*Translation of Toshiya's interview on Bass Magazine* part 2
THIS IS NOT MY TRANSLATION!!! ALL CREDITS GOES TO Cammie. Thank you a lot!!!
* * *
about Uroboros
The World Standard of the Booming Record,
The Path Until Its Birth
―Now, let us hear about your new work, Uroboros. Listening to this, the tightness and heaviness of the sound is intense, and I felt that the band also had a solid feeling to the album’s completion. First, let us hear about your impression after you finished making this album.
My impression was … it’s finally finished sort of a feel (laugh). The recording took place from spring to summer. We really wanted to make it into a quality that would satisfy us.
―To do that, did you have many trial and error?
Yes, we did. First, last year’s Dozing Green became a single, which was the first song that would continue in Uroboros; but we really struggled since the time of production. After the mixing was done, we talked over and decided to start everything over.
―After finishing the mixing?
Yes, from the start to everything. We decided to have everything in a blank state.
―What part weren’t you satisfied with?
We thought we made a good single. But when our boss at the office listened to it, he said, “Isn’t there something wrong?” When you’re told like that, doesn’t that make you mad? “Then, well make something that’ll impress him,” so we decided to start over once more. We went into preproduction room and made a couple of songs.
―You went back to that process again.
Right after, we had our European tour, so we tried out stuff the hotel we stayed. After the show, the 5 members would get together that we haven’t done in a long time, and talk about “What should we do afterwards?” We don’t really have discussions. We don’t have any words on what we should do next when we’re making an album or a single. But we had the right amount of tiredness and alcohol that lead to this discussion. It was interesting because I found out how everyone was actually thinking a certain way. Honestly, I guess there are parts where we need to communicate through words. With Uroboros’ direction, it has a different heaviness to The Marrow of a Bone (07), but we talking that overall, it’s definitely dark.
―Are there any parts in the album where your influence is represented?
Rather than the songs and whatnot, I think it’s about our feelings. I think it was good how we had a discussion regarding the aspect of feelings. We were all down when Dozing Green before was eradicated. There was this feeling of what are going to do. Even so, we recreated it by going through the process once more, and I think that was good. Because we had this determination, we were able to reach Uroboros.
―Once again, I feel that this work has compressed Dir en grey’s world-view. Where do you find this stoic motivation to move forward?
As I said before, we really want satisfaction. We want a sense of giving our all. But because we’re dissatisfied, we end up making another album (laugh). This continues on and on.
―As long as you continue to be musicians, are you dissatisfied unless you raise the level of quality for each work?
Regarding quality, members and listeners all have their values, but I think anyone would have a feeling of how “I want to go over a hurdle.” For Uroboros, we arrived up to this point, so for the next album, I think we could go somewhere higher.
―For your style, as you mentioned before, there is a different heaviness in contrast to the last work where there are melodious songs, a tight, heavy rock approach, and I got the impression that you created your own sound.
I’m really happy you say that.
―When you listen to the bass part, I get the message how you can’t just fill in beats or play with a heavy sound to express heaviness.
I’m not too aware, but I always have the tendency to play that way. When I listen to the older albums, I would be playing loudly in many songs, but I began to restrain my beats in The Marrow of a Bone. But since I’ve reached this point, having what I’ve said in mind, I’m thinking of creating something new. I want to connect the past and the present more.
―Then, did you have any intention to make this a comprehensive album?
Whether you apprehend it as culmination or a show of will to move forward may make all the difference. If you say culmination, it feels like the end is near. So for me…of course there are parts that are a culmination, but I would like to make it as a first step considering what lies ahead.
―Was this work able to signify that?
I think it did. Considering my approach to bass, it’s rather simple. I feel there is all the answer there. I think this is the same whatever you do where the answer is actually simple. I feel like the answer is hidden somewhere close to you.
―That’s true. By making things simple, there is an aspect where anyone could do it, but it may not be looked in depth and be easily seen superficially.
I know, right? But even so, once you try out, surprisingly, you can’t do it. In this part, I think there is actually an infinite possibility.
―Even though it’s simple, I feel that the flexibility and softness from the phrases are the strengths in Toshiya-san’s play. For example, during a show, your position of picking has been closer to the front in the recent years, and I think that has to something to do with it.
The picking has gotten nearer to the front. But recently, depending on the song, I would bring it back to the rear a lot. I think I wanted to have the nuance of finger playing using a pick. I’ve been playing with my fingers frequently as I would have one phrase played near the rear, and in many cases, I would separate them. For the recording, I played with my fingers most of the time, and I only used a pick for Gaika, Chinmoku Ga Nemuru Koro, Red Soil, and Glass Skin.
―How is your playing style like? Is the touch on a softer side?
It’s a little soft. During recording, I didn’t put too much strength when I played. Rather, the engineer told me, “Can you put more power?” But during lives, it ends up being gnawing (note: ガリガリ[gari gari] is an onomatopoeia that Toshiya used).
―Considering your phrasing, I got the impression of you maintaining the bottom feeling and move only in the low range. Especially for Toguro and Glass Skin, they’re noteworthy.
The balance is low and I wanted the low to sound like it’s wriggling. Up to the point where the low range would be like, “Is it actually moving?”
―Rather than listening to the pitch, it’s a phrase you would sense then?
I guess so. Having that as a basis, there’s part that’s a crunch, and I thought it would be best to make a sound that would call one’s attention.
