oh what about this song...?" we won't do it. so even though the members do disagree when we're writing songs, but because we all just want to make better songs, we don't end up fighting and brawling. in the end, we will only move on when we reach a consensus. if even just one person doesn't agree, we will continue to work until we can reach that agreement, and keep writing new songs.
-- so that's the unity of the members? the unanimous feelings of the members probably make up the 'very the GazettE' sound, isn't it.
yep. the members make this their everything. the band can't go on if we are all scattered and do things the way each of us wants to.
-- it'll be fantastic to finish up the remaining work in such a good way, isn't it. lastly, I would like to ask you something I've also asked the other members... when you feel like taking a break from composing or recording, what would you do?
hmmm... I like mahjong. I'd go to the gaming centre. they have LAN mahjong available there. so I'll be playing with people playing in hyogo's gaming centres, people playing in fukuyama's gaming centres sort of thing... everyone across the country playing via the LAN, it's really fun.
-- so it's like playing mahjong online then. the moment you said mahjong, in that instant I thought of a mahjong club (laughs).
oh previously I used to go to such places. now... I don't go to such an extent anymore (laughs).