PART 1
PART 3
PART 4
* * *
about Uroboros
The World Standard of the Booming Record,
The Path Until Its Birth
―Now, let us hear about your new work, Uroboros. Listening to this, the tightness and heaviness of the sound is intense, and I felt that the band also had a solid feeling to the album’s completion. First, let us hear about your impression after you finished making this album.
My impression was … it’s finally finished sort of a feel (laugh). The recording took place from spring to summer. We really wanted to make it into a quality that would satisfy us.
―To do that, did you have many trial and error?
Yes, we did. First, last year’s Dozing Green became a single, which was the first song that would continue in Uroboros; but we really struggled since the time of production. After the mixing was done, we talked over and decided to start everything over.
―After finishing the mixing?
Yes, from the start to everything. We decided to have everything in a blank state.
―What part weren’t you satisfied with?
We thought we made a good single. But when our boss at the office listened to it, he said, “Isn’t there something wrong?” When you’re told like that, doesn’t that make you mad? “Then, well make something that’ll impress him,” so we decided to start over once more. We went into preproduction room and made a couple of songs.
―You went back to that process again.
Right after, we had our European tour, so we tried out stuff the hotel we stayed. After the show, the 5 members would get together that we haven’t done in a long time, and talk about “What should we do afterwards?” We don’t really have discussions. We don’t have any words on what we should do next when we’re making an album or a single. But we had the right amount of tiredness and alcohol that lead to this discussion. It was interesting because I found out how everyone was actually thinking a certain way. Honestly, I guess there are parts where we need to communicate through words. With Uroboros’ direction, it has a different heaviness to The Marrow of a Bone (07), but we talking that overall, it’s definitely dark.
―Are there any parts in the album where your influence is represented?
Rather than the songs and whatnot, I think it’s about our feelings. I think it was good how we had a discussion regarding the aspect of feelings. We were all down when Dozing Green before was eradicated. There was this feeling of what are going to do. Even so, we recreated it by going through the process once more, and I think that was good. Because we had this determination, we were able to reach Uroboros.
―Once again, I feel that this work has compressed Dir en grey’s world-view. Where do you find this stoic motivation to move forward?
As I said before, we really want satisfaction. We want a sense of giving our all. But because we’re dissatisfied, we end up making another album (laugh). This continues on and on.
―As long as you continue to be musicians, are you dissatisfied unless you raise the level of quality for each work?
Regarding quality, members and listeners all have their values, but I think anyone would have a feeling of how “I want to go over a hurdle.” For Uroboros, we arrived up to this point, so for the next album, I think we could go somewhere higher.
―For your style, as you mentioned before, there is a different heaviness in contrast to the last work where there are melodious songs, a tight, heavy rock approach, and I got the impression that you created your own sound.
I’m really happy you say that.
―When you listen to the bass part, I get the message how you can’t just fill in beats or play with a heavy sound to express heaviness.
I’m not too aware, but I always have the tendency to play that way. When I listen to the older albums, I would be playing loudly in many songs, but I began to restrain my beats in The Marrow of a Bone. But since I’ve reached this point, having what I’ve said in mind, I’m thinking of creating something new. I want to connect the past and the present more.
―Then, did you have any intention to make this a comprehensive album?
Whether you apprehend it as culmination or a show of will to move forward may make all the difference. If you say culmination, it feels like the end is near. So for me…of course there are parts that are a culmination, but I would like to make it as a first step considering what lies ahead.
―Was this work able to signify that?
I think it did. Considering my approach to bass, it’s rather simple. I feel there is all the answer there. I think this is the same whatever you do where the answer is actually simple. I feel like the answer is hidden somewhere close to you.
―That’s true. By making things simple, there is an aspect where anyone could do it, but it may not be looked in depth and be easily seen superficially.
I know, right? But even so, once you try out, surprisingly, you can’t do it. In this part, I think there is actually an infinite possibility.
―Even though it’s simple, I feel that the flexibility and softness from the phrases are the strengths in Toshiya-san’s play. For example, during a show, your position of picking has been closer to the front in the recent years, and I think that has to something to do with it.
The picking has gotten nearer to the front. But recently, depending on the song, I would bring it back to the rear a lot. I think I wanted to have the nuance of finger playing using a pick. I’ve been playing with my fingers frequently as I would have one phrase played near the rear, and in many cases, I would separate them. For the recording, I played with my fingers most of the time, and I only used a pick for Gaika, Chinmoku Ga Nemuru Koro, Red Soil, and Glass Skin.
―How is your playing style like? Is the touch on a softer side?
It’s a little soft. During recording, I didn’t put too much strength when I played. Rather, the engineer told me, “Can you put more power?” But during lives, it ends up being gnawing (note: ガリガリ[gari gari] is an onomatopoeia that Toshiya used).
―Considering your phrasing, I got the impression of you maintaining the bottom feeling and move only in the low range. Especially for Toguro and Glass Skin, they’re noteworthy.
The balance is low and I wanted the low to sound like it’s wriggling. Up to the point where the low range would be like, “Is it actually moving?”
―Rather than listening to the pitch, it’s a phrase you would sense then?
I guess so. Having that as a basis, there’s part that’s a crunch, and I thought it would be best to make a sound that would call one’s attention.
PART 1
PART 3
PART 4